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- Indexed articles, last 90 days
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- Sep 18, 2026
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Phaedra Ensemble: The Music of Meredith Monk review – fleeting rough edges amid polished beauty - AOL (opens the original)
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There’s no one quite like Meredith Monk. So often grouped with her lionised contemporaries Philip Glass, Steve Reich, Terry Riley and La Monte Young, she is 83 to their 90-odd years and sports long plaited hair as reliably as Reich wears a baseball cap. Yet she refuses the label “minimalism” for her music, and composition is just one element of a creative life that also takes in singing, choreography, film-making and drawing. Monk was not present at this performance marking the launch of Phaedra
Munich Philharmonic/Lahav Shani/Martha Argerich review – the great pianist gleams - AOL (opens the original)
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The international heavyweights have been coming thick and fast as this year’s BBC Proms hurtles towards its close. The Munich Philharmonic arrived with new chief conductor Lahav Shani hot on the heels of two acclaimed concerts from their Berlin counterparts. Once conducted by Gustav Mahler and Wilhelm Furtwängler, the Munich Phil is an unequivocally venerable orchestra. But the Berliners remain a hard act to follow. The opening gestures of Farrenc’s Overture No 2 were scrappy and the strings str
Berlin Philharmonic/ Petrenko/ Hadelich review – flawless musical beauty - AOL (opens the original)
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It’s the clarity that hits you first. The soft thuds of timpani that open Beethoven’s Violin Concerto landed from the back of the stage with the immediacy of taps on the shoulder, quietly urgent. The string sound was simultaneously luminous and translucent. Pizzicato bass-lines were shaped as if the main event and bubbled upwards through the rest of the texture. You’ll hear orchestral playing to match this on high-end studio recordings, of course, where the entire process can be geared to achiev
Oslo Philharmonic/Gražinytė-Tyla/Kopatchinskaja review – weapons-grade charisma and anarchic delight - AOL (opens the original)
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There are the violinists whose instruments seem barely relevant, their tone appearing to emanate mysteriously from the ether. And there are the violinists whose music-making is audibly rooted in the physical contact between fingers, bow and string. Patricia Kopatchinskaja is among the latter – and Stravinsky’s 1931 Violin Concerto is an ideal expressive fit for this full-body performer. In her latest Proms appearance, Kopatchinskaja hurled herself into each of Stravinsky’s movements with a kind
Academy of St Martin in the Fields/Marquise Gilmore review – bassoon earns its spotlight in Thea Musgrave’s Out of the Darkness - AOL (opens the original)
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Amid this year’s crop of Proms premieres, one stood out a mile – long before any of us had heard a note of it. Out of the Darkness is a new bassoon concerto by the 98-year-old Scottish composer Thea Musgrave, whose music was first heard at the Proms in 1960. Sixty-six years later, Musgrave is one of classical music’s most eminent elder stateswomen; her next opera will make its debut next year. But bassoon concertos remain a rare breed. The first performance of Out of the Darkness emerged from a
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