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Articles on Classical music
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A feast for the senses reminiscent of an all-night rave or the film Bladerunner, Chamber Made’s new work Diaspora bathes the audience with broad spectrum frequencies of light and sound.
Land of Hope and Glory seems somehow inappropriate given the current state of British politics.
A conductor’s role is about communication with performers and their audience. They do so using eye contact, dress, and of course, the fabled waving of the arms.
A world premiere performance of a new Australian opera is an exhilarating experience. But the music in this reworking of the Peter Carey novel underwhelmed.
An Australian Chamber Orchestra concert features works by Jonny Greenwood, Sufjan Stevens and The Nationals’ Bryce Dessner, along with those of modern Polish composers.
If The Return of Ulysses is not Monteverdi’s most inspired creation, it is close to it. And Pinchgut Opera’s premiere may have been the first time this wonderful work was presented professionally in Australia.
Despite the exclusion of their creative work from mainstream opera companies, Australian women composers are creating spaces for themselves, writing work that tackles urgent social issues.
Australian composers have long referenced Indigenous music and culture in their works. A new platform paper suggests a more collaborative way forward.
Telecommunications company Huawei has used artificial intelligence to complete Schubert’s Unfinished Symphony. But the result fails to capture the spirit of Schubert’s original compositions.
Many school music teachers aren’t trained recorder players. And cheap and badly made recorders are often sold in discount stores. But this an instrument with a fine musical pedigree.
Few classical musicians can fill out an 8,000 seat hall. But then few classical musicians are like André Rieu.
Schiff persuaded his near-capacity audience to remain completely silent until the very end of each half of the program – a major coup.
“They have been crucifying Othello into an opera,” Lord Byron later wrote after watching Rossini’s opera. But the performance does much to highlight the play’s racial politics.
The Royal Opera House in Covent Garden has spent £50m to rejuvenate its image and shake off its elitist tag.
Pelléas and Mélisande tells a story of forbidden love between its title characters, set in the fictitious kingdom of Allemonde. However the action offstage before the opera’s 1902 premiere was just as dramatic.
South African-born composer Stanley Glasser’s musical legacy is in many ways unknown in his motherland which he left under political duress in 1963, and awaits critical engagement.
How would a Jacobean servant react to a trumpet flourish?
A Tasmanian Requiem brings together Western and Aboriginal voices to confront the violence of the state’s Black War. It shows what a historical reckoning, and reconciliation, might look and sound like.
Whether it is art or pop, high or low, terms such as creativity, authenticity, innovation and uniqueness can help us judge a work of music. And Kendrick Lamar’s DAMN. brims with these qualities.
Top contributors
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Deputy Head of School, Senior Lecturer in Piano and Musicology, School of Music, Australian National University
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Principal Fellow and Professor of Music, The University of Melbourne
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Cellist and musicologist, University of Sydney
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Senior Lecturer in Musicology, University of Sydney
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Associate Professor of Musicology and Director of Academic Program, Music, Western Sydney University
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Professor of Music, Culture and Society, City St George's, University of London
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Musicology, Stellenbosch University
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Senior Lecturer Composition, Australian National University
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PhD candidate, Music Theory, McGill University
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Professor, Musicology, University of Alberta
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Honorary Associate, Hebrew, Jewish and Biblical Studies, University of Sydney
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Associate Professor and Head of Composition, The University of Melbourne
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Senior Lecturer and Programme Leader for Performance, University of the West of Scotland
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Research Fellow, Creativity and Wellbeing Hallmark Research Initiative, The University of Melbourne
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Associate professor, University of Sydney