The only time I heard English pianist Christian Blackshaw in concert, he came across as unusually comfortable in his skin. I wrote at the time that(...)

Belfast conductor Courtney Lewis stands out as someone who is prepared to go that extra mile in shaping the nuance and colour of the orchestra’s playing. Photograph: Travis Anderson

The work of an orchestra is never done. A few days’ rehearsal leads to a concert, and then it’s on to the next programme. The personnel doesn’t cha(...)

Europe is awash with opera festivals. There’s the Savonlinna Festival in Finland, where a three-towered island fortress provides a stunning medieval b(...)

Two of the works here were written by men in their late 20s. American clarinettist Jon Manasse and his partners delight in the extroversion of the (...)

Irina Dubrovskaya’s intriguing rhythmic liquidity communicates a dreamlike quality - he is fully in the world, but not quite of it.
Review: La traviata

La traviataBord Gáis Energy Theatre, Dublin****A lot has changed for opera in Dublin since a Glyndebourne tour first visited the city when it was a Eu(...)

The Vanbrughs, whose final years at RTÉ were marked by patchy publicity and promotion, may well feel that they have had a narrow escape

A couple of years ago RTÉ announced changes to its support of chamber music. The national broadcaster didn’t propose to wipe the slate clean: RTÉ’s(...)

The Hilliard Ensemble is calling it a day. The quartet, which specialises in early vocal music and also some of the newest, was founded in(...)

Engagement and the breaking down of conventional barriers is clearly high on ConTempo’s agenda

It’s a rare thing to find a classical concert without printed programme notes of some sort. Sometimes performers give spoken introductions to conce(...)

These recordings come from this year’s Pull Out All the Stops festival, which celebrated the restoration of the Royal Festival Hall’s Harrison &(...)

The Elixir of Love is indicative of the scale of production the OTC would liketo do more of

In the 1980s, the Arts Council decided that Ireland needed to move beyond the kind of opera tours with piano that had been offered by Irish Nationa(...)