Filippo Fontana in Don Bucefalo. Photograph: Clive Barda/ArenaPAL

Wexford Festival Opera Don Bucefalo  *** Antonio Cagnoni’s Don Bucefalo, is not new to Ireland. Alfred Loewenberg’s Annals of Opera li(...)

Na’ama Goldman and Igor Golovatenko. Photograph: Eric Luke

Salomé *** Antoine Mariotte was not the first composer, and won’t be the last, to set a text without first acquiring the rights. His misfortune was ex(...)

Vivaldi’s concertos for recorders are works of rare theatricality. One of the plainest, most insignificant-looking and tiniest (in the case of the (...)

James Gaffigan is a thoroughly genial guide to Dvorák’s Sixth Symphony, one of the composer’s most consistently sunny works. The American conductor fi(...)

‘What does Heather Humphreys really think about the boards of cultural institutions and the arts in general? I have no idea.’ Photograph: Colin Keegan/Collins

There’s no such thing as bad publicity, they say. Leopold Stokowski, one of the great individualists among conductors, put it another way: never mi(...)

Robin Ticciati’s approach to Schumann’s four symphonies is like that of an expert make-up artist who cherishes every last aspect of the faces he wo(...)

Wagner tackled the composing of a symphony more than once, and at the end of his life revised the first of his efforts, which he had written in 1832 a(...)

Shostakovich famously told his pupil Galina Ustvolskaya (to whom he also unsuccessfully proposed marriage); “It’s not you who are under my influenc(...)

Szymanowski absorbed influences from Chopin and Richard Strauss in his youth, later from Debussy, Ravel and Scriabin, the Orient and its mythologie(...)

French cellist Jean-Guihen Queyras and Russian pianist Alexander Melnikov present Beethoven in a way that keeps virtuosity well to the fore and is ful(...)