
Ta Da! The first new Classical Music Chart from the Official Charts Company is dominated by a reassuring presence, but underneath is found a predictable mix of orchestral sounds that stretch the definition of classical a great deal.

Reduce classical music’s exposure and you don’t merely rearrange a schedule — you relegate an art form. No television executive ever defends that kind of decision.

A day-long conference staged by Revere Arts on access in classical music revealed systemic blind spots, uncomfortable truths and the barriers still shaping who gets to belong.

A preview of the 2026 Aldeburgh Festival: six world premieres, a major Pelléas et Mélisande, modernist centenaries, and a revitalised Britten–Pears artist-development vision marking fifty years since Britten’s death.

Ulster Orchestra names Anna Handler as Chief Conductor. A strategic appointment — and a moment for the orchestra to assert its identity more boldly.

The Ivors Classical Awards are never really about trophies. They’re about how an industry sees itself: noble, embattled, faintly addicted to the romance of struggle. Last night at the BFI, that story was told again — with a few new plot twists.

The NYO has appointed Alpesh Chauhan as its Principal Conductor and Music Advisor. The fixed role for a conductor is a first for the ensemble.

Nine years after the project was first announced, the Dunard Centre completes its transition from aspiration to construction

Sir Keir Starmer’s Private Passions appearance is part love-letter to music, part soft-focus politics. He’s evidently warm in his advocacy of music education, but the committment is light on detail, for all the obvious reasons.

Radio 3’s apparent slump isn’t a crisis; it’s a reminder that measurement no longer tells the full story. The audience hasn’t disappeared — it’s moved into spaces that RAJAR can’t see and the BBC now controls. What looks like decline is really transition: from live radio to on-demand, from shared experience to personal choice.