
A new community opera by Master of the King’s Music Errollyn Wallen drawing on texts collected but not set by Britten, premieres at Orford Church and on Orkney in the run-up to Christmas this year.

A South London orchestra founded by conductor Chloé Van Soeterstède has announced the appointment of Marin Alsop as its Honorary President.

In appointing Järvi, the LPO has made the case for experience that the rest of the classical music industry currently feels slightly embarrassed about making.

Cheltenham’s composer scheme suggests the usual trade-off between experimentation and engagement may be overstated.

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.