
A searching performance of Monteverdi’s Eighth Book revealed the volatile contrast between externalised war and internally suspended love, culminating in a Lament whose harmonic inevitability restored dramatic pressure.

Charts don’t so much lead taste as reflect visibility. The new Official Classical Chart makes that shift explicit and further underlines the ongoing rebrand of classical in the UK.

A selective tour of Europe’s radio orchestras — persuasive in parts, over-engineered in others

Britten Sinfonia at Milton Court: inventive collaboration, strong musicianship, and a Holst reworking where ideas occasionally outran focus.

Joseph Phibbs’ new Cello Concerto is a study in compositional pragmatism: a concerto likely to travel well.

A politically charged, visually driven interpretation that reframes Brahms’ work through contemporary catastrophe, faith, and collective responsibility.

A close look at two classical music broadcasts this Christmas — from the BBC and Sky Arts — examining audience behaviour, broadcast risk, and why linear TV is often misunderstood.

Radcliffe is a revelation, embodying a televised breakdown with precision — clipped gestures, barely-contained rage, and a vulnerability the camera doesn’t soften. Friedman’s close-cropped direction turns the musical’s reverse-chronology into something unexpectedly lucid, restoring the emotional edge Hollywood so often sands away.

Isla Ratcliff’s Scottish Four Seasons reimagines Vivaldi through Scottish landscape and tradition.

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