
We came for Schubert. What we got was something rarer.

Generous, disciplined, written for exactly the player performing it â Aldeburghâs world premiere doesnât cower.

Edgy enough to say something, conventional enough to hold attention. A gift for Osborne and an invigorating listen for the rest of us.

Spirit in the Coleridge Taylor-Perkinson, and a communal moment of meditation in the Cassie Kinoshi

Debussyâs score constructs an intense interior world and plants ideas in the mind of the listener. Rory Kinnearâs direction strips away distraction. Those ideas grow during and after performance.

Opera helps us take some of the political heat out of itâ â Dominic Sandbrook, reflecting on his first libretto, accidentally hands the audience the challenge with Mrs T.

Mental disintegration demands energy which this event didn’t always have. But when it counted – as in Peter Maxwell-Davies 8 Songs For A Mad King – the effect was brutal, and the questions potent.

Alena Baeva plays Korngold’s Violin Concerto with the BBC Scottish Symphony Orchestra under Delyana Lazarova â alongside Prokofiev’s Fifth Symphony.

Together, Lise Davidsen and James Baillieu slow down time. Everyone holds their breath.