
The Carducci Quartet brought Kurtág, Reich, Clarke and Debussy to the Britten Studio for a programme spanning a century of string quartet writing. Not everything landed. But the playing undoubtedly did.

The idea of hearing any Schubert piano music on a modern piano now feels like a shameful act of betrayal after Bezuidenhout’s Aldeburgh concert.

Élisabeth Jacquet de la Guerre isn’t a name many will recognise — despite an opera that reached the Paris stage in 1694, two books of biblical cantatas published three years apart, in 1708 and 1711, and a career that ran for decades either side of those dates.

Generous, disciplined, written for exactly the player performing it — Aldeburgh’s world premiere doesn’t cower.

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

Fifty years after Britten’s death, Aldeburgh and Snape still honour the composer’s legacy. But how has the site, the Festival and the organisation adapted. What brings people back?

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.

What a music festival, a forest walk, and an unscheduled hospital trip taught about clarity, connection, and coming home.

Two standout evenings with the BBC Symphony Orchestra at the 2025 Aldeburgh Festival, featuring new works by Kidane, Grimes, and Elias alongside Strauss, Britten and Sibelius. Virtuosity, ambition, and moments of startling clarity across the weekend — with Leila Josefowicz and Allan Clayton especially compelling.