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There could be worse inspirations for a pianist than Vladimir Horowitz. As the pianist  Angelo Villani prepares for his first London recital in five years, he's written us a guest post about how the legendary Russian has lit the way to an approach that respects the score and composer while also finding a spontaneity that recreates the music anew in every performance. Do come and hear him play Chopin,  Mozart, Bach and, of course, a little Liszt - actually, quite a lot -  at the Royal Overseas League next week, 5 July . JD Angelo in action Photo: Bronac McNeill Angelo Villani writes: This July will be my first public recital in London for five years, so it’s an understatement to say I am excited. In the past, my repertoire has been principally centred around Liszt, as well as my own transcriptions, but for this next concert, alongside Chopin, I will be playing a smattering of Bach and Mozart for the very first time. My supporters are curious as to how I plan to approach these compo

Pinchas Zukerman Photo from rpo.co.uk Pinchas Zukerman, who's at the RPO this week for his own summer festival (lots of Mozart, Haydn and Mendelssohn), is, as ever, an inspiration. I had his recording of the Mendelssohn concerto when I was a kid and loved it so much I nearly wore out the LP. I talked to him the other week for a 70th Birthday interview for the JC, and frankly, it's not every day that a top Israeli musician will speak out in this way. Sometimes it takes a figure like Pinchas Zukerman to say this, and to say it somewhere it will be heard. Born in Israel in 1948, he's only a couple of months younger than the state itself and his voice demands to be heard. Here's a taster and you can read the whole thing here. “After 70 years,” declares Zukerman, “we need peace. “I come from there, I was born there, I have a passport, I have an identity, I’m an Israeli of Jewish faith. We have Israelis of non-Jewish faith, many, many denominations. We need to experiment wit

Ever heard an opera at Glyndebourne written by a woman? I haven't. OK, maybe I missed one, but still. Hopefully that's about to change. Glyndebourne recently built and cultivated a gorgeous, fragrant rose garden. Now it can cultivate a special musical sphere too. Please form an orderly queue for this terrific opportunity. (We ladies are accustomed to queuing, as most opera houses will attest.) They built a rose garden. They can build a new repertoire too. GLYNDEBOURNE WRITES: Glyndebourne’s commitment to nurturing musical talent and thus securing the future of opera for coming generations has long been at the heart of the organisation. Today we are announcing two new schemes to further support young artists. Balancing the Score: supporting female composers is a new development scheme exclusively for female composers. It will offer up to four women the chance to spend two years immersed in life at Glyndebourne, attending rehearsals and meeting professional opera makers and perf

I'm delighted to be able to report that my next novel, provisionally entitled Meeting Odette , will be published sooner than I'd expected. Not Christmas 2019, but December 2018. Please don't buy your Christmas presents too early: this book is intended to be a good stocking-filler at the very least. You can pre-order/pledge for one copy or many at the Unbound website here. It has taken me 26 years to reach this point with it, so you'll understand it gets top priority. There'll be a lot of very intense work between now and publication, as it's not exactly far off in the grand scheme of things. In the meantime I have numerous existing commitments including the Australia visit, plus words for some choral works and a youth opera for Garsington 2019 with the composer Paul Fincham. Therefore, just as news comes through that JDCMB has been ranked #6 in the Top Ten Best UK Classical Music Blogs on the Planet (yeah, I know, I know...), I have to reinforce the current poi

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Curious to see whether Na'ama Zisser's Mamzer Bastard actually deserved the vicious drubbing to which other critics have subjected it, I trekked off to the Hackney Empire yesterday for the final performance. The short answer is that it was pretty impressive. This is largely because it has two important qualities that no amount of editing could add and that many other, better-reviewed contemporary operas are lacking: emotional authenticity and a heart. Edward Hyde and Collin Shay as Yoel, boy and man. Photo: Stephen Cummiskey/ROH Mamzer Bastard is an original story by librettists Rachel C Zisser and Samantha Newton. The theme of inheritance and continuity - of names, of traditions and ultimately of traumas - is central. Set in the Hasidic Jewish community of New York, it takes places on the night of the citywide blackout in July 1977. A young man, Yoel, meets a stranger in the darkness, a familiar-looking older individual who describes himself as nothing but a ghost, and share

Hello, Townsville! from Jessica Duchen on Vimeo . I'm off to the Australian Festival of Chamber Music in Townsville, Far North Queensland, in late July, where I'll be presenting my new narrated concert Being Mrs Bach , specially commissioned for the event by artistic director Kathryn Stott. My colleagues on stage will include Siobhan Stagg, Roderick Williams, Guy Johnston, the Goldner String Quartet and many more, and it's kind of thrilling. I'll also be giving a talk about women composers for the Winterschool and writing copious quantities of words about the experience of attending the festival. The other day I spent a happy few hours in the National Theatre's costume hire warehouse, trying on 18th-century garb. I did find something in which I could actually breathe, which was a good start. I hope it'll work. No, it will not be anything like Lucy Worsley. Yes, I really hope we can do some version of it in the UK too.

Had a fantastic interview with the composer Na'ama Zisser and librettists Rachel C Zisser and Samantha Newton about their new opera, Mamzer Bastard , which is opening at the Hackney Empire tonight under the auspices of the Royal Opera House and Guildhall School of Music and Drama (where Na'ama is doctoral composer in residence). Rachel and Sam are a writing team who normally do horror movies; Na'ama set out to incorporate cantorial music of the Hasidic tradition into her score. It should prove a pretty extraordinary mix. You can read the whole thing in the JC here . Na'ama Zisser Taster (from the middle....) Mamzer Bastard  is no horror story, but its filmic qualities are evident as Rachel describes it. The action takes place in New York on 13 July 1977, the night of one of the biggest blackouts in the city’s history. A young man from the Orthodox Jewish community is to get married the next day. Unsure that he is ready, he decides to escape and finds himself lost in the

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Portrait of Gabriel Fauré by John Singer Sargent I had an extraordinary day a few weeks ago, heading for Paris and the Bibliothèque National with the composer and conductor Bob Chilcott, the presenter Frances Fyfield and the producer Tom Alban to meet the manuscript of the Fauré Requiem. BBC Radio 4's 'Tales from the Stave' is a fascinating series which explores the hidden stories within the composer's handwritten scores, and ours will be on today at 11.30am, and repeated on Sunday. We found, among other things: ...some coffee stains; some intriguing corrections; some elaborate crossings-out; some later changes and slightly wobbly phrase marks; a few bits where he'd started writing on the wrong line, probably because he was scribbling too fast or was completely knackered; in general, a very practical, down-to-earth working score for this other-worldly work of genius. I was mildly disappointed that he hadn't doodled caricatures of Saint-Saëns in the margins, but

SWAN LAKE. What else?! Photo: ROH 2018, by Bill Cooper I thought I could get into the Royal Opera House's new Swan Lake on a press seat, having written a big article about it, but it turned out I couldn't, certainly not at short notice. Tickets for Liam Scarlett's production are like the proverbial gold dust and it seemed that checking back continually for returns was the only way. Therefore by chance I landed one of the best seats I've ever had: possibly not to everyone's taste, but wonderful if you like being almost on the stage, right over the French horns and harp and able to see every detail, including the evil glares of Von Rothbart, without opera glasses. Which I do. Ballet heaven doesn't even begin to describe what followed. John Macfarlane's designs are more than just detailed and opulent: they create a whole world that pulls you in and, however fantastical the drama, feels consistent and convincing. The lavishness of the pink marble and glowing g

Composer Emily Howard 's first full-length chamber opera, premiering today on the opening night of the Aldeburgh Festival this week, is based on a science fiction short story in which the crime of coldness is punished by invisibility. I could say a few things about the symbolism of this theme and how very much one wishes it could be true for certain people in public life, but you can work that out for yourselves. Instead, let's go over to Emily for her insights into the creative process. Toitoitoi for the performances! JD The Invisible Opera A guest post by Emily Howard My first full-length chamber opera  To See The Invisible [ trailer ] premieres this week on the opening night of this year’s Aldeburgh Festival, and we’re nearing the end of the production period. In the next few days we’ll have stage and orchestra rehearsals followed by the dress rehearsal and I can honestly say that these last few weeks have been a real eye-opener for me. Before now, I actually had no idea th

Yesterday it was announced that the Italian conductor Fabio Luisi has been appointed music director of the Dallas Symphony. Many congratulations to both maestro and orchestra - it's splendid news. He takes up his post in 2020. Currently he is music director of the Zurich Opera House, the Danish National Symphony Orchestra and the Maggio Musicale Fiorentino.  About two and a half years ago I was dispatched to Zurich to interview Fabio Luisi for The Independent. It was the start of the 2015-16 season and the opera house was opening with a stunning new production of Berg's Wozzeck by Andreas Homoki, with the baritone Christian Gerhaher in the title role. I enjoyed a fascinating, wide-ranging and deep-thinking discussion with Maestro Luisi which could have filled a small book. When I got home I found that I was required to write all of 600 words...about my interviewee's side enthusiasm - his perfume brand. Meanwhile the auto-"correct" on my phone, on which I record in

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