brisbane hate

HERE IS THE BBC RADIO 4 WOMAN'S HOUR POWER LIST 2018: WOMEN IN MUSIC.  We were 4 judges, from different corners of the music world: Jasmine Dotiwala, Catherine Mark, Kate Nash and me. We had 40 places across the board, to encompass all genres. Under the circumstances, it felt good to get so many representatives from the classical world in, often at a high placement. We can't please everyone, of course, and some people are now busy being indignant - though this is possibly because they think we should have been doing something we hadn't set out to do in the first place. This list wasn't about fresh-faced charm, talented young performers and composers, or even the latest entrepreneurship. This was a POWER LIST. It's something BBC Radio 4 Woman's Hour does every year, exploring a different industry each time. The fact that this year they elected to turn the spotlight on the music world is telling: these are indeed crucial, seismic times for women in music. So the c

It's tomorrow, Friday 28 September live on BBC Radio 4 Woman's Hour. We're live at Maida Vale Studios at 10am. Please join us! Jenni Murray presents, Jasmine Dotiwala and I will be representing our panel of judges, and a lot of our Top 40 will be with us to celebrate. The Powerlist covers women who are changemakers, leaders and role models in all manner of musical fields, so no doubt there'll be plenty of controversy about who's on it, and who isn't. Was it difficult? Was. It. Difficult. Do tune in if you can.  https://www.bbc.co.uk/programmes/b0bkpjrk

One of the events I'm most looking forward to in London this autumn is ENO's first-ever staging of Gershwin's Porgy and Bess . John Wilson is conducting it and the starry cast includes Nicole Cabell as Bess, Nadine Benjamin as Clara, Eric Greene as Porgy, Gweneth-Ann Rand as Serena, and more ( see the line-up here .) I was going to write something about what a masterpiece of an opera it is, how Gershwin perfectly blended those different musical idioms into a work with total integrity and deep empathy, and how it is often done as a musical, but not the full-whack operatic creation it really is, so grab a ticket while you can - but actually all you need in order to be persuaded is a taste of the heavenly voice of Nadine Benjamin singing 'Summertime', above. On 11 October they're going to rise up singing. Book here.

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The Ring cycle is about to begin at Covent Garden, and yesterday a friend kindly invited me to the dress rehearsal of Das Rheingold . Operas that feel pertinent to the world at large are rare animals in this stressed-out era, but the timeless issues that percolate through Wagner's two-hours-40-mins-no-break prelude couldn't be more relevant if they tried, despite concerning gods, giants, Nibelungs, Rhinemaidens, shape-shifting and a cursed ring, and Keith Warner's production makes much of this. So here are ten things our Brexity politicians (some of whom are known to adore Wagner) can learn from it. Bloodied, worried and clinging to power: Bryn Terfel as Wotan in 2012 Photo: Clive Barda/ROH 1. Do not piss off giants. They are bigger than you and they can take hostages. You are overestimating your own power. 2. Do not break your promises. It's called cheating. Giants don't appreciate it, especially when they've given you a massive contribution to your world in

Rattle, milking it. (Photo: LSO) Critic's hat for the day here: I reviewed Simon Rattle, Janine Jansen & the LSO for The Arts Desk last night, but perhaps the most moving thing of all was Rattle's farewell speech for Lennox Mackenzie, who's retiring after an LSO career spanning nearly four decades. Read the whole thing here. Other hat: on Tuesday 25 September Tom and I are giving a concert together in North Yorkshire - at All Saints' Church, Kirby Hill. Tom plays solo Bach, Beethoven and other things. I'm reading some of my prose-poems. The concert is named after one of them, VOLCANIC ASH, and is built around what happened to us when we were trapped by closed air space somewhere you mightn't want to be trapped - with themes including identity, history, trauma and brainwash. Yorkshire friends, if you like the sound of this, do join us. To book, please call 01423 326284 or 01423 323774.

Aurora plays from memory. (Photo: auroraorchestra.com) If you want music to lift you clean out of your chair, go and hear the Aurora Orchestra play a symphony from memory. The opening concert of their season, on Sunday afternoon, entitled Smoke and Mirrors , found them at the Queen Elizabeth Hall, delivering a theatrically staged event – in the first half of which, through clouds of dry ice, the brilliant singer Marcus Farnsworth travelled from Schubert's Der Wanderer to HK Gruber's Frankenstein!! . A narrated link described an erupting volcano, the skies that it darkened in 1816 and some glimpses of Mary Shelley and friends writing ghost stories by the lake. This storytelling's ability to immerse us in the world and the legacy of early romanticism proved vivid and atmospheric; Aurora has Kate Wakeling as writer in residence, and I assume she penned this dramatic casing. (You can find her work in their season programme  - not marketing blurb but actual short stories, liter

In these febrile times, I think it takes some courage to march around Westminster singing and playing the Ode to Joy. This is precisely what two brave Simons - baritone Simon Wallfisch and violinist Simon Hewitt Jones - and their friends have been doing on a regular basis for months and months and months. They are spreading togetherness and, well, joy, they say, to help heal this divided nation. Given the grim future that's at stake for every one of us if the government pushes ahead with "hard Brexit", we should all go and join in!

Aarhus Cathedral, with blue sky and bicycles You may know, if you've ever looked at my profile, that I'm a Nordic Noir addict. And it so happens that Denmark – Aarhus in particular (the city of Dicte ) – has long represented a home from home for me and Tom. His first job was with the Aarhus Symphony Orchestra, several decades ago, and he still goes back to play with them from time to time. I’ve just been there with him for a week and took in a hefty dose of vitamin D in that extraordinary Scandinavian sunlight. And I could hardly help soaking up an atmosphere that is so pleasant, so relaxed and so kind of  wholesome that it shows up, in no uncertain terms, just how batty things have become here in Brexit Island. For instance, the Danes have no problem creating lanes in which their many cyclists can function without being squashed by lorries or running down pedestrians. It’s not rocket science. Nor, it seems, do they have any trouble building concert halls. The Musikhuset’s late

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Roxanna Panufnik takes a bow. Photo: Chris Christodoulou/BBC Well, we needn't have worried. What usually happens at the Last Night of the Proms happened again: differences are put aside, all are welcomed in with flag of whatever hue, and there's one great big jamboree of a musical party, where we get to join in. A few years back (2013, I think, was the last time I was there) it struck me that what actually matters in those audience songs is not the content, but the fact that we're all there and singing together, and singing with the professionals and the orchestra and, in this case, Gerald Finley and Sir Andrew Davis. Nothing brings people together like singing. Goodness knows why, but it's true and you can feel it, palpably. It was a big night. Roxanna Panufnik's beautiful and very atmospheric new Proms commission, Songs of Darkness, Dreams of Light, had its world premiere; saxophonist Jess Gillam must surely have shot to superstardom, music poring from every cell;

I'm off to the Last Night of the Proms, mainly because I think it's going to be fun (?) to write about it, this year of all years. When I last went, in 2013, I found that one of the jingo-songs stuck in the craw somewhat - I love Jerusalem , but not Land of Hope and  Glory . I mean, come on, even  Elgar  didn't love Land of Hope and Glory . So, as I like making up words, I made some up . Join in if you feel  the  same. (This is strictly tongue-in-cheek, by the way - just a bit of fun - and anyway, if I make up words, you can too.)   I love Edward Elgar, he's the man for me He's our greatest composer, as tonight we see. He grew up in Malvern, he was quite self-taught, Then he made the big time, as is right he ought. Then he made the big time, as is right he ought. Let us sing of Elgar, let his soul fly free, Let our song reach to heaven, wherein he may be; Wider still and wider shall our message sound: Music lasts forever, let this song shine out Music lasts forever,