brisbane hate

"I told you no good would come of Brexit!" (Photo courtesy of the LSO) In a move that will shock the orchestral profession worldwide, Sir Simon Rattle is rumoured to be on the point of announcing his intention to throw his hat into the political ring, instead of the Wagnerian one. While the UK government is in meltdown over Brexit, sources close to the maestro say that he hopes to be a candidate for Prime Minister, standing at the next (no doubt imminent) election with a national unity manifesto. "Music is a force for unity and cohesion," said one source, who preferred to remain anonymous. "Sir Simon has a uniquely charismatic, positive personality and the power to transcend the venomous divisions currently besetting both government and opposition in the House of Commons. We are not the only ones who think he's just the person to bring the country together again." Another source remarked, more sourly: "If he can get an orchestra with its inevitabl

So on 29 March 2019 something momentous was meant to happen, but it isn't - phew, at least for now - thank EU very much! And we can, instead, celebrate what is apparently International Piano Day. Here are a few of the pianists who helped me to fall in love with the piano as a child/teenager and were among the formative influences in how I think and write about it today. This is a tribute to them all. DAME MYRA HESS I never heard Dame Myra Hess in person (I was born the year she died), but I became aware of her very early on. First of all, my mum's name was Myra too - unusual and 'clockable' when you are small - and there is something similar about their profiles. We lived in north London and used sometimes to go for walks on the Hampstead Heath Extension. There was a blue plaque to Hess on her house in Wildwood Road and we always used to try to park outside it. Later, of course, I heard all about her National Gallery concerts during World War II, which was enormously in

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No, not those parties. These are Baron Zeta's embassy ball, and Hanna Glawari's glamour-trip do. We're in Paris and we're at a different party in each act of The Merry Widow , where the filthy-rich Hanna, having inherited millions from her deceased spouse, is the target of Baron Zeta's determination to marry her off to a fellow countryman to bolster the national economy of their homeland, Pontevedro. A moment of magic: Sarah Tynan as Hanna sings 'Vilja' from the moon. All photos from ENO (c) Clive Barda The great thing about operetta is that it is "light". But the trouble with operetta is that it has to be "light", otherwise it becomes heavy and goes clunk . Treat its subject matter with too much earnestness and it can be a total disaster. But what is "light"? It's in the music, it's in the drama, it's in the touch. It's in the teasing out of meaning, rather than the hammer-head of fate. It's in the quality

We do. Plenty of us were there, too. Cheers to everyone who marched yesterday, using our democratic right to peaceful protest. And with a turnout of an estimated 1.8m, don't forget that each of us were also representing those who couldn't make it due to work, rehearsals, family and other commitments, but were there in spirit and asked us to remember them there. I had at least 10 requests to "march for me". Who knows if it will make any difference - but that is no reason not to try. Similarly, if you haven't yet signed the Revoke Article 50 petition - which at time of writing is just short of 5m - please do so here.

I don't think I'm the only person who's currently so cheesed off with the behaviour of our dear country on the international stage that I've been feeling disinclined to listen to any British music. This is not good. Brexit isn't the fault of our composers - anything but.  Therefore I'm making an effort to get back to them  and I've asked William Vann to write us a guest post about Hubert Parry's oratorio Judith , which he is conducting at the London English Song Festival at the Royal Festival Hall on 3 April, no matter what happens on 29 March. He tells me this will be the work's first airing in London since the 19th century and that its neglect seems  to  him to be "a gaping hole in the heart of British choral music". Nevertheless, you might find some of it sounds familiar... Please read on, have a listen and (unless you're in Great Malvern that night for the Schumann Violin Concerto) do give the concert a whirl. If you can't make

Guys, guys...wait...what..... So, here we go. Jonas Kaufmann is singing the role of Paul in Korngold's Die tote Stadt at the Bavarian State Opera, starting on 18 November. And Kirill Petrenko is conducting, and Marlis Petersen is Marietta and if the announcement on Twitter hadn't been accompanied by a slightly worrying cartoon, I'd have fallen off the proverbial chair. One has of course been hoping for years that Kaufmann might do this. (One might even have mentioned such a hope when interviewing him five years ago, just in case - if he was already thinking about it by then, the cards were not revealed.) But gosh, I hope I'm not dreaming. This video introducing the production suggests that director Simon Stone could well do it proud. (And indeed - update - a Die tote Stadt fan on Twitter tells me he has attended Stone's production in Basel and that it was "the best I've ever seen".) "We must go through the dark times so that we can see the ligh

Wow! Thomas Oliemans as Papageno. (All photos courtesy of ENO, (c) Donald Cooper) It's not every day that Sarastro announces "This is the most important assembly we've ever held - the decision we are about to make is of grave importance" - only to find half the audience giving him a belly-laugh. But then, it's not every day that The Magic Flute feels so relevant to our needs that the whole of the House of Commons should be frogmarched into the Coliseum and made to study every word of it. This Magic Flute has got...bells. ENO's production by Simon McBurney is back for another revival, and gosh, it's just better and better: the storytelling could not be clearer, nor the inventiveness, nor the meaning. In Mozart and Schikaneder's Enlightenment fairytale, wisdom, truth and love battle against the forces of darkness – lies, ignorance, superstition, vengeance, violence. (Sounds familiar?) And the forces of good triumph. (Yes!) Along the way, in their quest

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We're possibly entering a new golden age of the composer-pianist, methinks. Stupendous recital by one of the very finest, Marc-André Hamelin, at the Wigmore Hall the other night. It included (among much else) one of the most beautiful and emotionally devastating accounts of the Schumann Fantasie that I can remember, plus a goodly number of encores, one of which was Hamelin's own Toccata on L'Homme Armé. This wild and wonderful creation was commissioned by the Van Cliburn Competition for the 2017 competitors to play as a set piece. Some of us trotted backstage to say hello afterwards and I couldn't help remarking that I would have liked to see the competitors' faces when they opened up that score for the first time. "Oh," said the ever-modest Marc, "it's not really that difficult..." O...K.... Have a listen, above.

Roxanna Panufnik and I have been working on our first collaboration since Silver Birch. It's being premiered this week in Baltimore under the joint batons of Marin Alsop and Valentina Peleggi. Yes, both of them. It's for double choir, double orchestra and two conductors. And it is about two powerful women (by which I don't mean either them or us, at least not first of all...). Harriet Tubman source: National Geographic Rani Lakshmibai of Jhansi, India, and Harriet Tubman, who saved hundreds from slavery in America before, during and after the Civil War, obviously never met in real life. But they were near-contemporaries and both gave their lives to the cause of freedom for their people. Harriet Tubman lived to a ripe old age and was venerated as 'Moses'. Rani Lakshmibai was killed in battle at the age of 29. The Rani has recently been the subject of a major biopic, but we wrote this piece before we knew about that. Harriet Tubman's previous musical incarnations

It's International Women's Day, and you know it. You couldn't not know it, really. The astonishing thing is that ten years ago, you wouldn't have. The annual event on 8 March has rocketed in public consciousness, becoming a calendar landmark in a few short years, chiefly thanks to a certain number of people making a great deal of noise about it and programmers in crucial places looking on and thinking "Y'know something? They're right. Let's do this." It's especially so in the music world, where the chance to make restitution for centuries of neglect and, frankly, the squishing of women artists has been embraced by concert halls, broadcasters, conservatoires and more. You'll find fantastic things happening today everywhere - but IWD has become, hearteningly, about far more than just one day. BBC Radio 3 has a week of celebration and an all-female schedule of composers today. The conservatoire Trinity Laban is running its Venus Blazing progr

Frederick Septimus Kelly When I was working on Ghost Variations , one of the most rewarding - and moving - discoveries was the music of Frederick Septimus  Kelly (1881-1916): Australian composer, pupil of Donald Francis Tovey, Olympic rowing gold medallist of 1908. He was tragically killed in the Battle of the Somme, having survived the horrors of Gallipoli. Jelly d'Arányi, our violinist heroine, was in love with him and kept his picture on her piano for the rest of her life. There's not much evidence that he returned her feelings, beyond the enjoyment of making music together - but nevertheless, he wrote her a substantial violin sonata on his way back from Gallipoli, which was unearthed and recorded for the first time by Australian violinist Chris Latham less than a decade ago. (You can hear Kelly's most famous work, the beautiful Elegy in Memoriam Rupert Brooke , in The Ghosts of War , the d'Arányi-themed concert I'm presenting for the Oxford Philharmonic on 1 Jun

They certainly didn't tell me I'd be doing this for 15 years when I signed up to Blogger on 2 March 2004. Here's a little glimpse into the State of the Art, involving one of those "you couldn't make it up" moments that happened to me the other day when I David Dolan coaches YMS cellists on structure in Bach went down to the Yehudi Menuhin School to look around, talk to the head, watch some teaching and hear a lunchtime concert by some of the students. To a visiting journo, the school seems a haven of peace. It has impressive facilities: a magnificent wood-lined concert hall, a Fazioli grand, a range of super studios. And here you can meet the absolute values of musicianship at the highest, specialised level, matters communicated exceptionally effectively in the lesson on Bach I listened to, given by pianist, analyst and classical improvisation guru David Dolan. This place - one of sadly few specialist music schools in this country - has been subjected to some