Clive Paget
Reviewer for outlets with principles, unlikely to be here in 2025 thanks to X management. Find me at https://t.co/sWLvLWWkBW
Articles
-
1 week ago |
theguardian.com | Clive Paget
Spare a thought for Georg Philipp Telemann. Friend to Bach and Handel, and godfather to Bach’s son Carl Philipp Emanuel, he penned more than 3,000 works including 29 extant operas. Yet, for all his fecundity of invention and consistent quality, we hear his sparkling music far less often than he deserves. If people are unsure where to begin, how about Pimpinone?
-
2 weeks ago |
musicalamerica.com | Clive Paget
Wagnerian voices take time to mature, and even when they do, the lead roles tend to be monopolized by a handful of established stars. It was therefore both a surprise and a pleasure earlier this year to encounter a fully formed Brünnhilde giving her all in an orchestrally pared-down Götterdämmerung staged in a former boxing ring in London’s East End. Catharine Woodward’s performance for Regents Opera was “touching, complex, and utterly tireless,” as I wrote in my review.
-
2 weeks ago |
theguardian.com | Clive Paget
Southbank Centre’s life-enhancing Multitudes festival is turning out to be a stimulating mix of orchestral fireworks and artistic cross-fertilisation. Of course, the trick with multidisciplinary work is to ensure that one form doesn’t overwhelm the others, and this Royal Philharmonic take on Shostakovich’s epic Leningrad Symphony, with imagery by Russian art/film director Kirill Serebrennikov and video artist Ilya Shagalov, got the balance just right.
-
1 month ago |
theguardian.com | Clive Paget
It felt as though war and peace were locked in a battle for the very soul of this concert of Russian and Ukrainian music, a savage reminder three years on of the brutal invasion of one country by the other. Things got off to an inauspicious start. Even conductor emeritus Vladimir Jurowski’s powers of persuasion couldn’t disguise the fact that Semyon Kotko is second-rate SergeiProkofiev.
-
1 month ago |
theguardian.com | Clive Paget
A pair of works by Handel written 40 years apart might have made awkward bedfellows, but director Thomas Guthrie’s fertile imagination ensured it was never a concern here. Staged in the Italianate surrounds of Shoreditch town hall, Tales of Apollo and Hercules was full of astute cross-references from one work to the other.
Try JournoFinder For Free
Search and contact over 1M+ journalist profiles, browse 100M+ articles, and unlock powerful PR tools.
Start Your 7-Day Free Trial →Coverage map
X (formerly Twitter)
- Followers
- 2K
- Tweets
- 10K
- DMs Open
- No
RT @LimelightArtsAu: "I’m not impressed by being the first; what impresses me is seeing the third or the fourth. That means it’s not a fluk…
RT @LimelightArtsAu: "If you look into the score, you see all the details... it’s pure joy, but on top of that there’s also intellect.” @c…
Hey @LimelightArtsAu @ChandosRecords @Rumongamba and @BBCPhilharmonic I’d love to share this and the review on @Bluesky if you are thinking of joining
The BBC said that Ruth Gipps wasn't a composer, @Rumongamba tells @clivepaget. How wrong can you get? @ChandosRecords https://t.co/F3LDhRA2sF