Richard Bratby

Jan 15, 2025 | spectator.co.uk | Richard Bratby

It’s a right mess, the classical piano trio; the unintended consequence of one of musical history’s more frustrating twists. When the trio first evolved, in the age of Haydn, the piano (or at any rate, its frail domestic forebear) was the junior partner, and the two string instruments, violin and cello, were added to make the silly thing audible. Then the piano started to evolve, while its partners – give or take the odd tweak – really didn’t, much.

Jan 15, 2025 | spectator.com.au | Richard Bratby

Smetana Trio; Alim BeisembayevWigmore Hall It’s a right mess, the classical piano trio; the unintended consequence of one of musical history’s more frustrating twists. When the trio first evolved, in the age of Haydn, the piano (or at any rate, its frail domestic forebear) was the junior partner, and the two string instruments, violin and cello, were added to make the silly thing audible.

Dec 4, 2024 | spectator.co.uk | Richard Bratby

Ivor Cutler called silence the music of the cognoscenti. But there’s silence and there’s silence, and a regular concertgoer hears a fair bit of both. The ability to fold silence into a musical line – to create the impression that a conductor is somehow sculpting a sound which doesn’t exist – is an indicator of high artistry on the podium.

Dec 4, 2024 | spectator.com.au | Richard Bratby

Philharmonia Orchestra, BlomstedtRoyal Festival HallHänsel und GretelRoyal Academy of Music Ivor Cutler called silence the music of the cognoscenti. But there’s silence and there’s silence, and a regular concertgoer hears a fair bit of both. The ability to fold silence into a musical line – to create the impression that a conductor is somehow sculpting a sound which doesn’t exist – is an indicator of high artistry on the podium.

Nov 27, 2024 | spectator.com.au | Richard Bratby

The Elixir of LoveLondon Coliseum, until 5 DecemberEugene OneginJacksons Lane, Highgate There was some light booing on the first night of English National Opera’s The Elixir of Love, but it was the good kind – the friendly kind, aimed not at the baritone Dan D’Souza but his character, the caddish charmer Belcore. In other words, it was what opera snobs call ‘pantomime booing’, and which, as a peculiarly British phenomenon, they affect to deplore.