fri 29/03/2024

Bernard Hughes

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Bio
Bernard Hughes is a composer and writer, based in London.

Articles By Bernard Hughes

Never to Forget, Spitalfields Festival review – moving musical tributes to lost care and health workers

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Royal Northern Sinfonia, Sage Gateshead online review – a grab bag of players’ favourites

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Coote, Philharmonia, Gardiner, Southbank Centre online review - English masterworks

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Booth, Nash Ensemble, Wigmore Hall online review - contemporary music programme lacks diversity

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Greig, I Fagiolini online review - poetry and music to redeem a damaged world

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Castalian Quartet, Stoller Hall, Manchester online review - mercurial playing fits a varied programme

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Ibragimova, Davies, Sampson, Arcangelo, Wigmore Hall online review – baroque masterpieces played with verve

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Gabrieli Consort, McCreesh online review - joyous Bach Christmas Oratorio

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Voces8 LIVE from London online review part 2 – an assortment box of Christmas choral treats

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Voces8 LIVE from London online review - a cracking choral Christmas

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Osborne, Aurora Orchestra, Kings Place review – live music that lives and breathes

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Higham, Scottish Chamber Orchestra, Emelyanychev online review - I should rococo

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Clayton, Frank-Gemmill, SCO, Kuusisto online review – small but beautifully formed

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Philharmonia, Rouvali, RFH review – wide range of American voices

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Cooper, Aurora Orchestra, Kings Place review - a heartwarming delight

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The Divine Comedy: Live from the Barbican review – thirty years of great songs

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MJ the Musical, Prince Edward Theatre review - glitzy jukebo...

In a secret chamber somewhere, the producers of ...

The Dream of a Ridiculous Man, Marylebone Theatre review - f...

Like all great literature, Fyodor Dostoevsky’s final, eccentric, playfully wondrous short story seems to have been written just for us – across...

Annie Jacobsen: Nuclear War: A Scenario review - on the inco...

‘[A]n unimaginably beautiful day’: this was how Kikue Shiota described the morning of the 6th of August, 1945, in Hiroshima. The day was soon to...

Bach's Easter Oratorio, OAE, Whelan, QEH review - the j...

Waiting, and hoping, may prove just as intense an experience as the fulfilment of a wish – or of a fear. Bach knew that, and infused his Easter...

Album: Jane Weaver - Love In Constant Spectacle

“Motif,” Love In Constant Spectacle’s fourth track, is the closest Jane Weaver has come in over a decade to the folk influences embraced...

First Person: author-turned-actor Lydia Higman on a play tha...

I first read Anne Gunter’s story about five years ago, when I was in my first year of university at Oxford, little knowing it would over time lead...

The Origin of Evil review - Laure Calamy stars in gripping F...

A young woman (Laure Calamy; Call my Agent!; Full Time; Her Way) is trying to pluck up the courage to call her...

Foam, Finborough Theatre review - fascism and f*cking in a G...

In a too brightly tiled Gentlemen’s public convenience (Nitin Parmar’s beautifully realised set is as much a character as any of the men we meet...

Album: Ride - Interplay

What a time to be alive it is for fans of late Eighties, early Nineties ...