fri 29/03/2024

Sebastian Scotney

Sebastian Scotney's picture

Articles By Sebastian Scotney

Janine Jansen, Alexander Gavrylyuk, Wigmore Hall review - a totally convincing recital

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Joshua Redman Still Dreaming, Barbican review - world-class quartet

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Sarah Chang, Ashley Wass, Cadogan Hall review – a virtuoso's disturbing 'inner game'

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theartsdesk Q&A: concert pianist Lucy Parham

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Merry Christmas Baby - Gregory Porter & Friends, BBC Two review - mellow becomes slo-mo

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Albums of the Year 2018: Fiona Monbet - Contrebande

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Mahan Esfahani / Richard Goode, Wigmore Hall review - clarity and contrast from two keyboard masters

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EFG London Jazz Festival 2018, round-up review - winners young and old

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EFG London Jazz Festival, first weekend review - Jeff Goldblum a jazz musician?

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LSO, Roth, Barbican - not enough pathos, but a remarkable step-in

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They Might Be Giants, Barbican review - genuine, authentic humour

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LSO, Rattle, Barbican Hall review - a mixed bag of British composers

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Prom 39, West Side Story, Wilson review - best heard on the radio

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Proms 29 / 30, Swedish Chamber Orchestra, Dausgaard review - Bach Brandenburgs and beyond

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Paul Simon, BST Hyde Park review - still sprightly after 76 years

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Eric Clapton, Carlos Santana and Steve Winwood, BST Hyde Park review - the Clapton faithful in their droves

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

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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...

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...

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 ...