fri 04/10/2024

stephen walsh

Bio
Stephen is a former Observer music critic and a regular contributor to The Times, Daily Telegraph, Financial Times, Independent and the BBC. He is the author of a major biography of Stravinsky and other books on Stravinsky, Bartók and Schumann. He holds a chair in music at Cardiff University.

Articles By Stephen Walsh

Il trittico, Welsh National Opera review - welcome back (but not a good sign)

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Rigoletto, Welsh National Opera review - back to what they do best

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Il Trittico, Welsh National Opera review - another triumph for a hard-pressed company

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The Merry Widow, Glyndebourne review - fun and frolics in the Embassy

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Così fan tutte, Welsh National Opera review - relevance reduced to irrelevance

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Uproar, Rafferty, Royal Welsh College, Cardiff review - a rare spring in the new music step

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BBC National Orchestra of Wales, Martin, Hoddinott Hall, Cardiff review - a host of horns in the wild woods

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La Traviata, Welsh National Opera review - memorable revival, unforgettable lead

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Ainadamar, Welsh National Opera review - hits hard without breaking ground

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The Pilgrim's Progress, Three Choirs Festival review - revelatory performance by young musicians

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theartsdesk at The Three Choirs Festival - Elgar, Vaughan Williams and Hammond

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The Bartered Bride, Garsington Opera review - brilliant revival of a comedy of cruelty

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Candide, Welsh National Opera review - vaut le voyage, just for the visual side

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L'elisir d'amore, Longborough Festival review - agreeable nonsense in a semi-modern English village

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Götterdämmerung, Longborough Festival review - from the hieratic to the mundane and back

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Kim, BBC National Orchestra of Wales, Bancroft, St.David's Hall, Cardiff review - finding a style in the Eighties

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Lear, Barbican Theatre review - a very stormy saga, Korean-s...

What do the cult TV show Squid Game and National Changgeuk Company of Korea’s Lear have in common? Oddly, a K-Pop...

Monet and London, Courtauld Gallery review - utterly sublime...

In September 1899, Claude Monet booked into a room at the Savoy Hotel. From there he had a good view of Waterloo Bridge and the south bank beyond...

Joker: Folie à Deux review - supervillainy laid low

“Psychopaths sell like hotcakes,” William Holden observed in Sunset Boulevard in 1950, and those individuals have been doing...

A Tupperware of Ashes, National Theatre review - family and...

Queenie is in trouble. Bad trouble. For about a year now, this 68-year-old Indian woman has been forgetful. Losing her car keys; burning rice in...

First Person: conductor Robert Hollingworth on a four-choir...

I’m sitting in a café in Kraców, Poland, rehearsals finished for the resurrection of a mass setting written nearly 400 years ago in...

The Battle for Lakipia review - why post-colonial Kenya is a...

The Battle for Lakipia is a beautifully filmed and thoughtfully directed documentary that was made over a two-year period. Its focus is...

Album: Coldplay - Moon Music

From the very first chords of "Yellow" in 2000, Coldplay have been an ever present at the summit of popular music's hierarchy. Their uncanny knack...

The Old Man and the Land review - dark secrets of a farming...

The Old Man and the Land depicts a worn-out sheep farmer going about his dreary business as the seasons pass, darkly and dankly. He does...

BBC Singers, BBCSO, Jeannin, Barbican review - from stormy w...

“Bold, ambitious, and good for the sector.” So said Charlotte Moore, the BBC chief content officer, who currently earns £468,000, in March last...

Nobodaddy, Teaċ Daṁsa, Dublin Theatre Festival review - supe...

Nobodaddy, taking its title from Blake’s violent dark-god “Father of Jealousy”, is much more than a dance piece, and Michael Keegan-Dolan...