Guardian is a English-speaking media specialized in the field of classical music and opera. As such, Guardian is a qualified source of soclassiq, like Pacific Symphony blog or ClassicalConnect and many others. The oldest article indexed by soclassiq is dated 2010-01-01. Since then, a total of 7483 articles have been written and published by Guardian.
With 111 articles published in the last 90 days, Guardian is currently a very active news source. "Very active" does not mean that Guardian is more interesting than another less prolific source. Each media follows a specific editorial line, publishing according to its own rhythm.
This editorial activity is no different from that recorded for the previous period.
The last article in Guardian, "Huddersfield contemporary music festival – beauty and freshness and striking new sounds", is dated 2020-11-23. By 2019, this source had published 462 articles (364 since the beginning of 2020). Over the past 12 months, Guardian has published an average of 33 articles per month.
Guardian in the last 36 months
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Available online/BBC SoundsBrand new music from well-known and less familiar composers included premieres from James Dillon and Riot Ensemble’s lockdown commissions There was no need for a November pilgrimage to Britain’s leading new-music event this year. Instead Huddersfield contemporary music festival came to us, concentrated into a hectic weekend of events, some of which were broadcast live on Radio 3 from the BBC’s Maida Vale studios and the Royal Festival Hall, while others were streamed on the festival’s website. Despite the enforced changes, though, the reshaped concerts still managed to include at least some of the works and performers that had been planned for this year’s festival. There was the healthy mix of music from well-known and less familiar composers that has come to characterise the Huddersfield festival, ending with two premieres from
Streamed, recorded at Leeds PlayhouseThe expressive force of singer Wallis Giunta and dancer Shelley Eva Haden evoked today’s US in a spirited production of Brecht and Weill’s sung ballet It’s not simply the cardinal sins of Roman Catholic theology that are invoked in Kurt Weill and Bertolt Brecht’s sung ballet, their last collaboration. This pungent 35-minute work is rarely given its full title – Die sieben Todsünden der Kleinbürger, The Seven Deadly Sins of the Petty Bourgeoisie, but it’s the one that underlines Brecht’s Marxist approach. Sloth, Pride, Anger, Gluttony, Lust, Greed and Envy are ordered to create a narrative trajectory set in 1930s America, essentially an attack on capitalism and the hypocrisy of bourgeois values. The twin-sister protagonists – Anna I portrayed by a singer and Anna II by a dancer, representing two sides of the same person – are sent away by their family to earn money to […]
Royal Opera House onlineIn a belated homecoming to Covent Garden, Handel’s gripping opera is played beautifully and sung superbly by a fine cast Handel wrote Ariodante in 1735 for the Covent Garden theatre that stood on the site of what is now the Royal Opera House, so the Royal Opera’s decision to take it into its repertory for the first time effectively forms its belated homecoming. Christian Curnyn conducts the livestream that replaces what should have been the first of a series of semi-staged performances with socially distanced audiences, now sadly cancelled. And it is, in many ways, a remarkable achievement, superbly performed and utterly gripping as drama. No director is credited, though the work’s emotional ambiguities are painstakingly explored and the characterisations finely detailed. This is one of Handel’s darkest operas, and the twisting narrative of betrayal and catastrophic errors of judgment, for once, seems perfectly clear. There are […]
Available onlineThe London Philharmonic and Vopera join forces in a virtual production of Ravel’s opera, while Philippe Sands provides rich inspiration for the Academy of St Martin in the Fields “The phantasmagoria is constant,” Ravel said – needlessly – of his magic-filled opera L’enfant et les sortilèges (The Child and the Spells). This short lyric fantasy, about a rude infant and the lessons of loneliness, has countless roles and many dramaturgical challenges: a duet for teapot and china cup; a mother represented by a giant skirt; a coloratura princess torn from a fairytale book. Seeing its potential as an animation, the London Philharmonic Orchestra has collaborated with Vopera, the virtual opera project, to produce an enchanting digital version, providing paid work for 135 musicians, visual artists, technicians and others. The result, conducted and arranged by Lee Reynolds and directed by Rachael Hewer, is both visually playful and aurally assured. Colette’s […]
Nicola Woodward(Hoxa, three CDs, available separately)The French composer loved the flute and these short works are exquisite, be they playful, languorous or nostalgic
Available onlineA rebellious home-schooled child goes on a nightmare cartoon journey of self-discovery in this ingeniously designed video fantasy take on Ravel’s opera L’Enfant et les Sortilèges, the fantaisie-lyrique in two parts that
On iPlayer, filmed at the London ColiseumFine soloists, a committed chorus and Mark Wigglesworth’s instinct for dramatic immediacy combined to bring power to Mozart’s unfinished last masterpiece In the time of Covid, any concert is an achievement in itself.
A prodigious talent, the young cellist was rewarded with a Deutsche Grammophon contract and toured all over Europe. Why has the ‘German Du Pré’ been forgotten today? A new documentary explores her life and legacy Do we hear music differently if there’s tragedy in the life story of its composer or performer? And if we do, are we bestowing that music with a melancholy, or insight, and sometimes even a greatness, that isn’t there? These are some of the thoughts I had while researching the little-known German cellist Anja Thauer for a BBC Radio 3 documentary,
Streamed live from the Barbican, London A leading light of London’s jazz scene gave an extraordinary demonstration of his clarinet expertise, adding nuance to Copland and Stravinsky If Aaron Copland enjoyed writing his Clarinet Concerto for Benny Goodman, he would have loved the chance to write for Shabaka Hutchings. Mainly on saxophone, Hutchings has been shaking up UK jazz with bands including Sons of Kemet and Shabaka and the Ancestors, and had been due to curate a weekend at the Barbican earlier this year. But here he was, performing to an empty auditorium as part of the online EFG London jazz festival, in a Britten Sinfonia concert showcasing him on clarinet. And Hutchings contributed some extraordinary playing, most strikingly in the solo improvisation with which he followed his coiled-spring performance of Stravinsky’s Three Pieces for Solo Clarinet. The music grew spiralling up into a syncopated dance full of little gaps, […]
For the last of this series, we turn to one of the greatest of all composers for the human voice, a man who lived through the Third Reich and two world wars, and whose gorgeously expressive music helped create one of cinema’s most famous moments Richard Strauss (1864-1949) dominated classical music at the turn of the 20th century with a series of works that pushed post-Romanticism to extremes and pre-empted the innovations of modernism. He, however, never embraced atonality, and was ultimately a pragmatist for whom subject matter always dictated style and harmonic language. One of the greatest of all opera composers: few have quite so profoundly understood the expressive power of the human voice or written for it so superbly.