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 Ludwig van Toronto or Chicago Classical Review and many others. The oldest article indexed by soclassiq is dated 2010-01-01. Since then, a total of 7759 articles have been written and published by Guardian.
With 95 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 increasing compared to the previous period.
The last article in Guardian, "LSO/Rattle review – a Brucknerian labour of love", is dated 2021-09-20. By 2020, this source had published 398 articles (242 since the beginning of 2021). Over the past 12 months, Guardian has published an average of 29 articles per month.
Guardian in the last 36 months
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The latest articles from Guardian
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Barbican, LondonSimon Rattle has become a very fine and authentic Brucknerian, as this fascinating concert – offering insights into the composer’s fourth symphony – revealed Bruckner is not the only composer whose music exists in several revisions. But he has few rivals as music’s most compulsive tinkerman. Bruckner’s fourth symphony, in particular, underwent multiple and substantial alterations between its first incarnation in 1874 and its more or less final version in 1881 that is among his most popular works. Some of the most important examples provided the inspiration for this highly imaginative LSO concert under Sir Simon Rattle. In the first half, Rattle directed the LSO in discarded movements from earlier versions of the symphony: a scherzo that was later dumped in favour of the more familiar “hunting” alternative, and the composer’s second shot at writing the finale, a movement that continued to trouble Bruckner for years. In part two, […]
Leeds Town HallThe 23-year-old Kazakh’s personality shone through in his dashing and extrovert Rhapsody on a Theme of Paganini by Rachmaninov Whatever one thinks of the enduring value of musical competitions, there’s no denying that they continue to thrive and even proliferate. This year’s Leeds piano competition, the 20th in its history and the first to be held since the death of its founder Fanny Waterman, fell in the middle of an autumn run of well-established events; it was preceded by the Busoni competition in Bolzano and will be followed next month by the latest edition of the most prestigious of them all, the Warsaw Chopin competition. But the status of any musical competition depends on the calibre of its previous winners, and what they go on to achieve, and it’s many years since a pianist of genuine world class emerged as a result of winning in Leeds. At […]
The Romantic composer died in an asylum in 1856, since when musicians, doctors - and even the Nazis – have sought to name the illness that brought his early death. It tells us as much as about the story of modern psychiatry as it does about the man and his music. Of all the things, one of Robert and Clara Schumann’s grandchildren, Felix, ended up working as a door-to-door lingerie salesman in a New York suburb. On the morning of 25 October 1941, he was found slumped behind the wheel of his car, parked in a garage behind his house. Carbon monoxide poisoning. According to the New York Times, he had been “despondent because of poor health and financial reserves”. The death was recorded as a suicide. In the Schumann family, suffering as a consequence of psychiatric illness stretched back generations. It is thought that Robert’s father had a nervous […]
St Mary’s Parish Church, HaddingtonThe secular side of the composer’s output was the focus of this imaginative and vivid festival programme The Dunedin Consort gave a thrilling, visceral performance of Monteverdi’s Vespers at the Lammermuir festival a few years ago. For this year’s appearance, the ensemble returned to the composer, but on this occasion it was for an exploration of the secular side of his output. Monteverdi’s work
Lammermuir festivalA chamber music programme of Ives and Schubert saw Denk, the festival’s artist-in-residence, at his best Lammermuir festival’s artist-in-residence Jeremy Denk is a multi-faceted, intelligent pianist, equally at home playing solo Bach in recital, as he did over the weekend, or concertos with orchestra
The Mozartists/Page (Signum)Ian Page’s live recording is a lively introduction to the music of Niccolò Jommelli, who, like the Bee Gees two centuries later, had an ear for a striking harmony Niccolò Jommelli, as none but the most committed 18th-century opera nerd will be able to tell you, wrote Il Vologeso in 1766, when the 10-year-old Mozart was a year into his own composing career. That’s how come Il Vologeso qualified for Ian Page’s ongoing Mozart 250 project, putting the great composer’s work into the context of what was going on musically around him. This recording is of its belated UK premiere, an upbeat performance given in April 2016 by Page, his ensemble the Mozartists and an up-and-coming cast.
Scholar of opera who translated librettos into English, wrote ones of her own and edited guides to encourage new listenersIn 1985 two professional developments defined the path of Amanda Holden’s work until her sudden and unexpected death at the age of 73. She worked on her first opera translation, Don Giovanni, for Jonathan Miller at English National Opera (ENO), which made her realise that, in addition to her profound musical understanding and knowledge, she had the wordsmith’s talent required to craft opera translations. This opened up a fruitful avenue that eventually led to her creating more than 60 opera translations. At almost the same moment, she conceived the idea of a reference work on opera that was to be an enormous scholarly enterprise. Together with Stephen Walsh and Nicholas Kenyon, and
The piano concertos, like his operas, are where you get to meet Mozart himself. And what you find is a man who sought to disrupt privilege and let us see the world through the eyes of others When I was 12, my piano teacher gave me a great gift. For my first piano concerto, he assigned me Mozart’s 23rd, in A major, one of the most perfect pieces ever written. “Kiddo,” he said, “you have to understand that this piece is a privilege.” I begged my father to take me to the music store right away; on the ride home, I caressed the happy yellow cover, adorned with laurels. For weeks, my parents didn’t need to force me to practice. I loved even those first four bars – how they folded in, all intimate lyricism. And then the next bars, how they piped up, as if laughing off the first. […]
Bold Tendencies, LondonAn angry and effective piece inspired by Greta Thunberg’s activism is powerfully performed by local children It was Britten who said that the job of a composer was “to be useful”, and with her growing number of works for children’s and community choirs that’s exactly what Kate Whitley is doing. Our Future in Your Hands, with words by Laura Attridge, was originally conceived for the 2020 Buxton international festival but finally received its first performance at Bold Tendencies, in Peckham’s multi-storey car park - the home venue of the Multi-Story Orchestra, which Whitley founded with the conductor Christopher Stark. Along with that orchestra and three professional singers, the oratorio involved several dozen children from four local state schools, all engaged, confident and singing from memory to an audience of family and friends. Our Future in Your Hands is inspired by Greta Thunberg’s activism, and it’s an angry piece […]
Royal Opera House, LondonOliver Mears’s striking staging posits a Mantua united by misogyny and violence and boasts a terrific cast, with Lisette Oropesa truly outstanding With full audiences returning to Covent Garden for the first time since March 2020, the Royal Opera opens its season with a new Rigoletto, conducted by Antonio Pappano and directed by Oliver Mears, his first staging for the company since his appointment as director of opera in 2017. It’s a powerful piece of theatre, strong on Shakespearean resonances and irony: we’re reminded more than once that Rigoletto is the closest we get to the King Lear that Verdi always said he wanted to write but never did. Mears’s Mantua is a place of sandstone walls and louring grey skies, where opulence and squalor exist side by side. Ilona Karas’s costumes, though non-specific as to period, suggest the 1980s, and the ducal court, got up in […]