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HISTORICAL FACTS: 2 - Caught on Camera

Britten: Violin Concerto Chamber Works album review – bravura and brilliance as Faust turns to Britten’s violin writing

Violinist Isabelle Faust, violist Boris Faust and pianist Alexander Melnikov honour Britten’s exuberant works with vigour and determination

The Guardian - UK

Rent British musician Imogen Holst’s home via Modernist Estates

Discover Imogen Holst’s home, designed by H.T. Cadbury Brown, in the seaside town of Aldeburgh, Suffolk

Wallpaper

The Guardian view on opera and circus: a populist pairing that scales the heights

Editorial: Featuring awe-inspiring aerial antics, Welsh National Opera’s Death In Venice shows how innovative the art form can still be

The Guardian - UK

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Ben and Imo review – Mark Ravenhill races Benjamin Britten and Imogen Holst towards a coronation deadline

Samuel Barnett and Victoria Yeates as the composer and his ‘assistant’ test the limits of collaboration as they work towards the completion of Britten’s 1953 opera Gloriana

The Guardian - UK

Death in Venice review – Britten’s final opera soars in WNO’s captivating staging

Olivia Fuchs’ new production casts aerialists as the Polish family to stunning effect. Mark Le Brocq is a sympathetic Aschenbach and Leo Hussain conducts with a sure hand

The Guardian - UK

The week in classical: Cavalleria rusticana/Aleko; Bath BachFest review – passion and penitence

Opera North pairs Mascagni’s masterpiece with teenage Rachmaninov in a potent double bill. Plus, well-tuned extremes from Tenebrae and a blizzard of notes with Mahan Esfahani

The Guardian - UK

Albert Herring review – Opera North’s glorious glimpse of village politics

Britten’s comedy about an unworldly young man’s fall from grace is slickly staged and delightfully played, with every singer making their mark

The Guardian - UK

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The week in classical: The Turn of the Screw; Wolf Witch Giant Fairy – review

A formidable cast excels in an ingenious, small-scale production of Britten’s ghostly chamber opera; Red Riding Hood clashes with a warbling witch. Plus, a night in with the other Mendelssohn

The Guardian - UK

The week in classical: Jephtha; 7 Deaths of Maria Callas; Perfection, of a Kind: Britten vs Auden – review

Handel’s majestic final oratorio holds its own in Oliver Mears’s searching new production; Marina Abramović channels Maria Callas; and a well-told tale of when Britten met Auden

The Guardian - UK

A hotbed of English radicalism? Auden, Britten and the unsung glory of the Group Theatre

When they weren’t having screaming rows, the members of this overlooked 1930s collective changed the course of cultural history. Why isn’t it better known?

The Guardian - UK

The week in classical: Picture a day like this; Peter Grimes; Carol Williams: Mad Rush – review

Sparkling musical invention pierces the gloom of George Benjamin’s mysterious new chamber opera; Britten’s masterpiece holds its own at ENO; and one woman, 7,866 pipes and resounding fun

The Guardian - UK

Classical home listening: Shostakovich’s 14th Symphony; Riot Ensemble’s Vestige

The BBC Philharmonic under John Storgårds excels in Shostakovich’s intimate penultimate symphony, while new music champions Riot Ensemble explore memory, healing and desire

The Guardian - UK

“This experience could be life-changing for these young people” - the Manchester International Festival opera that’s making waves

Noah’s Flood at Depot Mayfield stars Lemn Sissay at the voice of God, 180 school children as an army of animals and a world-class musical ensemble

Manchester Evening News

The week in classical: 74th Aldeburgh Festival; Werther – review

From thundering Thorvaldsdóttir to late-night Bach, it’s a standout year for Britten’s music festival, while at the ROH Jonas Kaufmann made a subdued Werther

The Guardian - UK

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Manchester Evening News

Train firm Northern will pipe in CLASSICAL MUSIC on platforms to try and stop anti-social behaviour

“The classical music trials proved very interesting – and the results speak for themselves."

The Guardian - UK

Suffolk in the spring: Aldeburgh’s art, food, beach – and big skies

Now’s the time to enjoy Suffolk’s sandy North Sea coastline – and its new seaside hotels

The Guardian - UK

James Bowman obituary

Countertenor with a clean, focused and lyrical approach to both early and new music, including roles in two Britten operas

The Guardian - UK

Quartet: How Four Women Changed the Musical World by Leah Broad review – off-key hymn to pioneers

This gushing celebration of composers who triumphed against the odds never quite communicates their place in history and leaves a hole at the centre where the music should be

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ABC News

From Tchaikovsky to Pankhurst, the quiet love stories of history's queer musicians

Classical music doesn't have a particularly radical reputation, but that doesn't mean that queer culture hasn't been thriving for centuries within its ranks.

The Guardian - UK

The week in classical: Tosca; Gloriana review – made in Britain

The sensational Freddie De Tommaso soars alongside Natalya Romaniw in a catch-it-while-you-can Tosca

The Guardian - UK

Aurora Orchestra/Collon review – Shostakovich of rage and precision

There was nowhere to hide in this compelling reading of the Russian composer’s 14th symphony, the centrepiece of a programme that also featured Mahler and Britten

The Guardian - UK

The week in classical: The Rape of Lucretia; Solomon’s Knot – review

A shocking update of Britten’s chamber opera feels wearily relevant. And one of the UK’s finest vocal ensembles probes the musical kinship of JS Bach and his uncle

Evening Standard

The Rape of Lucretia at the Royal Opera House’s Linbury Theatre review: a musical triumph

Contemporary resonances abound in this revival of Benjamin Britten’s opera

The Guardian - UK

Classical home listening: Mutter and Ferrández play Brahms; Ruby Hughes sings Huw Watkins

Anne-Sophie Mutter and Pablo Ferrández excel in the Double Concerto while Hughes soars in Watkins’s song cycle Echo

The Guardian - UK

An explosive act of violence: why Britten’s Rape of Lucretia speaks to our brutal times

Britten’s opera is a strange, unsettling and unbearably private piece. Set in ancient Rome and written over 70 years ago, its theme is still all too contemporary, writes the director of a new production

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