Jessica Duchen

Professional musicians face a high risk of irreversible hearing damage, yet many avoid ear protection because of stigma, concerns about sound quality and fear of losing work. Former BBC Symphony Orchestra harpist Sioned Williams describes hearing loss alongside the experiences of violinists, violist Christopher Goldscheider and pianist Steven Osborne, who developed tinnitus. UK noise regulations require orchestras to manage exposure through scheduling, spacing, acoustic screens and protective equipment, but implementation and uptake remain inconsistent. Custom earplugs and hearing aids can help, while support from organisations such as Help Musicians provides assessments and hearing protection, though cost and NHS limitations remain significant barriers.

The Proms’ opening concert is praised as a celebration of music for a broad public, combining Copland, Gershwin, Ravel, a world premiere by Josephine Stephenson, and Gerald Finzi. The review highlights the growing representation of women, noting that nine women conductors and works by at least 27 female composers feature in this year’s programme. Dalia Stasevska, Yunchan Lim and the BBC forces receive particular acclaim, while Finzi’s For St Cecilia is regarded as competently performed but musically forgettable. The concert concludes with an unexpected performance of Oasis’s “Wonderwall,” reinforcing the Proms’ cultural breadth and prompting an appeal for continued BBC support.

Glyndebourne is reshaping its programme and audience strategy in response to the Covid-19 pandemic, a 52 per cent Arts Council England funding cut and changing commercial pressures. Its autumn season has replaced the discontinued touring programme with more affordable, informal performances aimed at making the festival a local international opera house. The summer festival is also embracing popular works such as Tosca, La Traviata and Carmen while continuing to support less familiar repertoire and new opera through autumn and youth initiatives. Artistic director Stephen Langridge says commercial successes will help fund riskier projects, while plans for the 2034 centenary are intended to strengthen Glyndebourne’s pioneering identity.

Benjamin Britten’s 50th death anniversary is prompting widespread celebrations of his enduring importance to British classical music, including performances of Peter Grimes, Billy Budd, War Requiem and other major works. At the same time, the composer’s longstanding relationships with boys who were often around 13 have become increasingly uncomfortable to reassess. Documentary-maker John Bridcut describes the boys’ affection for Britten but also the pain of being replaced as they grew older, while speculating that Britten may have had sexual relationships with at least one of them despite the absence of definitive evidence. The article considers whether Britten’s preoccupation with innocence, youth and abuse influenced his operas, and examines the ethical question of separating an artist’s work from troubling aspects of his life. It concludes that Britten’s possible paedophilic inclinations and the disturbing implications of some of his themes do not erase the artistic significance of works such as Peter Grimes, leaving audiences to determine how they respond.

Superstar soprano Danielle de Niese is making her directing debut with Wild Arts’ small-scale, touring production of Mozart’s The Marriage of Figaro while continuing her singing career. She argues that accessible grassroots and fringe opera are essential gateways for developing artists and reaching audiences beyond major cities. The production reflects Wild Arts’ portable model, using a small orchestra, no chorus and a new English translation. De Niese also criticizes Arts Council England’s cuts to touring companies, warning that the loss of intermediary organizations could remove the developmental path between grassroots opera and major institutions, although she remains confident that opera can adapt and survive.

BBC Radio 3 and Proms controller Sam Jackson defends the 2026 BBC Proms’ extensive focus on American music despite the United States’ political climate and Donald Trump’s lawsuit against the BBC, arguing that geopolitical disputes should not prevent great music from being performed. The season will feature major international orchestras, new commissions, disability-inclusive performances, family programming and non-classical events, while retaining the Proms’ low-cost access and extensive broadcasting. Jackson also discusses protests, declining real-terms funding, the BBC’s uncertain future beyond 2027, job cuts and the need to reach younger audiences through platforms such as TikTok and Instagram.

A review of the Royal Opera House’s new Siegfried argues that Hitler did not create the controversies surrounding Wagner productions. Although Hitler’s association with Bayreuth and the Wagner family gave the composer’s legacy a toxic Nazi-era dimension, the deeper problem is Wagner’s own overwhelming music, antisemitism and political themes. Barrie Kosky’s intelligent staging and Antonio Pappano’s conducting receive strong praise, especially Andreas Schager’s exuberant performance in the title role, though some visual devices are judged overused. The review concludes that Wagner’s music may simply be more powerful than any theatrical attempt to represent it.

Yuja Wang publicly accused writer and broadcaster Norman Lebrecht of misogynistic bullying after he sent a disparaging email when she withdrew from his planned Radio 3 interview. The BBC responded by ending its work with Lebrecht, while Lebrecht called the message overly sharp but denied that it was bullying or misogynistic. The incident is presented as part of a broader sexist culture in classical music, where women are judged on clothing and appearance in ways male musicians generally are not. Wang's major artistic achievements underscore the article's argument that glamour should not eclipse, or be used to undermine, musical talent.

The Philharmonia Orchestra's 80th-anniversary concert in the UK featured Esa-Pekka Salonen, pianist Víkingur Ólafsson and the UK premiere of John Adams's piano concerto After the Fall. The concerto was praised for its magical sonorities, inventive treatment of Bach and balance of virtuosity with openness, although Ravel's Daphnis et Chloé ultimately overshadowed it through Salonen's richly atmospheric interpretation and the orchestra's exceptional woodwind playing. The concert was broadcast on BBC Radio 3 and made available on BBC Sounds.

A recommendation guide to six classical events taking place across the UK in February and March. Highlights include Bryn Terfel in Royal Opera’s Boris Godunov, English National Opera’s playful Così fan tutte, a multi-orchestra takeover at London’s Southbank Centre, the world premiere of Scottish Opera’s Hokusai-inspired The Great Wave, a Birmingham tribute to György Kurtág, and the Barbican’s Iceland-focused Ice and Fire series.

The London Symphony Orchestra, conducted by Simon Rattle, delivered a highly acclaimed concert at the Barbican featuring music by Béla Bartók and Manuel de Falla. Patricia Kopatchinskaja was praised for an electrifying performance of Bartók’s Violin Concerto No. 2, while Rinat Shaham contributed to the Hungarian folk songs and Falla’s The Three-Cornered Hat. Rachel Gough received special recognition for her bassoon solos. The concert was recorded for future broadcast on BBC Radio 3.

A curated guide to 18 upcoming UK culture events across dance, comedy, exhibitions, theatre, popular music and classical music. Highlights include productions by Wayne McGregor and Rambert, comedy tours from Harriet Kemsley, Daniel Sloss and Sindhu Vee, major exhibitions of Tracey Emin, Lucian Freud and Rose Wylie, theatrical productions including Les Liaisons Dangereuses and The Greatest Showman, and concerts and opera featuring Lily Allen, Olivia Dean, David Byrne, Yuja Wang and others. The selections emphasize prestigious venues, acclaimed performers, innovative staging and events likely to sell quickly.

The selection argues that classical music remains creatively vibrant despite financial and institutional pressures. It highlights major British opera and concert achievements, including English National Opera’s Manchester transition, the Royal Opera House premieres of Festen and Die Walküre, acclaimed performances by leading orchestras and soloists, and a New York production of Antony and Cleopatra. Die Walküre ranks first for its ecological and human drama, while other selections include Rodelinda, Salome, Bach’s St John Passion, Beethoven performances, and standout Proms concerts.

Jessica Duchen argues that Christmas concert programming should expand beyond the near-constant dominance of Handel’s Messiah to reflect Britain’s multifaith, multicultural and increasingly secular society. She introduces Aurora: Faith in Harmony, a new oratorio by Roxanna Panufnik with Duchen’s text, inspired by festivals of light across Christian, Muslim, Hindu, Sikh, Jain, Jewish and Tibetan Buddhist traditions, as well as the Aurora Borealis. The work will premiere in Birmingham with the City of Birmingham Symphony Orchestra and 270 singers, alongside other new commissions, offering a contemporary celebration intended to find common ground among different faiths and secular audiences.

Nicola Benedetti discusses her first UK solo tour in a decade, the effects of Brexit and Covid on musicians, and balancing performance, motherhood and arts leadership. Her Violin Café programme combines virtuosic and traditional works in arrangements for violin, guitar, accordion and cello. She argues that music offers resilience during crises, supports diplomacy and cultural exchange, and can transform lives. Benedetti also highlights the Benedetti Foundation’s expanding in-person education work and her aim to make the Edinburgh International Festival both artistically ambitious and more affordable and inclusive.

Classical musicians should not be treated as servants expected to perform without expressing political or moral views. The column highlights Israeli conductor Ilan Volkov’s condemnation of Israel’s actions in Gaza at the Proms and pianist Jayson Gillham’s cancelled Melbourne Symphony Orchestra engagement after performing a work dedicated to journalists killed in the conflict. It argues that attempts to silence musicians usually reflect disagreement with their views and recalls the long history of musicians being treated as subordinate figures. Artists including Daniel Barenboim and his son Michael are presented as examples of musicians using their platforms to promote humanity and bridge-building.

Katie Mitchell’s production of Leoš Janáček’s The Makropoulos Case presents Emilia Marty’s encounters with aggressive men through a feminist lens and is announced as Mitchell’s final opera production because of the genre’s misogynistic environment. The staging features inventive split-screen designs, dark humour and provocative details, though an added murder conflicts with the original libretto and the production is criticized for being overstuffed. Ausrine Stundyte gives a commanding central performance, supported by strong singing from Sean Pannikar and the rest of the cast. Jakub Hruša’s energetic orchestral interpretation is promising but still unsettled on opening night.

Six classical music and opera highlights are recommended for autumn: the community-focused Cumnock Tryst in Ayrshire, the London Piano Festival, a starry Royal Opera House production of Mozart’s The Magic Flute, English National Opera’s touring staging of Britten’s Albert Herring, Jeneba Kanneh-Mason’s Wigmore Hall recital, and the world premiere of Mark-Anthony Turnage’s opera The Railway Children at Glyndebourne. The selections span established works, new opera, piano recitals and inclusive community projects across London, Scotland and southern England.

Jonas Kaufmann discusses the decline of classical song recitals and argues that innovative staging can make Lieder more accessible to new audiences. His DVD Doppelgänger transforms Schubert’s Schwanengesang at New York’s Park Avenue Armory into a theatrical production about a traumatised First World War soldier, combining music, visual spectacle and urban reality. Kaufmann’s career, long collaboration with pianist Helmut Deutsch and commitment to communicating emotion through vocal tone are presented as evidence of his stature. At 56, he continues performing major operatic roles, planning further Wagner roles, song recitals and artistic leadership at the Tyrolean Festival Erl rather than retiring.

The Last Night of the Proms is presented as an inclusive celebration that sharply contrasted with a far-right demonstration in central London. Elim Chan made a strong conducting debut, while Louise Alder and Alison Balsom delivered standout vocal and instrumental performances. New commissions by Rachel Portman, Camille Pépin and Lucy Walker demonstrated the festival’s accessible contemporary programming, and Bill Bailey provided its most entertaining moment. The Queen appearance with Brian May and Roger Taylor generated an enthusiastic response but was considered unnecessary. The wider Proms season is praised for its strong audiences, major international orchestras and outstanding soloists, reinforcing the argument that the festival should be valued rather than taken for granted.

Iván Fischer and the Budapest Festival Orchestra received strong praise for a Proms programme pairing Beethoven’s Seventh Symphony with Bartók’s opera Duke Bluebeard’s Castle. Fischer’s precise, economical conducting brought exhilaration, balance and emotional intensity to Beethoven, while the orchestra created a richly colored and psychologically dark soundscape for Bartók, supported by Dorottya Láng and Krisztián Cser. The contrasting programme was judged an effective journey across the extremes of human emotion.

The opening concert of the 2025 Proms, led by Sakari Oramo and the BBC Symphony Orchestra, featured works by Arthur Bliss, Mendelssohn, Errollyn Wallen, Sibelius and Vaughan Williams. Lisa Batiashvili was praised for her performance of the Sibelius Violin Concerto, while Wallen’s new work, “The Elements,” impressed with its rhythmic and inventive character. Vaughan Williams’s rarely performed “Sancta Civitas” produced moments of thrilling immersion despite its unwieldy scale. The concert’s integrity and high-quality musicianship suggest a strong summer season ahead.

Mariame Clément’s new Glyndebourne production of Mozart’s Le nozze di Figaro is praised for its sumptuous 18th-century design, fresh humour, emotionally powerful characterization and convincing treatment of the Count’s abusive relationship with the Countess. The cast, including Louise Alder, Huw Montague Rendall, Adèle Charvet, Michael Nagl and Johanna Wallroth, receives strong commendation, as does the Orchestra of the Age of Enlightenment overall. The main flaw is Riccardo Minasi’s conducting: extreme mid-number tempo changes are judged distracting, gimmicky and damaging to the musical flow, while the orchestra’s relatively thin string sound is also criticized. The reviewer awards four stars and hopes for a revival under a different conductor.

Lucas Debargue’s Wigmore Hall recital impressed with unconventional but compelling interpretations of Fauré, Beethoven and Chopin. His finely shaded performances of Fauré were especially praised, while unusually slow or freely shaped readings of Beethoven and Chopin nonetheless sustained atmosphere, melody and emotional force. His skills as a composer and improviser strengthened the recital, culminating in Fauré adaptations and an improvised encore, leading to the conclusion that he is a genuinely creative and accomplished musician.

Young classical musicians including Esther Abrami, Anna Lapwood and Alexandra Stréliski are using TikTok, YouTube and Instagram to make classical music more accessible, attract new audiences and sell concert tickets. Their candid, personal content reveals the demanding realities of performance, while also creating pressure to look appealing, follow algorithms and manage abuse or stalking. The artists differ in how much control they want over their online presence, but agree that social media should serve rather than dictate their artistic identities. Abrami’s album Women and Lapwood’s brand collaborations illustrate how online visibility is reshaping careers and the classical music industry.

Damiano Michieletto’s revival of Carmen at the Royal Opera House remains divisive because of its bleak late-20th-century setting, emphasis on social hostility and an especially horrific depiction of Carmen’s murder. Freddie de Tommaso and Aigul Akhmetshina form the production’s outstanding central pairing, with Akhmetshina receiving particularly strong praise for her vocal and dramatic naturalness. Yaritza Véliz also impresses as Micaela, while Lukasz Golinski is less consistent as Escamillo. Sir Mark Elder draws sumptuous playing from the orchestra, although broad tempi weaken some of the Spanish dance rhythms. The exceptional leads ultimately make the production unmissable.

Cellist Anita Lasker survived Auschwitz after being recruited into the camp’s women’s orchestra, where music brought better conditions and helped prisoners focus beyond the daily horrors of incarceration. Anne Sebba’s book reconstructs the lives of the orchestra’s 40 to 50 members, including conductor Alma Rosé, and revisits disputes over earlier portrayals of Rosé. Motivated partly by her father’s role at the liberation of Bergen-Belsen, Sebba emphasizes the women’s solidarity, individuality and survival as forms of resistance, preserving their histories as the last survivors grow older.

Igor Levit delivered a technically demanding and emotionally wide-ranging performance of Prokofiev’s Piano Concerto No. 2 with the Budapest Festival Orchestra under Iván Fischer at London’s Royal Festival Hall. The review praises Levit’s intelligence, control and virtuosity, while noting minor ensemble problems in the opening Overture on Hebrew Themes. Fischer’s selection of music from Cinderella was musically vivid, especially in the clock and waltz scenes, but his spoken narrative interruptions disrupted the ballet’s dramatic flow. Levit’s Schumann encore provided a quiet, poetic conclusion.

A team of i critics selects 53 anticipated cultural highlights for 2025 across theatre, pop, visual art, books, film, comedy, dance and classical music. The recommendations include major London and UK stage productions, exhibitions focused on artists such as Paule Vézelay, Ithell Colquhoun, Edvard Munch and Lee Miller, new books by Chimamanda Ngozi Adichie, Arundhati Roy, Bill Gates and RF Kuang, and films including Nosferatu, The Brutalist, Babygirl, Mission: Impossible 8 and 28 Years Later. Major concerts and tours by Oasis, Billie Eilish, Lady Gaga and Sabrina Carpenter are also highlighted, alongside ambitious opera, ballet and dance programmes.

Despite a difficult year for British classical music, marked by Arts Council England cuts, Brexit-related touring restrictions and threats to English National Opera, critics identify ten outstanding performances. Highlights include Florence Welch’s orchestral rendition of Lungs, Aigul Akhmetshina’s Carmen, Maria Dueñas’s performance of Gabriela Ortiz’s violin concerto, Yuja Wang’s multimedia collaboration with David Hockney, innovative productions of Britten, Mozart and Purcell, and John Wilson’s highly acclaimed performance of John Adams’s Harmonielehre. The selection argues that inventive staging, exceptional performers and cross-genre collaborations continue to give classical music vitality.

Sakari Oramo led the BBC Symphony Orchestra in a deeply moving Barbican performance of Edward Elgar’s The Dream of Gerontius, dedicated to the late Sir Andrew Davis. David Butt Philip replaced the indisposed Nicky Spence as Gerontius and was praised for his powerful, pure and emotionally compelling singing, while Sarah Connolly, Roderick Williams and the chorus also received strong acclaim. The performance captured the work’s spiritual sincerity and universal themes of death, judgement and transcendence, making the concert a memorable tribute and an exceptional rendering of Elgar’s masterpiece.

Rock Choir, founded by Caroline Redman Lusher in 2005, has grown from a local singing project into a UK-wide organization with about 400 groups and 30,000 participants. Its no-audition, pop-focused approach is presented as a source of improved mood, confidence, social connection and possibly physical health, particularly for people facing loneliness, illness or major life changes. The choir has secured recordings, major performances and charity fundraising while continuing to struggle to attract more men. A classical music critic joins a rehearsal and leaves feeling energized, prompting her to consider joining a local group.