Adam Sweeting
Bio
Former features editor of Melody Maker, Adam has written on rock, classical music and television for the Guardian, Daily Telegraph and Sunday Telegraph, Independent on Sunday, Uncut, Classic FM and Gramophone, and on motor-racing for Motorsport. He co-founded The Virtual Television Company, which made Mr Rock'n'Roll (Channel 4), Pavarotti: The Last Tenor (BBC2 Arena) and Imagine - Nigel Kennedy (BBC One)
Articles By Adam Sweeting
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It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.
It followed some...
Yoshitomo Nara, Hayward Gallery review - sickeningly cute ki...
It’s been a long time since an exhibition made me feel physically sick. The Hayward Gallery is currently hosting a retrospective of the...
Hespèrion XXI, Savall, QEH review - an evening filled with l...
For the first encore of the evening, it was not just the audience but the whole ensemble of Hespèrion XXI that was mesmerised as its leader,...
Album: Neil Young & the Chrome Hearts - Talkin' to...
When Neil Young releases a new album, you can be reasonably sure that you’ll get either a disc of melancholy singer-songwriter fare or a set of...
Samuel Arbesman: The Magic of Code review - the spark ages
The slightly overwrought subtitle, "How Digital Language Created and Connects Our World and Shapes Our Future", gives a...
Album: Mary Halvorson - About Ghosts
Although Mary Halvorson leads the sextet Amaryllis on About Ghosts, instrumentally, she does not place her guitar to the fore. The first...
A Midsummer Night's Dream, Bridge Theatre review - Nick...
It’s a sign of the inroads that the term “immersive” has made in theatreland that it now gets jokily namedropped at the...
Saul, Glyndebourne review - playful, visually ravishing desc...
This thrilling production of Saul takes Handel’s dramatisation of the Bible’s first Book of Samuel and paints it in...
theartsdesk at the Dublin International Chamber Music Festiv...
If, like me, chamber music isn’t your most frequent home, there are bound to be revelations of what for many are known masterpieces. Mine in...
