fri 29/03/2024

David Nice

David Nice's picture
Bio
The classical music and opera editor of theartsdesk, David writes, lectures and broadcasts on music. A former music critic for The Guardian and The Sunday Correspondent, he has made regular appearances on BBC Radio 3, not least in the long-running series Building a Library. He has written short studies on Elgar, Richard Strauss, Stravinsky, Tchaikovsky and the history of opera, and is currently working on the second volume of his Prokofiev biography for Yale University Press. He runs two Zoom lecture series, Opera in Depth on Mondays and a symphonies course on Thursdays.

Articles By David Nice

Beethoven Cello Sonatas 1, Elschenbroich, Grynyuk, Fidelio Café review - towards epic song

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Six Brandenburgs: Six Commissions, Chamber Domaine, Malling Abbey review - metaphysical brilliance

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Kang, National Symphony Orchestra, Bihlmaier, National Concert Hall, Dublin review - hats off, another top conductor

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Oberto, Chelsea Opera Group, Cadogan Hall review - Verdi’s first opera bounces into life

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The Gondoliers, Scottish Opera, Hackney Empire review - G&S con amore

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Jerusalem Quartet, Wigmore Hall review - shock and sophistication in ideally-proportioned Beethoven

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Hodges, LPO, Gardner, RFH review - four UK premieres, from random to abundant

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Rigoletto, Opera North review - Covid shocks, debut pleasures

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Kolesnikov, Tsoy, LSO St Luke’s review - light, air and adventure from two pianos

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Peter Grimes, Royal Opera review - impressive, not quite devastating

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CBSO Chorus, Czech Philharmonic, Bychkov, Barbican review - a mass of life

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Russians and friends play on for Ukraine

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The Telephone / Miss Fortune, Guildhall School review - brilliantly-executed double bill

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The Golden Cockerel, English Touring Opera review - no crowing over this henhouse

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Henry V, Donmar Warehouse review - playing at war

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‘Slava Ukraini!’: Russian musicians worldwide show solidarity

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Like all great literature, Fyodor Dostoevsky’s final, eccentric, playfully wondrous short story seems to have been written just for us – across...

Bach's Easter Oratorio, OAE, Whelan, QEH review - the j...

Waiting, and hoping, may prove just as intense an experience as the fulfilment of a wish – or of a fear. Bach knew that, and infused his Easter...

Album: Jane Weaver - Love In Constant Spectacle

“Motif,” Love In Constant Spectacle’s fourth track, is the closest Jane Weaver has come in over a decade to the folk influences embraced...

First Person: author-turned-actor Lydia Higman on a play tha...

I first read Anne Gunter’s story about five years ago, when I was in my first year of university at Oxford, little knowing it would over time lead...

The Origin of Evil review - Laure Calamy stars in gripping F...

A young woman (Laure Calamy; Call my Agent!; Full Time; Her Way) is trying to pluck up the courage to call her...

Foam, Finborough Theatre review - fascism and f*cking in a G...

In a too brightly tiled Gentlemen’s public convenience (Nitin Parmar’s beautifully realised set is as much a character as any of the men we meet...

Album: Ride - Interplay

What a time to be alive it is for fans of late Eighties, early Nineties ...