thu 19/06/2025

David Nice

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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

Shadows, Coronet Theatre review - talking heads in the void

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His Dark Materials, BBC One review - generic TV fantasy with ready-made twists

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A Prayer for Wings, King's Head Theatre review - claustrophobic mother-daughter drama soars

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Daniil Trifonov, RFH review - devil in the works

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The Apostles, LPO, Brabbins, RFH review - Elgar's melancholy New Testament snapshots

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Imogen Cooper 70th Birthday Concert, Wigmore Hall review - outwardly austere, lit from within

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London Symphony Orchestra and Chorus, Ono, Barbican review - feet on the ground, eyes to the skies

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The Mask of Orpheus, English National Opera review - amorphous excess

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theartsdesk Q&A: Gianandrea Noseda on conducting Mahler and the Pan-Caucasian Youth Orchestra

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Bevan, The Sixteen, Genesis Sixteen, Christophers, Barbican review - MacMillan transcends again

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theartsdesk at the Tsinandali Festival: young Caucasians join hands and instruments

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Leonskaja, Ferschtman, Várdai, Wigmore Hall review - direct line to Schubert's genius

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Jessye Norman, 1945-2019

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Tetzlaff, Nelsen, Philharmonia, Salonen, RFH review - spider's webs and silk sheets

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Fischer, LPO, Jurowski, RFH review - total focus in shattering threnodies

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The Intelligence Park, Linbury Theatre review - baroque to the point of obscurity

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latest in today

'We are bowled over!' Thank you for your messages... ...
The Midnight Bell, Sadler's Wells review - A first repr...

Rarely has a revival given a firmer thumbs-up for the future of dance-theatre. Yet Matthew Bourne’s latest show, first aired at the tail-end of...

Album: HAIM - I Quit

Haim’s profile just grows and grows. Since their last album, youngest sibling Alana’s starring role in Paul Thomas Anderson’s whimsical Seventies...

Aldeburgh Festival, Weekend 1 review - dance to the music of...

This year’s Aldeburgh Festival – the 76th – takes as its motto a line from Shelley‘s Prometheus Unbound. The poet speaks of despair “...

Bonnie Raitt, Brighton Dome review - a top night with a char...

If you walked into a bar in the US, say in one of the southern states, and Bonnie Raitt and her band were playing, you’d have the best night of...

Hidden Door Festival 2025 review - the transformative Edinbu...

"When I was your age, I worked in a corrugated cardboard factory!" is a phrase my father was fond of telling me as a teenager, presumably in an...

Edward Burra, Tate Britain review - watercolour made mainstr...

It’s unusual to leave an exhibition liking an artist’s work less than when you went in, but...

Joyceana around Bloomsday, Dublin review - flawless adaptati...

It amuses me that Dubliners dress up in Edwardian finery on 16 June. After all, this was the date in 1904 when James Joyce first walked out with...

Stereophonic, Duke of York's Theatre review - rich slic...

The tag “the most Tony-nominated play of all time” may mean less to London theatregoers than it does to New Yorkers, but Stereophonic,...