thu 16/01/2025

Gavin Dixon

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Bio
Gavin Dixon is a writer, journalist and editor based in Hertfordshire, UK. He has a PhD on the symphonies of Alfred Schnittke and is a member of the editorial team for the Alfred Schnittke Collected Works Edition, currently being published in St Petersburg. Gavin is also a Curator of Musical Instruments at the Horniman Museum in London and Music Editor of Fanfare Magazine.

Articles By Gavin Dixon

theartsdesk in Switzerland: Lucerne and Gstaad offer curious audiences fresh perspectives on much-loved works

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Prom 6: Hough, BBC Philharmonic, Mark Wigglesworth review - poetry and power

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Paul Lewis, Wigmore Hall review - superlative Schubert

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Giulio Cesare, English Touring Opera review - a return visit to Handel's Egypt

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Ólafsson, LPO, Gardner, RFH review - spirit of delight

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Watts, BBCSO, Wigglesworth, Barbican review - clarity, control and focus

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Christian Gerhaher, Gerold Huber, Wigmore Hall review - muted regret and distant longing

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Leif Ove Andsnes, Wigmore Hall review - brooding richness and fiery fervour

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Kavakos, Royal Concertgebouw Orchestra, Harding, Barbican review - elegance without poise

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theartsdesk at the Bayreuth Festival Ring 2022 - a jumbled mess of ideas, some of them compelling

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Prom 5, Power, BBC Philharmonic, Mena review - detail and breadth

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Isabelle Faust, Alexander Melnikov, Wigmore Hall review - surprise and spontaneity

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Eugene Onegin, Opera Holland Park Young Artists review - intimacy and reflection

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theartsdesk at the Dresden Music Festival - orchestral abundance in a spectacular setting

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Vondráček, LSO, Tilson Thomas, Barbican review - mixed messages

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Moore, LSO, Zhang, Barbican review – virtuosity worn lightly

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latest in today

Help to give theartsdesk a future!

It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.

It followed some...

Chris McCausland, Winchester Theatre Royal review - Strictly...

By all accounts Chris McCausland had to be persuaded to take part in the most recent series of Strictly Come Dancing, which he won with...

Album: The Weather Station - Humanhood

Four of Humanhood’s 13 tracks are short, impressionistic mood pieces. Between 48 seconds and just-over a minute-and-a-half long, they...

Oliver!, Gielgud Theatre review - Lionel Bart's 1960 ma...

Into a world of grooming gangs, human trafficking and senior prelates resigning over child abuse cases comes Oliver!, Lionel...

What's the Matter with Tony Slattery?, BBC Two review -...

In the late Eighties and Nineties, Tony Slattery became one of the most ubiquitous faces on television, appearing regularly on Whose Line Is...

Album: Ethel Cain - Perverts

Ethel Cain’s Perverts is a dark and experimental follow-up to her debut album, Preacher’s Daughter. It takes listeners on a...

Leif Ove Andsnes, Wigmore Hall review - colour and courage,...

Forthright and upright, powerful and lucid, the frank and bold pianism of Leif Ove Andsnes took his Wigmore Hall audience from Norway to Poland (...

American Primeval, Netflix review - nightmare on the Wild Fr...

It seems The Osmonds may not have been the worst outrage perpetrated on an unsuspecting public by the Mormons. American Primeval is set...

Chamayou, BBC Philharmonic, Wigglesworth, Bridgewater Hall,...

Top Brownie points for the BBC Philharmonic for being one of the first (maybe the first?) to celebrate the birth centenary of Pierre Boulez this...

The Maids, Jermyn Street Theatre review - new broom sweeps c...

There are two main reasons to revive classics. The first is that they are really good; the second is that they have something to...