sun 29/05/2022

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 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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Lohengrin, Royal Opera review - a timely return to warzone Brabant

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Rangwanasha, OAE, Fischer, RFH review - Mahler reimagined

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Nabucco, Royal Opera review - high passion but low drama

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Macbeth, Royal Opera review - bloody, bold, and resolute

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Takács Quartet, Wigmore Hall review - intimate letters and holy songs

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Gerhaher, Faust, Wigmore Hall review - husky shadings and dark hues

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LSO, Rattle, Barbican review - a glimpse into Bruckner’s workshop

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Aimard, Mahler Chamber Orchestra, Benjamin, BBC Proms review - a revealing composer portrait

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LSO, Rattle, BBC Proms review - dazzling Stravinsky showcase

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Carducci Quartet, Wigmore Hall review - complexity and depth

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Dunedin Consort, Butt, Wigmore Hall review – bijou Bach

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Tenebrae, Short, Wigmore Hall online review - reflections for Holy Week

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Der Freischütz, Bavarian State Opera online review – marksmen as marketeers

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latest in today

Music Reissues Weekly: John Barry - The More Things Change

By 1970, John Barry had composed music for Born Free, The Lion in Winter, Midnight Cowboy, You Only Live Twice...

Elizabeth: A Portrait in Parts review - she is a human being

Roger Michell’s films described a range of Englishness, from Notting Hill’s foppish comedy to acerbically humane Hanif Kureishi scripts...

Girl on an Altar, Kiln Theatre review - machismo, murder and...

Playwrights return to classical myths for two main reasons – to shine a light on how we live today and because they're bloody good yarns.

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First Person: Christina McMaster - seeking musical cures for...

In 2020, during a gentle easing of lockdown restrictions, I was asked to play for the Culture Clinic sessions at Kings Place, a creative...

Album: Yama Warashi - Crispy Moon

Crispy Moon is a musical kaleidoscope encompassing free-jazz skronk,...

Between Two Worlds review - Juliette Binoche, maid in Franc...

For die-hard Juliette Binoche fans – don’t cross us, we get angry – Between Two Worlds is heaven. The...

Samson et Dalila, Royal Opera review - from austerity to exc...

Words and situations are one-dimensional, but the music is chameleonic, if not profound, and crafted with a master’s hand. What to do about ...

Henry VIII, Shakespeare's Globe review - unashamedly vu...

Boris Johnson was of course not the first British leader to engineer a split with Europe for...

Luzzu review - a Maltese fisherman struggles with modernity

In Maltese-American Alex Camilleri’s debut feature, it’s a case of follow the swordfish. This terrifically atmospheric, almost documentary-like...