fri 21/02/2025

stephen walsh

Bio
Stephen is a former Observer music critic and a regular contributor to The Times, Daily Telegraph, Financial Times, Independent and the BBC. He is the author of a major biography of Stravinsky and other books on Stravinsky, Bartók and Schumann. He holds a chair in music at Cardiff University.

Articles By Stephen Walsh

The Marriage of Figaro, Welsh National Opera review - no concessions and no holds barred

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Il trittico, Welsh National Opera review - welcome back (but not a good sign)

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Rigoletto, Welsh National Opera review - back to what they do best

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Il Trittico, Welsh National Opera review - another triumph for a hard-pressed company

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The Merry Widow, Glyndebourne review - fun and frolics in the Embassy

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Così fan tutte, Welsh National Opera review - relevance reduced to irrelevance

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Uproar, Rafferty, Royal Welsh College, Cardiff review - a rare spring in the new music step

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BBC National Orchestra of Wales, Martin, Hoddinott Hall, Cardiff review - a host of horns in the wild woods

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La Traviata, Welsh National Opera review - memorable revival, unforgettable lead

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Ainadamar, Welsh National Opera review - hits hard without breaking ground

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The Pilgrim's Progress, Three Choirs Festival review - revelatory performance by young musicians

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theartsdesk at The Three Choirs Festival - Elgar, Vaughan Williams and Hammond

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The Bartered Bride, Garsington Opera review - brilliant revival of a comedy of cruelty

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Candide, Welsh National Opera review - vaut le voyage, just for the visual side

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L'elisir d'amore, Longborough Festival review - agreeable nonsense in a semi-modern English village

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Götterdämmerung, Longborough Festival review - from the hieratic to the mundane and back

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If not quite his last will and testament, the work now known as Bach’s Mass in B Minor represents a definitive show-reel or sample-book...

Light of Passage, Royal Ballet review - Crystal Pite’s cosmi...

“Cry sorrow, sorrow, but let the good prevail”. The refrain of Aeschylus’s chorus near the start of the Oresteia is alive and honoured in...

Otherland, Almeida Theatre review - a vivid, beautifully wri...

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I'm Still Here review - powerful tale of repression and...

Just like Britain’s ‘stiff upper lip’, that indominable spirit in the face of adversity,...

Album: Panda Bear - Sinister Grift

Sinister Grift is Panda Bear’s first album since his 2022 Reset collaboration with Spacemen 3’s Sonic Boom. Anyone anticipating...

Zero Day, Netflix review - can ex-President Robert De Niro s...

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Much Ado About Nothing, Theatre Royal Drury Lane review - th...

Over the last few months, celebrity-driven West End productions have suffered some inglorious crashes. So there was a certain degree of...

Noah Davis, Barbican review - the ordinary made strangely co...

In 2013 the American artist, Noah Davis used a legacy left him by his father to create a museum of contemporary art in Arlington Heights, an area...

Hamlet, Royal Shakespeare Theatre - Luke Thallon triumphs as...

The date, projected behind the stage before a word is spoken, is a clue - 14th April 1912. “Why so specific?” was my first thought...