theartsdesk
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Traces, Alibi review - pedigree cast battles implausible plo...
Alibi is usually your one-stop shop for re-runs of Father Brown or Death in Paradise, so well done them for commissioning this...
Charpentier Christmas settings, Solomon's Knot, St John...
There is no mention of Marc-Antoine Charpentier in David Cairns's comprehensive Berlioz biography. It seems extraordinary that the master of the...
Dido, Maida Vale Studios review - old hits bring unresolved...
She’s back. Dido stopped touring in 2004 and stayed away from it for 15 years. But since starting again in March of this year, she has gone at it...
Radio & Juliet/Faun/McGregor + Mugler, London Coliseum r...
A pas de deux is normally an opportunity for two dancers to express the pinnacle of their skill and...
Les Arts Florissants, Christie, Agnew, Barbican review – spl...
“How many times have you heard the conductor sing?”...
Dinosaur Pile-Up, O2 Institute, Birmingham review - grungy p...
Dinosaur Pile-Up may have been around for more than a decade, but it would be fair to say that their career has been something of a slow burn....
Requiem for Hieronymus Bosch, BBCSO, Bychkov, Barbican revie...
“Hieronymus!” bellowed David Wilson Johnson from the Barbican...
Cyrano de Bergerac, Playhouse Theatre review - James McAvoy...
Actor James McAvoy is much in demand: in the BBC's His Dark Materials he is busy saving a parallel world, while in the poetic universe of...
theartsdesk Q&A: Conductor Semyon Bychkov in Prague
It's a very big deal for musical Prague: Czechia's symphonic...