Bonnie Langford, leading lady of musical theatre, shares her love and admiration for those who have literally led the way. Those ladies who have blazed a trail through musical theatre and more. A magical evening celebrating stars…
The concept behind Mathieu Herzog’s Appassionato would seem to me to be one of chamber music (and the mindset implicit in that) transcending the number of players involved – a free and flexible approach with infinite possibilities.…
For this Musicals Magazine Podcast, Edward Seckerson meets Samantha Barks, who has travelled far since she and Rachel Tucker went head-to-head in a bid to win the role of Nancy in the reality TV show I’d Do Anything. Unforgettably,…
In 1993 I wrote this piece on BARBRA STREISAND to launch a series called Vocal Heroes in THE INDEPENDENT newspaper. ‘I want it technical as hell and a good read’ said the then Arts Editor. Imagine that…
The Eighth is often the Mahler symphony that seems to inspire conductors who fall short in the others. That’s a sweeping generalisation, of course, but look no further than a conductor like Solti whose Mahler always struck…
For this Musicals Magazine Podcast, Edward Seckerson meets Zachary James, who’s currently hotting up the Underworld on the other side of that wall in Hadestown. James, who originated the role of Lurch in the Andrew Lippa musicalisation of The…
Dame Patricia Routledge trained not only as an actress but also as a singer and had considerable experience and success in musical theatre, both in this country and in the United States of America. Her many awards…
The dedication on this album reads ‘In Memoriam Lars Vogt’ – and that gives it a special resonance. Christian Tetzslaff and his sister Tanja Tetzslaff made music with him together and independently on many occasions and in…
Respighi’s obsession with the ‘Eternal City’ is writ spectacularly large in his three symphonic evocations and maybe in some subliminal way an Italian orchestra like this one can identify better than most with the mythic elements, pictorial…
Like so much of what I’ve heard of Santtu’s work of late this Mahler 2 is decidedly hit and miss – with the emphasis, I regret to say, very much on the latter. It’s strange how the…
