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Michael White

March 14, 2023
Michael White on a clandestine retelling of William Byrd’s 16th-century Mass settings and a Buddhist interpretation of Bach’s Passions. We had reached the Agnus Dei when there was a pounding on the door. With frantic speed the candles were extinguished, we were told to crouch down, and we waited – holding our collective breath in
March 01, 2023
Michael White takes in the Rijksmuseum’s show on the life, work and faith of Johannes Vermeer. Within the world’s great art collections, Titians, Rembrandts and Picassos come as standard. But to have just one Vermeer gracing your walls is something else: a prize beyond compare. Perhaps the most exclusive and elusive painter of the first
February 02, 2023
Michael White salutes the restless genius of Sir Stephen Hough as the composer takes centre stage at Wigmore Hall
January 03, 2023
Michael White on ENO’s questionable festive offering, the best and worst of Snape Maltings’ Britten Weekend, and a tribute to Peter Tranchell
December 02, 2022
Michael White enoys a unique musical experience and reflects on the very different pressures musicians and choristers faced hundreds of years ago
October 10, 2022
Michael White is enchanted by a vibrant double-bill of absurdist opera at Glyndebourne and welcomes Mark Adamo’s Little Women to London
October 01, 2022
Michael White is enchanted by a vibrant double-bill of absurdist opera at Glyndebourne and welcomes Mark Adamo’s Little Women to London
August 12, 2022
Violet grasps a core truth about opera: that good narratives don’t tell you everything but leave space for the music to fill in, working a magic of its own.
June 25, 2022
The most curious thing about Dame Ethel Smyth’s The Wreckers – a “neglected” opera, rescued from the shadows for this summer’s Glyndebourne festival – is its morality. Which is distinctly skewed. The curtain rises on an isolated coastal community who, led by their local pastor, seem to be devout. The opening chorus is a testament
June 06, 2022
Margaret Attwood’s scary story of existence under a pernicious Christian fundamentalist regime, The Handmaid’s Tale, made grim reading as a novel, was unbearable to watch as a TV series, and wins few converts to theocracy in the operatic adaptation by Danish composer Poul Ruders which has just had a new staging at English National Opera.  Nearly three
May 27, 2022
In Oberammergau, the other week, an entire Bavarian village geared up for the opening of this year’s Passion Play.
May 02, 2022
Covent Garden’s powerful production of “Peter Grimes” pulls no punches, writes Michael White The seaside town of Aldeburgh, in Suffolk, has a little Catholic church with a delightful garden that gets overlooked by visitors. Though many of them come as pilgrims, they are not there for religion. Aldeburgh’s pilgrims come in search of the composer
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