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The Latest Breaking News from Roderick Williams

An English Song Winterreise review – Roderick Williams masterfully mirrors Schubert’s iconic song cycle

The baritone has refined his playlist to include Vaughan Williams, Ina Boyle and Gerald Finzi, lending this enthralling cycle deeper melancholy than the original

The Guardian - UK

MacMillan’s Christmas Oratorio review – a magical choral performance

Roderick Williams and Rhian Lois were the perfectly matched vocal soloists as James MacMillan conducted the BBC Symphony Orchestra and Chorus in a ferociously committed performance of his own Christmas story

The Guardian - UK

RPO/Petrenko review – a blistering, multi-hued Shostakovich

Conductor Vasily Petrenko didn’t put a foot wrong in this Multitudes festival performance of the Leningrad Symphony, the drama enhanced by evocative video imagery by Kirill Serebrennikov and Ilya Shagalov

The Guardian - UK

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Dunedin Consort/Butt review – A bog, but not standard as Fennessy’s new cantata premieres

Inspired by the ancient Faddan More Psalter unearthed after 1,000 years, the Dunedin Consort’s commission was direct and timeless in an utterly convincing way

The Guardian - UK

The week in classical: Aida; Chineke!; Paddington Trio – review

The Royal Opera Chorus steals the show in a revival of Robert Carsen’s solemn take on Verdi; Chineke! celebrate 10 years of change-making. Plus, a great young string trio who live every note

The Guardian - UK

Chineke! Orchestra at Queen Elizabeth Hall review: full of easy-going charm

4/5 This 10-year anniversary concert of the orchestra’s founding shows there’s plenty to look forward to in the next decade

Evening Standard

‘Take anything, but please not my voice!’: the Royal Opera’s Sound Voice Project

In a space that usually rings with opera, a poignant and moving video installation examines the intimate connection between our voices and our selves

The Guardian - UK

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Williams/Burch; Booth/Waley-Cohen review – persuasive Schubert and superb Kurtág

Roderick Williams was vivid and compelling in Schubert’s Schwanengesang, while Claire Booth rose to the challenges of Kafka Fragments

The Guardian - UK

Baritone Roderick Williams: ‘I once heard a singer at a party say: “No peanuts. I’m singing in three days!”’

The baritone on how he looks after his voice, why he likes to talk to his audience, and playlists for the dying

The Guardian - UK

Nardus Williams/Elizabeth Kenny review – compelling and crystalline duo open Spitalfields festival

Premiering Roderick Williams’ song cycle about Black Tudors alongside songs from the period itself, the rising-star soprano was elegant, while the uber-lutenist poured her solos like liquid

The Guardian - UK

‘I’ve always been a glass half full person’: Aldeburgh festival’s outgoing CEO Roger Wright

After 10 years at the helm of Britten Pears Arts, Wright is stepping down. He looks back at his festival highlights, and forwards to classical music’s increasingly uncertain future.

The Guardian - UK

Remarkable talent invited for Newcastle Music Festival

10 days in August featuring local, national and international artists.

Newcastle Herald

Leeds Lieder festival Opening Gala review – a good old-fashioned Schubertiade

The song festival – with Arts Council funding reinstated – opened with a meaty all-Schubert programme full of delights and camaraderie

The Guardian - UK

Death in Venice review – Britten’s final opera soars in WNO’s captivating staging

Olivia Fuchs’ new production casts aerialists as the Polish family to stunning effect. Mark Le Brocq is a sympathetic Aschenbach and Leo Hussain conducts with a sure hand

The Guardian - UK

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The Guardian - UK

Classical home listening: Bernard Herrmann meets Emily Brontë; Keith Jarrett plays CPE Bach

A Wuthering Heights opera by the man who scored Psycho and The Birds is well worth a listen, while the American piano great makes CPE his own

The Guardian - UK

The week in classical: Prom 19: SCO/ Emelyanychev; Prom 22: BBC NOW/ Bancroft; Prom 24: BSO/ Karabits – review

A Victorian warhorse springs into life under the baton of Maxim Emelyanychev; Isata Kanneh-Mason makes fiendish Prokofiev look easy; and German horn virtuoso Felix Klieser sets an example to all

The Guardian - UK

‘A problematic past’: How my new piece commemorates Amazing Grace

John Newton’s famous words are inextricably fused with one of the world’s most iconic tunes. How do you celebrate Amazing Grace with a new composition? And, should we be celebrating it at all? Composer Roderick Williams on how he wrote Forever?

The Guardian - UK

The week in classical: 74th Aldeburgh Festival; Werther – review

From thundering Thorvaldsdóttir to late-night Bach, it’s a standout year for Britten’s music festival, while at the ROH Jonas Kaufmann made a subdued Werther

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The Guardian - UK

Juliet Fraser/Knussen Chamber Orchestra review – new works showcase soprano’s extraordinary repertoire

New music by Cassandra Miller, Newton Armstrong, Rebecca Saunders and Ryan Wigglesworth was brilliantly brought to life by Fraser and Roderick Williams

The Guardian - UK

Horns, jigs and hosannas: your guide to Charles’s coronation composers

From the woman who soundtracked Lesbian Vampire Killers to the creator of musical cryptograms, the king has chosen an eclectic bunch. So what are we likely to hear?

Wales Online

Part of King Charles' coronation will be sung in Welsh

Welsh composer Paul Mealor has also been commissioned to write a new song for the event

Manchester Evening News

Anthem by Andrew Lloyd Webber one of 12 new pieces of music for coronation

The coronation is set to take place on May 6

The Guardian - UK

For the record

Chineke! Orchestra | Roderick Williams

The Guardian - UK

How sweet the sound: new orchestral piece to celebrate 250 years of Amazing Grace

Majority-black orchestra celebrates song first heard on New Year’s Day 1773 when repentant former slave trader declaimed verses in church

The Guardian - UK

The week in classical: It’s a Wonderful Life; A Child of Our Time; IMS Prussia Cove – review

ENO’s warm-hearted production of Jake Heggie’s operatic take on the classic Frank Capra film is full of poignant ironies

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