The aims of the Music Section of the Critics’ Circle are: a) to promote the art of criticism and to uphold its integrity in practice; b) to foster and safeguard the professional interests of its members and to provide opportunities for social intercourse among them; and c) to support the advancement of the arts. Though the Circle is decidedly not a trade union, it tries to encourage best practice.
We meet to discuss and decide bread and butter matters twice a year. Occasionally we host meetings with a leading figure from the music world. We also hold luncheons or dinners to celebrate the lifetime achievement of some very special artist, writer, composer or instrumentalist. The music section has about 80 members. At present, it consists overwhelmingly of classical music and opera critics, though we welcome critics of other kinds of music (jazz, pop, and world music).
News & Reviews
Brexcalibur by Robert Thicknesse Who will write the King Arthur for another fractured age? Purcell’s sweet pageant is unlikely to serve as a rallying point, I fear. But that’s surely what it was in 1691, as England and Britain began a long climb out of a half-century...read more
Growing pains by Robert Thicknesse I confess I wasn’t expecting huge things from Ian Page and Classical Opera’s Così. Nice cast, for sure, but Page isn’t (despite his unswerving devotion to the composer) the greatest Mozart conductor, and his orchestra is only a bit...read more
Potent potion Pleasing crowds since 2007, Annabel Arden’s sunny production of Donizetti’s perfect sentimental comedy runs around the country on tour before returning to the main festival again next year. I guess it will run for ever, and why not? – really it’s an...read more
On the pull We are not meant to sympathise with Don Pasquale, the elderly rich gent who is the central character of Donizetti’s perfectly moulded comedy premiered in Paris in 1843 and an instant hit. In the Royal Opera rep it has now arrived very well cast (and staged...read more