Chair: Robert Thicknesse
Hon Secretary: Guy Rickards email@example.com
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. We make prestigious yearly awards to up and coming musicians in a variety of categories. 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 91 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
ENO no-no It is easy to see why Verdi was attracted to Schiller’s tragedy about the class system, Kabale und Liebe. A genius from the lower orders, Verdi believed in freedom and was classless. English-speaking critics patronise the Schiller play because of the poison...read more
Welsh National Opera’s new (to the UK – it first saw the light of day last spring in Bonn) show is a visual triumph. The costumes (Marie-Jeanne Lecca) and set (Raimund Bauer) are arresting. The latter is a series of frames, so the characters seem to be stepping in and...read more
Gerald Barry’s Alice opera is less an adaptation than an invasion. The Irish composer takes Lewis Carroll’s Alice’s Adventures in Wonderland and its sequel Alice Through the Looking Glass and unleashes the full force of his madcap, surrealist imagination at them....read more
Love thy neighbour Kurt Weill’s 1947 “Broadway opera” contains much fine writing, musically and dramatically. It is not shaped like a verismo opera: its excellent songs do not play the same intently focused role as in Puccini. Yet it shows off Weill’s huge theatrical...read more