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Composer: Dean, Brett (b. 1961)

Fact file
Year of birth1961
NationalityAustralia
PeriodContemporary
April 2019
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Evening performance
Matinee performance
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New York CityBritten and Elgar

Britten, Dean, Elgar
New York Philharmonic Orchestra; Simone Young; Alban Gerhardt

New York CityThree Centuries

Beethoven, Debussy, Dean, Brahms
Wu Qian; Arnaud Sussmann; Yura Lee; Nicholas Canellakis

LondonChamber Music Society of Lincoln Center

Beethoven, Debussy, Dean, Brahms
The Chamber Music Society of Lincoln Center; Tommaso Lonquich; Arnaud Sussmann; Yura Lee

ParisQuatuor à la hongroise – Musiciens de la Chamber Music Society du Lincoln Center

Dean, Brahms
Wu Qian; Tommaso Lonquich; Arnaud Sussmann; Yura Lee

SydneyIntimate Bach

Bach, Kurtág, Marais, Dean
Australian Chamber Orchestra; Richard Tognetti; Brett Dean; Erin Helyard; Timo-Veikko Valve
Latest reviewsSee more...

Fantastic variations: Brett Dean's new Cello Concerto

Alban Gerhardt © Kaupo Kikkas
Sakari Oramo conducts the European première of a fine new work alongside familiar Grieg and Sibelius.
****1
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To sing or not to sing: Hamlet in Adelaide

Kim Begley (Polonius) and Allan Clayton (Hamlet) © Tony Lewis
Brett Dean's Hamlet is an extremely powerful theatrical experience, excelling in all aspects of production, singing and musical values, but is it an opera?
****1
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“Or not to be”: Hamlet revived for Glyndebourne’s tour

David Butt Philip (Hamlet) © Richard Hubert Smith
A restless score, a stylish modern setting and gripping central performances from David Butt Philip (trading Laertes at the festival for the title role here) and Jennifer France (Ophelia) do much to commend this new work
***11
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Brett Dean meets Beethoven: The new Tonhalle Maag’s first concert this season

Brett Dean © Pawel Kopczynski
This wasn’t just any concert. The Zurich Tonhalle’s new season was opening in a brand new hall in the trendy Züri-West quarter of the city.
****1
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Hamlet boldly adapted by Brett Dean

John Tomlinson (Ghost), Allan Clayton (Hamlet) © Richard Hubert Smith
Brett Dean treats Shakespeare's behemoth as a timeless story told in language that has become timeless; no effort is spared in elucidating and amplifying that story.
****1
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