Robert Gainer has completed a BA in European Studies at the University of Warwick and an MSc in Criminology at the University of Leicester. He is currently completing further study in English and Cultural Studies, again at Warwick. He plays trumpet, cornet and flugelhorn and his musical background is in brass band and orchestra. In his spare time he enjoys writing fiction and poetry.
With the help of soprano Fatma Said and a compelling programme, the incoming City of Birmingham Symphony Orchestra chief conductor made good on his promise and past performances.
Every July, Buxton’s charming opera house hosts an international festival of opera, literature and the arts. This year the festival opened with a strong familiar favourite, Tchaikovsky’s Eugene Onegin.
Conductor Alpesh Chauhan and pianist Pavel Kolesnikov returned to Birmingham with an Italian themed programme. Could they build on the success of their previous performances with the CBSO?
A triumphant night for the CBSO, Harish Shankar and Boris Giltburg, with the mighty Saint-Saëns’ “Organ Symphony” and an inspired performance of Prokofiev’s Piano Concerto no. 3.
After star pianist Gabriela Montero unfortunately withdrew due to injury, the young Russian Pavel Kolesnikov stepped forward with inspired conductor Joana Wallmitz to save the day.
With a Francophile programme of Berlioz, Chopin and Franck, conductor Fabien Gabel had the constant challenge of exploring the orchestra for fresh insights into each of these Romantic works.
Mendelsohn's Italian Symphony is a perenial and popular favourite, but perhaps one with which we are over-familiar. Could young Alpesh Chauhan do something fresh with it?
Sandwiched between Debussy’s charming Children’s Corner and Mahler’s invitation to heaven, Abrahamsen unveiled his piano concerto for left hand. It was certainly a night for stark contrasts in tone and theme.
This 19th century romantic programme promised much, with familiar and rare works by Beethoven, Brahms, Dvořák and Schumann. Could the great orchestra and soloists meet our high expectations?
Introducing a relatively unknown young pianist to Birmingham Symphony Hall and performing an old standard of the symphonic repertoire, could Vladimir Ashkenazy and the Philharmonia Orchestra produce any surprises?
Somewhere in the region of 180 singers and instrumentalists faced Andrew Manze as he took the podium at Birmingham’s Symphony Hall. Could he handle them? There was never any doubt.
Cristian Măcelaru brought his pedigree as a conductor to the CBSO with Sibelius, Rachmaninov and Nielsen. How would he fare in Birmingham with such a varied programme?
