Artículos de Mark Pullinger

After decades as a period instrument revolutionary, the 87-year old conductor bows out with “Dr Haydn's London Academy”, an entertaining recreation of concert-going in the 1790s.

Santtu-Mathias Rouvali steers the Philharmonia through Lorin Maazel's 70-minute version of Wagner's tetralogy, while Miah Persson is golden-toned in late Strauss. 

De niño prodigio a ser considerado como un conservador adusto, Camille Saint-Saëns vivió más de ocho décadas. Disfruta nuestra selección musical de sus mejores obras… y algunas sorpresas.

Francesca Hayward is a captivating Juliet as Sir Kenneth MacMillan's hardy perennial is back for another long run at the Royal Opera House. 

With nearly 50 hours of streaming covering the preliminary stages and the finals, the Stanisław Moniuszko International Competition provided a pretty intense deep dive into Polish music!

New seasons are starting and classical music venues are throwing their doors open to the public. But are they also throwing caution to the wind?

The tale of Francesca and Paolo in Dante’s Inferno has inspired as many musical settings as paintings. Here, Mark Pullinger explores Rachmaninov’s neglected opera, Francesca da Rimini.

Oliver Mears’ first production since becoming Director of Opera also heralds the start of a new Royal Opera season, with a full house finally returning after the long Covid hiatus.

Wagnerites can get their fix in London this week, where Die Walküre opens the Grimeborn Festival in Julia Burbach's new production of the adaptation by Graham Vick and Jonathan Dove. 

Christof Loy would seem to be the perfect director for Covid-era opera, his stripped back production of Verdi's rare middle period opera directed remotely from Austria.

The Estonian Festival Orchestra reunites under its founder at the eleventh edition of the Pärnu Music Festival. 

Jennifer France stars in Stephen Barlow's staging of The Cunning Little Vixen, set in the perfect surroundings of Holland Park. 

Martha Argerich gives a rare solo performance in the final programme of her festival, performing movements from Tchaikovsky's The Seasons for the very first time. 

As part of 'London Unwrapped', countertenor Iestyn Davies presented vocal portraits of the altos – male and female – for whom Handel composed in the capital. 

First marketed as Ivan the Terrible by Serge Diaghilev, Rimsky-Korsakov's first opera The Maid of Pskov makes a rare appearance outside of Russia, in leafy Surrey. 

To mark the 50th anniversary of Stravinsky's death on 6th April 1971, here is a playlist featuring his best scores.

Salvatore Viganò's choreography for Beethoven's 1801 ballet Prometheus has not survived, but a trio of creators put their own stamp on the score in Amsterdam.

An evening of George Balanchine and Jerome Robbins at Covent Garden, topped by a beautifully poignant rendering of Dances at a Gathering.

The LPO's Principal Conductor takes his Royal Festival Hall bow after 14 seasons with a complete rendition of Tchaikovsky's first full length ballet.

Tamás Juronics choreographs the Concerto for Orchestra as a biographical ballet depicting a fragile Béla Bartók rising from his hospital bed.