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Defying pigeonholes: Gerald Finley on Britten, Lieder and a palette of operatic roles

Gerald Finley and Mark Padmore in rehearsals for Death in Venice
© ROH | Gavin Smart
Gerald Finley and Mark Padmore in rehearsals for Death in Venice
© ROH | Gavin Smart
Gerald Finley in rehearsals for Death in Venice
© ROH | Gavin Smart
By Mark Pullinger, 21 November 2019
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“The clever thing about Britten is that he had a natural dramatic instinct”
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Mark Pullinger
Mark Pullinger
Mark has been a Bachtrack editor since 2014. He is also an experienced critic, writing hundreds of reviews for the site, as well as a freelancer writing for other magazines and newspapers. He also writes programme notes and blogs on Substack. Mark has a particular passion for the operas of Verdi as well as Russian and French repertoire. Outside the concert hall and opera house, Mark enjoys cooking and travel and is probably at his happiest let loose in a French patisserie or a Viennese coffee house.