Serena Malfi: “I was scared I would never sing again”

By Stephen Pritchard, 21 February 2019

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“Nothing can stop me now... After that experience, anything is easier”

Jessica Duchen, 7th January

The Irish soprano talks about singing Mozart’s Così fan tutte with English National Opera, in London and Manchester – and how the wily Despina is the perfectly subversive character for her.

Cultural activism: Leticia Moreno in Singapore

Frank Kuznik, 14th April

The Spanish violinist makes her Sinagpore debut in May performing Szymanowski. She talks about taking repertoire to new places, and being an advocate for unusual Spanish music.

From Salzburg, with love: Hans Graf bids farewell to Singapore

Peter Quantrill, 7th April

The Austrian conductor reflects on his seven year tenure with the Singapore Symphony Orchestra, work and life, returning to old scores, and why a musical ensemble is like a giant human body.

Elim Chan: from Sorcerer’s Apprentice to Proms Queen

Mark Pullinger, 7th April

The Hong Kong-born conductor talks about her entry into music, her love of big Russian repertoire, her “Cinderella moment” winning the Donatella Flick Conducting Competition and her ambition to “go against the grind”.

Training opera’s next generation at the RCM

Jessica Duchen, 6th April

The Royal College of Music offers an enviable nurturing ground for the next generation of operatic talent. Audrey Hyland, head of the Vocal and Opera faculty, talks about what makes the department special.

Once upon a time in Tarragona: Tomàs Grau on making an orchestra

Elena Luporini, 2nd April

As the Franz Schubert Filharmonia celebrates its 20th anniversary, conductor Tomàs Grau tells the story of the ensemble, reflects on the importance of local music institutions, and gives a glimpse of the road ahead.

Stephen Pritchard

Stephen Pritchard began singing as a treble at the age of eight and progressed to become a tenor in Portsmouth Cathedral Choir, the Gibbons Consort and now the English Chamber Choir. Writing about music has been at the core of his 40-year career in journalism, chiefly at the Observer. He has been known to play a pretty mean jazz double bass.