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Performer: James Way

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LondonAfterlife: Visions of the Beyond

BBC Proms
Boulanger, Szymanowski, Messiaen, Strauss R.
BBC National Orchestra of Wales; Ryan Bancroft; Mari Eriksmoen; Paula Murrihy; James Way; Szymon Mechliński

LondonLessons in Love and ViolenceSemi-staged performance

© Jason Bell
Benjamin: Lessons in Love and Violence
Edward Gardner; Dan Ayling; London Philharmonic Orchestra; Nathaniel Sullivan; Georgia Jarman; Gyula Orendt

AmsterdamDer Messias [Christmas concert]

© Simon van Boxtel
Mozart: Arrangement of Handel's Messiah, K572
Orchestra of the Eighteenth Century; Klaas Stok; NDR Vokalensemble; Robin Johannsen; Esther Kuiper; James Way
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Glyndebourne’s iconic Dream approaches its century

Nils Wanderer (Oberon) and Jennifer France (Tytania) © Glyndebourne Productions Ltd | Tristram Kenton
Sir Peter Hall's classic staging of Britten's Shakespearean comedy nears a landmark moment in Glyndebourne’s autumn season. 
****1
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Handel’s Solomon at the Elbphilharmonie

Lena Sutor-Wernich © Alciro Theodoro Da Silva
In Hamburg, George Petrou’s Göttingen presentation of Solomon weaves regal authority and tender humanity into a vivid exploration of justice’s timeless complexity. 
****1
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From chaos to joy: Haydn’s The Creation in Birmingham

Kazuki Yamada conducts the City of Birmingham Symphony Orchestra © Jonathan Ferro
Kazuki Yamada and the CBSO and Chorus weave Baroque and Romantic allusions into Haydn’s Classical masterpiece, in a superb, at times operatic, performance at Symphony Hall.
*****
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Gerhard Markson delivers a moving account of Stanford's Requiem

Máire Flavin, Gerhard Markson and the National Symphony Orchestra © Caoimhe O'Carroll
Combining operatic grandeur with intimate grief, Markson, soloists, the NSO and NSC deliver a masterful performance of Charles Villiers Stanford's Requiem. 
****1
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Garsington Opera's new A Midsummer Night's Dream

Iestyn Davies (Oberon) and Lucy Crowe (Tytania) © Craig Fuller
In the first and last acts, ladies entered with a train still attached to a bolt of cloth, which was then cut to length by an attendant. Was this production brought to the stage in a great hurry, allowing no time for costume fittings? 
***11
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Fairy style for the Fairest Isle: King Arthur at Temple Church

Henry Purcell © Public domain
A concert performance of a Purcell semi-opera can never fully succeed, but compromise is worth it, if it enables us to hear a significant part of a major composer's output.
****1
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