The 2010 Edinburgh International Festival Fireworks Concert will this year celebrate "Music from the Movies", it was announced by Festival Director Jonathan Mills this morning at the launch of the programme for the EIF, taking place in August and early September.
Live Music in Edinburgh
There’s always that fear when there’s only one piece on the programme, and so no interval, that you are in for a long slog. But far from it with Stéphane Denève’s interpretation of Mahler’s full and complex 6th Symphony.
Northern Ballet Theatre's reputation has grown immeasurably since David Nixon took over as Artistic Director in 2001. Since then he has created and choreographed nine full-length ballets for the company and in December last year won an OBE for services to dance.
Dear God, I hate myself. So wails Jamie Stewart as he stands wracked, seemingly almost in pain, at the microphone. His eyes are permanently screwed shut as he wrestles with technology to expose whatever demons lie rank within him.
Richard Egarr, Music Director of the Academy of Ancient Music, was the guest conductor of this performance of Mozart, Haydn and Beethoven compositions played by the Scottish Chamber Orchestra.
Songs For An Airless Room styles itself as somewhere between theatre and a piece of music to be performed. If this is fairly grandiose and self-regarding it nevertheless is an ambitious collaboration between live musical performance and screened film.
Po Na Nas last week gathered a few known names on the Edinburgh music scene for a Battle of the Bands, where the winner of the event will play at a new Indie night, ‘Edit’, when it moves to the Liquid Room on Sundays.
As a child I don’t suppose I was alone in pondering heaven and hell and wondering how it was decided which I should end up in at my death. John Henry Newman’s long poem, The Dream of Gerontius, is a dream just about that.
Someone once described the corridors as almost domestic in size.
Anthony Goldstone and Caroline Clemmow brought warmth, enthusiasm and clarity to a recital designed to give further recognition of the work of Hans Gál. Turnabout they introduced each piece with fascinating details that even the specialist audience may not have known. Nor, but not quite turnabout, were they working the same end of the Yamaha’s keyboard for each piece.