Wil Coleman is an Australian actor, currently working on projects in the UK. He has recently starred in a production of Twelfth Night at the newly opened Rose Theatre. Performance Reviewed catches up with him to find out more about his experiences.
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A fraction of our encounters, no matter major or how scarce, has to and must belong to the utmost casual and it is through a mere social media’s ad, yes, and one broadcast from Classic FM that I’ve heard about Ji’s golden hands and velvet notes – subsequently deciding to attend his performance in Barbican on Valentine’s day.
Continue reading “A Chinese pianist in London : Ji Liu and his first album on Classic FM”
What a pity would it be to enjoy and review a concert and miss interviewing its conductor. That, thankfully, isn’t the case as maestro Henty took up the time to agreeably revisit his Valentine performance at Barbican. I grabbed the occasion to ask Timothy a few personal and reflective questions, thinking them a perfect insight for former and future audiences into the architectecture of their musical bliss.
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Maestro Ashot Tigranyan is the founder, director and soloist of CCCO, the Classical Concert Chamber Orchestra. The sky was bright, the sun rose high for a winter day, yet a nose biting cold made me glad to find refuge under the warm arcades of Saint John’s Smith Square, whom a German pilot decided it’d become a concert hall and not a church a few decades ago.
Continue reading “Ashot Tigranyan, the violin, his orchestra: a matter of love, beauty, and dedication.”
Bel-Ami is Alex’s modern re-telling of this classic story, showing at Charing Cross Theatre from 20th February. A fresh take on the classic Guy de Maupassant novel by award-winning composer Alex Loveless, we ask him several questions on the forthcoming performance.
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Your repertoire and recordings have consisted of mainly classical pieces. Have you ever considered delving into another genre?
RC : In fact, among the 1000 titles which I have recorded in the past 35 years, there are less than 10% of classical titles. In fact although I have studied in a Conservatory the classical piano, I do not consider myself a classical pianist. I am rather what we usually call a Pop pianist with my own romantic style.
Continue reading “An interview with Richard Clayderman”