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The Proms 2021: your complete guide to what to book

BBC Proms to welcome back audiences - and Rule, Britannia!

Metropolitan Opera: Tristan und Isolde

Published May 14, 2021 at 2:25 PM EDT KEN HOWARD/photo©2016 Ken Howard / The 2020-21 Metropolitan Opera Radio Broadcast season continues with Wagner’s monumental Tristan und Isolde , conducted by Simon Rattle in a performance from 2016. It starred Swedish soprano Nina Stemme and Australian tenor Stuart Skelton, both acclaimed for their performances in the towering title roles, as the couple consumed by an illicit and overpowering love. Bass René Pape sang the betrayed King Marke, mezzo-soprano Ekaterina Gubanova was Brangäne, who delivers the potion that seals the lovers’ fate, and bass-baritone Evgeny Nikitin was Tristan’s friend and protector, Kurwenal. Maestro Rattle conducted the Met Orchestra in Wagner’s groundbreaking and epically romantic score.

Albums of the week: J T , Greenfields, Verklärte Nacht

On a farewell album to his beloved son, Steve Earle reprises ten of J.T.’s songs. Barry Gibb and a host of Nashville stars offer “beautiful” country takes on the Bee Gees’s greatest tracks. And Schoenberg’s 1 J.T.  Justin Townes (“J.T.”) Earle, who died of an overdose in August aged 38, was a talented singer-songwriter cut from “the same mould” as his more famous father, Steve Earle, said Neil Spencer in The Observer. J.T. had the “same mix of Americana influences, the same wearied twang to his vocals, the same inspired way with a lyric” – and, alas, the same personal demons. On this farewell album to his beloved son, Steve Earle reprises ten of J.T.’s songs, and the results are made all the more moving by the fact that he “delivers the songs straight, only occasionally letting a sense of loss intrude”.

Verklärte Nacht review – poetic journeys between dark and light

Last modified on Fri 8 Jan 2021 03.18 EST More than one piece of headily romantic music was inspired by Richard Dehmel’s 1896 poem Verklärte Nacht, or Transfigured Night. The most familiar remains Schoenberg’s string masterpiece, first conceived as a sextet in 1899, reworked for string orchestra nearly two decades later and rarely very far from its composer’s mind for the rest of his life. This, in its orchestral version, is the pivotal piece on this recording, and it finds Edward Gardner drawing playing of sumptuous intensity but also ravishing delicacy from the strings of the BBC Symphony Orchestra, recorded in the studio days before the first lockdown.

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