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Last modified on Wed 16 Dec 2020 06.14 EST
When I left the Queen Elizabeth Hall in London after Pierre-Laurent Aimard’s recital on 10 March, I little imagined that it would be the last “normal” concert I would attend this year. It was already clear by then that Covid was likely to bring at least a temporary halt to British musical life, but few would have imagined concert halls and opera houses would remain empty for much of the year.
There would be no more public concerts in the UK until August. One by one, all the summer festivals were cancelled, and music-making went entirely online. Singers and instrumentalists gave impromptu recitals from their homes; opera houses and orchestras across Europe made their video archives available. But new work did still go on: Opera Harmony brought together over 100 opera-makers – composers, librettists, directors, performers – to create a collection of short digital pieces of varying quality; later in the autumn, Vopera’s a ....

United Kingdom , City Of , Pierre Laurent Aimard , Ravel Lenfant , Queen Elizabeth Hall , Opera Harmony , Rachael Hewer , ஒன்றுபட்டது கிஂக்டம் , நகரம் ஆஃப் , ர்யாவெல் லெந்பண்த , ராணி எலிசபெத் மண்டபம் , ஓபரா நல்லிணக்கம் ,