Violet Gordon-Woodhouse changed how listeners approached and appreciated Baroque music. She helped spur the revival of the harpsichord and Baroque Era composers, making a big contribution to the beginnings of the historical performance practice movement, which is still going strong

Swiss flautist Emmanuel Pahud has been hailed as the finest flautist of his generation, “admired for the purity and subtlety of his tonal colours, his imaginative phrasing and his command of a broad range of styles.” Pahud auditioned for principal

Cellist Jacqueline du Pré only began to perform publicly at the age of sixteen, “yet her musical genius was evident at a very early age and its special nature was defined by her rich emotional inner world, rather than her

In the caricatures of James Gillray (1756–1815) in the early years of the 19th century, the soprano Mrs. Billington figures large. James Gillray started working as an apprentice to a lettering engraver and in 1778, was admitted to the Royal

In 1899, Erik Satie (1866–1925) wrote a little pantomime ballet for piano entitled Jack in the Box to a scenario by the illustrator Jules Depaquit, an artist who was his very good friend and known for his love of hoaxes.

It’s well known and acknowledged that the core audience for classical music is in the age range from c55 to 80+. These are the people with the money and, more importantly, the time to engage with classical music. Fretting about

The “Théâtre Italien” in Paris premiered Vincenzo Bellini’s final opera I Puritani (The Puritans) on 24 January 1835. Presented just months before Bellini’s untimely death at the age of 33, the opera presents a love story set during the violent

Classical music is often thought of as stuffy, insufferable, and boring. But is it? We’d argue that it’s not. The stereotypes fail to recognize the depth, beauty, and transportive power of classical music. We’re ready to debunk the myth that