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Tim Ashley

Tim Ashley is a Guardian classical and opera critic, though he's also keen on literature and philosophy so you might sometimes find him cross-referencing all three. His work has also appeared in Literary Review and Opera magazine and he is author of a biography of Richard Strauss

January 2024

  • Admirably unsentimental: Stefan Pop as Rodolfo with Angela Gheorghiu (Mimì) in La boheme at the Royal Opera House, January 2024.

    La Bohème review – Angela Gheorghiu reprises a legendary Mimì

    This revival of Richard Jones’s 2017 staging sees the diva return to the stage and the role that made her name, and if Gheorghiu doesn’t quite sparkle as she did 30 years ago, there is superb support from her fellow bohemians
  • Anna Prohaska sings with the viol consort Phantasm at the Wigmore Hall.

    Anna Prohaska/Phantasm review – her tone is a mixture of silk and silver

    Music by William Byrd and his Renaissance contemporaries was exquisitely performed by the viol group, with the versatile and sensitive soprano matching their quiet intensity
  • Dani Howard – Ascent Bedřich Smetana Vltava (The Moldau) from Má vlast Richard Strauss – Eine Alpensinfonie, Op. 64 (Alpine Symphony) The National Youth Orchestra Sir Mark Elder

    National Youth Orchestra/Elder review – monumental Strauss sees young musicians scale the heights

    Dani Howard’s Ascent put the NYO brass front and centre, while, under conductor Mark Elder, Smetana’s Má Vlast and the Alpine Symphony were both full of grandeur and intricate detail

December 2023

  • Impeccable singing … Voces8.

    Voces8 review – classy Christmas concert moves from the sacred to Santa

  • The London Symphony Orchestra conducted by Gianandrea Noseda perform Ludwig van Beethoven Piano Concerto No 5 (Simon Trpceski: piano) and Dmitri Shostakovich Symphony No 13 (Vitalij Kowaljow: bass) in the Barbican Hall on Sunday 2 April 2023 Photo by Mark Allan

    LSO/Noseda review – Prokofiev’s curious Fourth alongside very fine Brahms

  • Masaaki Suzuki conducts the Orchestra and Choir of the Age of Enlightenment in Bach’s Christmas Oratorio.

    OAE/Suzuki review – Bach’s Christmas Oratorio breathtakingly performed with tangible elation

  • Roberto Alagna (Turiddu), centre, in Cavalleria Rusticana by Pietro Mascagni from Cavalleria Rusticana and Pagliacci @ Royal Opera House. Directed by Damiano Michieletto. Conducted by Daniel Oren (Opening 30-11-2023) ©Tristram Kenton 11-23 (3 Raveley Street, LONDON NW5 2HX TEL 0207 267 5550 Mob 07973 617 355)email: tristram@tristramkenton.com

    Cavalleria Rusticana/Pagliacci review – compelling and compassionate theatre

November 2023

  • Great fervour … tenor Amitai Pati, with the Insula Orchestra and Accentus chorus, conducted by Laurence Equilbey, with Mat Collishaw’s projections in the background.

    Insula Orch/Accentus/Equilbey review – Sky Burial’s reflections on life and death are beautiful and moving

    This striking collaboration between French conductor Laurence Equilbey and British artist Mat Collishaw contemplated mortality with the music of Faure and Gounod, exquisite and austerely performed
  • L'Elisir d’Amore at Glyndebourne.

    L’Elisir d’Amore review – Glyndebourne takes Donizetti into the 1950s with wit and charm

    A strong cast and gleeful chorus enliven this revival of Annabel Arden’s insightful production, which plays up the opera’s irony
  • Yearning for love … Iolanta.

    Nutcracker/Iolanta review – Tchaikovsky double bill is what he would have wanted

    A semi-staging of the composer’s final opera paired with the second act of his famous ballet reunited the two works that were written as a double bill. Vassily Petrenko shaped the music with refinement and Maria Motolygina was a deeply touching Iolanta

October 2023

  • Nicole Chevalier as Violetta in English National Opera’s La Traviata.

    La Traviata review – radical revival powered by outstanding performers

    Painstakingly restored by Ruth Knight for ENO, Peter Konwitschny’s production pares the Verdi opera down to its absolute essence
  • The English Concert performs Handel's "`Clori, Tirsi e Fileno", conducted by Harry Bicket from the harpsichord with sopranos Joélle Harvey (as Tirsi) and Ailish Tynan (as Corsi), and countertenor Iestyn Davies (as Fileno). © The Wigmore Hall Trust

    Clori, Tirsi e Fileno review – Handel’s beauties and subtleties to the fore in a lovely performance

    Harry Bicket and the English Concert with soloists Ailish Tynan, Joélle Harvey and Iestyn Davies brought Handel’s pastoral cantata to glorious life
    • Ligeti 100 review – a day of riches, subtle restraint and a rogue metronome

    • LSO/Pappano review – Kopatchinskaja dazzles and ravishes in Say’s Violin Concerto

    • The Coronation of Poppea review – ETO’s gender-fluid staging has fizz but also flaws

September 2023

  • A priest declaims in front of a scrappy mob

    La Forza del Destino review – superb voices and slick dance routines for Loy’s reimagined Verdi

  • Pierre-Laurent Aimard at the piano with Concerto Budapest at Cadogan Hall in London, september 2023

    Concerto Budapest SO review – András Keller conducts with a chamber musician’s instinct for detail

  • A moving experience … Raphaël Pichon conducts period instrument ensemble Pygmalion.

    Prom 69: Pygmalion/Pichon review – fascinating and moving take on Mozart’s Requiem

  • Prom 64: Berlioz’s The Trojans, Berlioz The Trojans 235’ (concert performance; sung in French with English surtitles) Alice Coote Cassandra Michael Spyres Aeneas Paula Murrihy Dido Lionel Lhote Coroebus Adèle Charvet Ascanius Alex Rosen Narbal Ashley Riches Panthus Beth Taylor Anna Monteverdi Choir Orchestre Révolutionnaire et Romantique Dinis Sousa conductor

    Prom 64: Les Troyens review – trouble-hit concert-staging rises to the occasion magnificently

August 2023

  • Andris Nelsons conducts the Boston Symphony Orchestra at Royal Albert Hall.

    Prom 52: Boston SO/ Nelsons review – weighty lyricism and ravishing reflection

    The Boston Symphony showed signature depth in a grand Prokofiev Fifth, and splendidly contrasting textures in both Strauss and an emotionally driven premiere from US composer Julia Adolphe
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