thu 19/06/2025

David Nice

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Bio
The classical music and opera editor of theartsdesk, David writes, lectures and broadcasts on music. A former music critic for The Guardian and The Sunday Correspondent, he has made regular appearances on BBC Radio 3, not least in the long-running series Building a Library. He has written short studies on Elgar, Richard Strauss, Stravinsky, Tchaikovsky and the history of opera, and is currently working on the second volume of his Prokofiev biography for Yale University Press. He runs two Zoom lecture series, Opera in Depth on Mondays and a symphonies course on Thursdays.

Articles By David Nice

Williams, Dunedin Consort, Truscott, Wigmore Hall review - star soprano, total teamwork

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The Dead City, English National Opera review - strong dream world, weak love story

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Fröst, Philharmonia, Lazarova, Kuusisto, Southbank Centre review - congenial new works complemented by live-wire classics

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Turandot, Royal Opera review - spectacle and sound wow in this significant revival

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Dance of Death, National Theatre of Norway, Coronet Theatre review - straight for the jugular

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Mahler’s Third Symphony, Philharmonia, Paavo Järvi, RFH review - phosphorescent glow, depths only glimpsed

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The New Electric Ballroom, Gate Theatre, Dublin review - fantasy and memory hauntingly interwoven

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Der Rosenkavalier, Irish National Opera review - world-class delight

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The Walworth Farce, Southwark Playhouse Elephant review - dysfunctional Irish myth-making

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Rusalka, Royal Opera review - ravishing sounds, torpid staging

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The Rhinegold, English National Opera review - tacky, edgy, brilliant

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Jerusalem Quartet, Leonskaja, Wigmore Hall review - freedom and rigour in perfect balance

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Boris Giltburg, Wigmore Hall review - tonal beauty trumps subjective romantics

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LSO, Pappano, Barbican review - exhilarating, hilarious mock-heroics

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Dmitri Alexeev, Leighton House review - shadows and light from a master pianist

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DVD: Babylon Berlin, Season Four

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'We are bowled over!' Thank you for your messages... ...
The Midnight Bell, Sadler's Wells review - A first repr...

Rarely has a revival given a firmer thumbs-up for the future of dance-theatre. Yet Matthew Bourne’s latest show, first aired at the tail-end of...

Album: HAIM - I Quit

Haim’s profile just grows and grows. Since their last album, youngest sibling Alana’s starring role in Paul Thomas Anderson’s whimsical Seventies...

Aldeburgh Festival, Weekend 1 review - dance to the music of...

This year’s Aldeburgh Festival – the 76th – takes as its motto a line from Shelley‘s Prometheus Unbound. The poet speaks of despair “...

Bonnie Raitt, Brighton Dome review - a top night with a char...

If you walked into a bar in the US, say in one of the southern states, and Bonnie Raitt and her band were playing, you’d have the best night of...

Hidden Door Festival 2025 review - the transformative Edinbu...

"When I was your age, I worked in a corrugated cardboard factory!" is a phrase my father was fond of telling me as a teenager, presumably in an...

Edward Burra, Tate Britain review - watercolour made mainstr...

It’s unusual to leave an exhibition liking an artist’s work less than when you went in, but...

Joyceana around Bloomsday, Dublin review - flawless adaptati...

It amuses me that Dubliners dress up in Edwardian finery on 16 June. After all, this was the date in 1904 when James Joyce first walked out with...

Stereophonic, Duke of York's Theatre review - rich slic...

The tag “the most Tony-nominated play of all time” may mean less to London theatregoers than it does to New Yorkers, but Stereophonic,...