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Peter Quantrill

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Bio
Peter has written about music ever since completing his studies in the Classics. He contributes regularly to Gramophone, the Catholic Herald and The Strad, as well as writing for the Salzburg Festival, Warner Classics, Opera and Pianist magazines, among others. He also made significant contributions to Help your Kids with Music (Dorling Kindersley, 2015) and 1001 Classical Recordings (Cassell, rev 2016).

Articles By Peter Quantrill

Così fan tutte, Garsington Opera review - gambling with the highest stakes

Friday, 03 June 2022 Read more...

Siegfried, RINGafa, St Mary’s Putney review - heroes everywhere

Tuesday, 16 November 2021 Read more...

Bluebeard’s Castle 2: Komlósi, Relyea, LPO, Gardner, RFH review - consolations of solitude

Monday, 08 November 2021 Read more...

Crowe, BBCSSO, Volkov, BBC Proms review - shining light on history and heritage

Friday, 27 August 2021 Read more...

Brauss, BBC Philharmonic, Gernon, BBC Proms review - surprises and miracles in store

Wednesday, 04 August 2021 Read more...

King Lear, The Grange Festival review - friendship in adversity

Friday, 16 July 2021 Read more...

Das Lied von der Erde, Kožená, Staples, LSO, Rattle, Barbican online review - more joy than sorrow

Tuesday, 11 May 2021 Read more...

Siegfried, Göteborg Opera online review - a hero for our times

Monday, 29 March 2021 Read more...

Myaskovsky Dialogues, Yekaterinburg online review - revival and revelation

Wednesday, 10 March 2021 Read more...

Pavel Kolesnikov, Wigmore Hall online review - the joyful wisdom of the Goldbergs

Wednesday, 17 February 2021 Read more...

Paul Lewis, Wigmore Hall review – Classical consolations

Thursday, 10 December 2020 Read more...

BSO, Karabits, The Lighthouse, Poole online review – stealing fire from the gods

Thursday, 12 November 2020 Read more...

Istanbul International Music Festival online review – East-West flair and finesse

Saturday, 03 October 2020 Read more...

Bernard Haitink: The Enigmatic Maestro, BBC Two review - saying goodbye with Bruckner

Sunday, 27 September 2020 Read more...

Being Beethoven, BBC Four review – from grubby kid to grumpy genius

Tuesday, 07 July 2020 Read more...

Missa solemnis, BBCSO, Runnicles, Barbican review - affirmation in the face of adversity

Thursday, 05 March 2020 Read more...

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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,...

Ithell Colquhoun, Tate Britain review - revelations of a wei...

Tate Britain is currently offering two exhibitions...