Commentating on Music

• Friday, May 4, 2018

Years ago I thought the idea of verbal commentary on a performance made for a funny joke. Now, I see its huge potential

Video of the day: insights into The Royal Opera's Lessons in Love and Violence

• Friday, May 4, 2018

George Benjamin and Martin Crimp reveal their much-anticipated new opera

Classical music is for absolutely everyone

• Thursday, May 3, 2018

Video premiere: Ray Chen whips up a storm for his Decca debut

• Friday, April 27, 2018

The violinist brings both quiet introspection and high energy to Waltzing Matilda

Malko is reminding us what conductors do

• Thursday, April 26, 2018

What connects Birgit Nilsson, Roderick Williams and St John's Choir?

• Tuesday, April 24, 2018

Time to bring Borgstöm's Violin Concerto in from the cold

• Friday, April 20, 2018

The best new classical albums: May 2018

• Friday, April 20, 2018

Martin Cullingford’s pick of the finest recordings from this month’s reviews

Watch the 2018 Malko Competition livestream

• Friday, April 20, 2018

Immerse yourself in the 'World Cup for conductors' live from Sunday morning (April 22, 10:25 CET), and all this week

Introducing Gramophone's May 2018 issue

• Friday, April 20, 2018

The Music of Terezín

• Thursday, April 19, 2018

Interview: Andris Nelsons on Bruckner and Shostakovich

• Monday, April 16, 2018

James Jolly talks to the newly appointed Leipzig Gewandhausorchester Kapellmeister and the Music Director of the Boston Symphony

Video of the day: discover the life and music of Dame Ethel Smyth

• Monday, April 16, 2018

The Cecilia Chorus of New York have produced an interesting insight into an unfairly neglected composer

Special report: how music is transforming the lives of children in Uganda

• Wednesday, April 11, 2018

Isha Ranchod talks to Alison Balsom about how Brass for Africa is giving Ugandan children the opportunity to play music together

The Debussy legacy

• Tuesday, April 10, 2018

His use of colour influenced composers from Stravinsky to Boulez, but to call him an Impressionist misses the point finds Mark Pullinger, as he talks to musicians a century after the composer’s death