From the magazine

Poulenc’s Stabat Mater – sacred, fervent and always on the verge of breaking into giggles

Plus: why I was wrong about the Royal Opera's Carmen

Richard Bratby
Aigul Akhmetshina as Carmen and Yuriy Yurchuk as Escamillo in Royal Opera’s Carmen  ©2025 MARC BRENNER
EXPLORE THE ISSUE 26 April 2025
issue 26 April 2025

It’s funny what you see at orchestral concerts. See, that is, not just hear. If you weren’t in the hall during Poulenc’s Stabat Mater would you even realise that the tuba uses a mute in the final chord? Visually, it’s hard to miss – the thing’s huge, whether standing on the floor or being heaved into the instrument’s bell.

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