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Mark Padmore is without doubt one of the finest tenors on the international concert platform. There is little questioning his musical skill or the quality of his voice. But in this performance his true strength was clear to hear, and that is his skill as an interpreter of lieder. Padmore is a musical storyteller, his performance is intensely passionate but at the same time he gives the impression of it being utterly effortless. Never appearing to strain as a musician leaves him free to imbue each song with a sense of drama. In the case of Dichterliebe, this is of course almost constant despair as the victim of unrequited love. One cannot help feeling that someone should have told the poet Heinrich Heine to pull himself together. Then again, had that happened we may have been denied the beauty of some of Schumann’s greatest work. Padmore also introduced us to five songs by Lachner, a group of works worthy of far higher recognition. Simon Lepper at the piano was a substitute for the advertised accompanist but a finer one would be hard to imagine. His playing was as intuitive as Padmore’s singing and they made a fine team, an essential factor, playing not merely for Padmore but with him.
Corn Exchange, Brighton Dome, 17 May
5/5
Andrew Kay

In the impressive surroundings and acoustic of St Bartholomew’s Church, The Brighton Festival Chorus were well placed to show off their undoubted talents. And for the most part they did, with resounding power from the basses and tenors and precision from the sopranos, too. At times there was perhaps a little hesitance, especially in the quieter moments, leading to a lack of precision. But on the whole this was a fine performance that once again goes to prove that The Festival Chorus is one of the jewels in the city’s crown. Soloists Juliette Pochin, Mezzo Soprano, and Christopher Lemmings, tenor, were both exceptional, crystal clear and soared above the massive might of such a large choir with perfect ease when required. The striking contrast of the red brick and opulent baroque decorations of St Bart’s made a fine backdrop for the work, and the agonising seating would keep anyone on their toes.
St Bartholomew’s Church, 14 May
4/5
Andrew Kay

Antonia Fraser spoke movingly and eloquently to a packed venue about Pinter the man and the playwright, and their long and loving 30-year relationship, drawing on her recently published memoir, ‘Must You Go?’. Lucasta Miller’s role as conversational foil should have been much sharper. Ms Miller frequently seemed under-prepared – as though she had bumped into Antonia Fraser for the first time just seconds before both women walked on stage. Antonia Fraser sailed serenely on despite her. Her account of Pinter’s learning that he’d won the Nobel Prize provoked much laughter, and her brief and simple description of his death on Christmas Eve 2008 brought a tear to the eye.
Corn Exchange, Brighton Dome, 16 May
4/5
Gary Mepsted

Jaw-droppingly incredible. This installation turned theatrical dance performance played with chronology, relationships, anonymity and a malevolent and malicious building which had secrets of its own. Set in a building constructed on The Level that presented itself as a cross section of a real hotel, we were invited to listen in on the soundtrack of the inhabitant’s lives in wireless headphones, while watching through a wall of glass. At times this was surreal, at others sinister and occasionally humorous. It would be a shame to give too much away and spoil the joy of encountering this truly unique show. One of the most awesome things I have ever seen.
The Level, 14 May
5/5
Victoria Nangle