Erica Jeal is the Deputy Editor of Opera and a music critic for The Guardian. She covers a wide range of musical genres, from classical to contemporary, and provides insightful reviews and analysis of performances and recordings. With her expertise and passion for music, Erica offers readers a unique perspective on the world of opera and beyond.
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Erica Jeal’s focus is predominantly on providing reviews within the classical music and entertainment domain. She concentrates on evaluating performances, albums, opera, and concerts. If you have upcoming classical music events or album releases that would benefit from a review or if there are notable trends in the industry worth reviewing, reaching out to Erica could be beneficial.
Given her expertise in critiquing musical performances and albums, she may be interested in receiving press releases about new album launches or concert tours featuring classical musicians. Offering access to exclusive previews of such events can also enhance your pitch to her.
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By: Erica Jeal
Prefaced by a semi-dramatised introduction to Beethoven’s creative process, Aurora Orchestra’s performance was superb
By: Erica Jeal
This is the Year of Czech Music , with major anniversaries for Smetana and Suk and round numbers for many other Czech composers falling in 2024.
By: Erica Jeal
The daughter of Gustav and assistant to Benjamin Britten, Imogen Holst wrote her own imaginative and unsentimental music, gathered here for the first time
By: Erica Jeal
Pianist-conductor Jakub Hrůša’s eloquent playing accompanies radiant soprano Kateřina Kněžíková above a surging Bamberg Symphony Orchestra
By: Erica Jeal
Sibelius’s rarely programmed Kullervo closed a rich and varied programme of Nordic music in touch with nature
LONDON (The Guardian) — Who’s the hotter property in the opera world right now: Ted Huffman the librettist and director of zeitgeisty new works? Or Ted Huffman the director of streamlined, impactful productions of the classics? That second reputation is enhanced by his Royal Opera main stage debut, a new staging of Tchaikovsky ’s “Eugene Onegin.”
By: Erica Jeal
This was billed as a launch, even though Chromatica Orchestra is essentially a rebranding of the Bath Festival Orchestra – which was itself relaunched by the violinist and conductor Peter Manning in 2021.
By: Erica Jeal
Rachmaninov’s first symphony was a joy-filled highlight but Sheku Kanneh-Mason’s thoughtful interpretation of Shostakovich’s second cello concerto glowed too in an evening of exhilarating music-making
By: Erica Jeal
The London Symphony Orchestra’s Conductor Laureate Michael Tilson Thomas celebrated his 80th birthday with an authoritative but restrained account of Mahler’s Second with soloists Alice Coote and Siobhan Stagg
By: Erica Jeal
Three years ago, when Michael Tilson Thomas announced that he had been diagnosed with an aggressive form of brain cancer, few thought that he would be back at the LSO to celebrate his 80th birthday.
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