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
Tim Albery’s production feels a little lukewarm in this revival but soprano Strid, in her Covent Garden debut, is a compelling presence
By: Erica Jeal
The cathedral-like space of Battersea Arts Centre's Grand Hall, with its high ceilings and distressed walls, is an atmospheric place for the London
By: Erica Jeal
When it was completed in 1981, what is now Christ Cathedral in Garden Grove, California, was reportedly the largest glass building in the world.
By: Erica Jeal
The centrepiece of a thoughtfully curated programme examining light and loss, James MacMillan conducted the BBC Symphony Orchestra and Chorus in the UK premiere of his 2020 choral work Fiat Lux
By: Erica Jeal
· 1-min read E rin Morley walks straight up into the front rank of high coloratura sopranos with her debut solo recording.
By: Erica Jeal
Riveting performances underpin a gratifyingly meta version of Aci, Galatea e Polifemo, retold around a Docklands film shoot
By: Erica Jeal
· 1-min read In this article: Benjamin Britten
By: Erica Jeal
Violinist Isabelle Faust, violist Boris Faust and pianist Alexander Melnikov honour Britten’s exuberant works with vigour and determination
By: Erica Jeal
She plays barefoot in jeans with a thrilling unpredictability that makes every show electric. Ahead of a performance that promises to transform the concert stage into a living room, we meet the whirlwind violinist
By: Erica Jeal
Two of Mendelssohn’s symphonies plus his second piano concerto were almost too much of a good thing, but not when played with such delicacy and spirit
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