Adrian Smith is Lecturer in Musicology at DIT Conservatory of Music and Drama.
Adrian Smith reads Adès’s 'Powder Her Face' as a story of female empowerment and upper-class complacency in the very promising first production from Irish National Opera.
It is a critical time for the RTÉ NSO, but it celebrated its 70th year with a diverse programme and impassioned performances, writes Adrian Smith.
Crash Ensemble celebrated 20 years with two nights at the National Concert Hall in November. Adrian Smith reviews all twenty newly commissioned works, from composers Andrew Hamilton, Ann Cleare, Jennifer Walshe, Sean Clancy and many more.
An orchestra playing less new music, writes Adrian Smith, is out of step with contemporary culture. Has the amount of contemporary music being played by the RTÉ National Symphony Orchestra been in decline in recent years? Smith undertook an analysis of recent programming.
Gábor Tákacs-Nagy's rapport with orchestra and audience is refreshing, writes Adrian Smith, in a review of the Irish Chamber Orchestra (27 September) performing Elgar, Brahms and the world premiere of Sam Perkin's '365 Variations on a Gesture'.
Born in Amsterdam, raised in Ireland, and descended from a long line of musicians from Central and Eastern Europe, Gwendolyn Masin explores her rich roots in 'Origin', writes Adrian Smith.
Is the NCH embarking on a ground-breaking curatorial experiment by embracing non-classical genres? Nothing could be further from the truth, writes Adrian Smith.
The eclecticism on percussionist Alex Petcu's debut recording works very much in its favour, writes Adrian Smith.
In his new recordings of Field and Hammond, Michael McHale always has the larger structural goals in view, writes Adrian Smith.