Soirée One funny thing about loving someone is how much you'll put up with - her parents' conversazione for example, or being sweet to these fools she works with who smoke inferior cigars and think it's savoir vivre, and drag me back to drink inadequately and long past my bedtime, and put on records (God!) stuff like Ray Conniff.

Very few people could have anticipated quite how much acclaim Jane McDonald would experience in the wake of 1998’s BBC series The Cruise. Yet, more than a quarter of a century later, the show’s standout star remains as popular as ever.

In 2026, good news feels increasingly precious, so Team Dresch’s return is worth celebrating. Thirty years after their last full-length, the legendary queercore punks are back with Furthermore, out via Jealous Butcher Records on 18 September.

There is real rhythmic pulse and energy here, and a textural detail in Ax's piano playing that is a constant pleasure — every inner line audible, every line singing, with a beauty in the phrasing that never tips into preciousness. The Leonore Overture in particular sounds astonishingly orchestral in this reduced scoring; the changes of tempo are superbly judged, the observation feels authentic rather than merely careful, and the playing throughout is slick and fabulous in its precision.

Quartetto Gelato Flight Rodeo and Juliet Suite - A. Copland, P. Tchaikovsky, S. Prokofiev, N. Rota, arr Charles Cozens; Summer (Four Seasons) - A. Vivaldi. arr. M. Pulkki; Brahms' Polka - J. Brahms, arr. C. Maier; Intermezzo in A - J. Brahms, arr. Eun-Chul Oh Passacaglia - Handel 'Halvorsen; Song Of the Birds - P. Casals, arr. M.

Pre warnings of adult scenes of a sexual nature, depictions of violence and brief frontal male nudity left me in doubt that Matthew Bourne’s The Car Man is designed to provoke. Sparks fly from the outset - and not just from the welding in the mid-west greasy garage-diner, where mechanics with rippling muscles delight in bullying their sensitive co-worker, Angelo.

What happens when Mozart's The Marriage of Figaro meets 1970s Britain, Yorkshire poetry and Indian classical music? Mashallah! It's Mozart – but not as you've heard it before. Bradford Opera Festival is bringing the vibe of a ‘70s Bollywood comedy to Mozart's madcap farce, with a very Yorkshire twist.

There is a surprisingly strong vein of science fiction running through Sir Alan Ayckbourn’s extraordinary body of work, a strand easily overlooked amid his better-known domestic comedies. His interest in speculative futuristic drama dates back to Standing Room Only in 1961 and includes 1998’s much-praised Comic Potential.

It would be easy to file Brouček away as a Janáček footnote, the one even his admirers tend to skip. Rattle and his forces make a compelling case that it shouldn't be. A comic opera, treated with real seriousness, and all the better for it.

It is, as they say, the gift that keeps on giving. The Doric String Quartet continue their sublime traversal of Beethoven's quartets with a third volume that ranges across the composer's early, middle and late periods – from the youthful high spirits of Op. 18 No. 3 to the visionary strangeness of the final works.

Mahler's Symphony No. 3 in D minor is a work that dares almost too much. Six movements, the best part of a hundred minutes, and a programme that runs from the awakening of Pan to a final movement of wordless, all-embracing love: it asks a conductor to hold together a vast orchestra, a mezzo-soprano soloist, a boys' choir and a women's chorus without the whole edifice splintering into episodes. I went into this recording expecting admiration. I came out with something closer to reappraisal as Petrenko unlocked Mahler's cosmic Third and the RPO, and Harmonia Mundi's engineers are on inspired form

When it comes to sculpture, nowhere in the UK compares to Wakefield. Home to Yorkshire Sculpture Park, The Hepworth Wakefield, and a thriving community of contemporary artists and makers, the district has earned its reputation as the UK's Capital of Sculpture. Yet art is only part of the story.

Undoubtedly best know through the television drama series created by Sally Wainwright, Gentleman Jack is the story of a powerful Yorkshire businesswoman from the 1830s. The 19th century was not a time known for its liberal-minded, easy-going attitudes to women in general and certainly not women who preferred other women as their life partners.

For anyone who went to the Leeds Festival a few years ago, the line-up of the 2026 Festival would have been seen as incomprehensible; whilst in the past the festival always tendered to favour rock and indie acts, the emphasis was more on dance, rap and pop artists. The festival has become a rite of passage for youngsters who are celebrating their GCSE exam results.

Hilltop You see it sometimes: the way the light strikes a distant hill, singling out that space between trees like a sudden bolt of memory, or an answer coming through from the other side. A benign shock of emergent energy, Ruth Sharman's fine, profoundly distilled poem encourages a sense of the falling away of scales, of belated recognition.

He opens with his own arrangement of three songs from Sherman's score for Mary Poppins, and the charm is immediate and disarming. Chim Chim Cher-ee is simply delightful — an earworm, yes, but 'bug' feels the wrong word for something arranged with such loving craft. Feed the Birds unfolds in a long, languorous line that carries the listener somewhere else entirely, its trills and decorations enchanting, every phrase touched with real charisma. Then Supercalifragilisticexpialidocious arrives in staccato flurries and glissandos, tying the suite together with something close to genius. One can only think: I wish I were there.

Having cited The Beatles, The Stone Roses and David Bowie as key influences, it is clear that Beckham is happy to wear these sounds within his own context, but at one stage does this EP try to simply emulate those artists? He rather marries his key influences with his own Britpop leanings to craft an EP that feels very much his own.