Classical Reviews
Sánchez, National Symphony Orchestra, Martín, National Concert Hall, Dublin review - Spanish panacheSaturday, 24 February 2024
Ravel’s Boléro, however well you think you know it, usually wows in concert with its disconcerting mix of sensuality, fun and violence. Context can make it even more powerful: in this case as the culmination of NSO Chief Conductor Jaime Martín’s brilliantly programmed Spanish fiesta, a cool and even customer at first after chameleonic Chabrier and fidgety-brilliant, fluid Falla. Read more... |
Uproar, Rafferty, Royal Welsh College, Cardiff review - a rare spring in the new music stepSaturday, 24 February 2024
It’s not often one comes out of a concert of mainly new works with a spring in one’s step. A sigh of relief is rather more usual. But this concert on Thursday by the Welsh new music ensemble Uproar was an exception, partly but by no means exclusively because of the brilliant performance of John Adams’s invigorating, even appropriately uproarious Son of Chamber Symphony with which it ended. Read more... |
Fung, BBC Philharmonic, Weilerstein, Bridgewater Hall, Manchester review - clever and comicalMonday, 19 February 2024
Placing the UK premiere of Katherine Balch’s whisper concerto (for cello and orchestra) after Haydn’s Symphony No. 100 was probably an inspired idea from the BBC Philharmonic and conductor Joshua Weilerstein. Read more... |
Malofeev, BBCSO, Lintu, Barbican review - finesse as well as fireworksSaturday, 17 February 2024
This was a muesli programme: nutty, crunchy, just sweet enough, its success lying in the balance of the various ingredients. At times, such was the explosiveness of the playing, it felt like popping candy had been added to the muesli, but in a good way. The fireworks came in the brilliant John Adams finale, but also from the young Russian pianist Alexander Malofeev, whose playing blazed in the first half. Read more... |
Lugansky, Strasbourg Philharmonic Orchestra, Letonja, Cadogan Hall review - Russian soul, French flairWednesday, 14 February 2024
To judge by the post-interval empty seats near me, some of the Cadogan Hall audience had turned up last night solely to hear Nikolai Lugansky play Rachmaninov’s Second Piano Concerto. Well, the more fool them. For sure they would have enjoyed their not so-brief encounter with a truly distinguished Russian pianist – noble standard-bearer for a grand tradition – who gave a finely-polished, well-shaped rendition of this beloved old story (on the eve of Valentine’s Day, too). Read more... |
Segev, LPO, Lyniv, RFH review - melody, magic, and mourningMonday, 12 February 2024
We began in a forest packed with dangers and delights and ended, also in the Czech lands, with an infectiously joyful country dance. In between, however, came a sombre and spellbinding exposure to the pain and grief of war. Read more... |
Alder, RPO, Petrenko, RFH review - strings and soprano sing their hearts outFriday, 09 February 2024
Had it taken place a week later, this concert might have gone under the dubious banner of "Valentine's Day Love Classics". But not of the bitty, Raymond Gubbay variety: Vasily Petrenko was absolute master of three late romantic scores which happened to work well together, and Louise Alder – stepping in for an unwell Jennifer France – showed she could surmount a demanding rarity, and carry it off with flying, smiling, self-deprecating colours. Read more... |
Verdi's Requiem, Accademia Nazionale di Santa Cecilia, Pappano, Parco della Musica, Rome review - peak poignancyThursday, 08 February 2024
Antonio Pappano is at a hinge in his illustrious career, as the exciting transfer across London from Covent Garden to the London Symphony Orchestra proceeds, and the word "Emeritus" is added to his title as Music Director of his home-from-home in Rome. A good moment, then, for him to make a statement of commitment to the latter, with a shattering, searing account of probably the most terrifying piece of music ever written: Verdi’s incomparable Messa da Requiem. Read more... |
Tetzlaff, BBC Philharmonic, Storgårds, Bridgewater Hall, Manchester review - something of a puzzleTuesday, 30 January 2024
Chief conductor John Storgårds’ first programme of 2024 in the Bridgewater Hall was notable for the visit of Christian Tetzlaff as violin soloist, but perhaps a little puzzling in the choice of Thomas Adès’ Violin Concerto as the vehicle for his talents. Read more... |
Elijah, LSO, Pappano, Barbican review - vivid declamation powers Old Testament blockbusterMonday, 29 January 2024
That it would be a vividly operatic kind of oratorio performance was never in doubt. Mendelssohn, who said he wanted to create “a real world, such as you find in every chapter of the Old Testament,” instigates high drama with Elijah’s brass-backed opening statement. Pappano then let the orchestral and vocal narrative fly like an arrow, supported to the hilt by all involved, not least four great singers with whom he’d achieved several major successes at the Royal Opera. Read more... |
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