Classical Reviews
Špaček, BBC Philharmonic, Bihlmaier, Bridgewater Hall, Manchester review - three flavours of ViennaMonday, 22 April 2024
Billed as a “Viennese Whirl”, this programme showed that there are different kinds of music that may be known to the orchestral canon as coming from Vienna. Read more... |
Watts, BBC Symphony Orchestra and Chorus, Bignamini, Barbican review - blazing French masterpiecesSaturday, 20 April 2024
Anyone who’d booked to hear soprano Sally Matthews or to witness the rapid progress of conductor Daniele Rustioni – the initial draw for me – could not have been disappointed in their late-stage replacements. Elizabeth Watts is as much of a national treasure among singers as Matthews, and Jader Bignamini, music director of the Detroit Symphony Orchestra, negotiated his first Barbican concert with absolute mastery. Read more... |
Bell, Perahia, ASMF Chamber Ensemble, Wigmore Hall review - joy in teamworkWednesday, 17 April 2024
All three works in the second of this week’s Neville Marriner centenary concerts from the ensemble he founded vindicated their intention to reign for ever and ever. Those very words as set by Handel in his “Hallelujah” Chorus were treated fugally by Mendelssohn in the coruscating finale of his Octet, and as part of her own homage in the Partita for String Octet, Sally Beamish approached them very differently. Her ethereal fugue deserves immortality, too. Read more... |
Sheku Kanneh-Mason, Philharmonia Chorus, RPO, Petrenko, RFH review - poetic cello, blazing chorusFriday, 12 April 2024
Purple patches flourished in the first half of this admirable programme: it could hardly have been otherwise given Sheku Kanneh-Mason’s devotion to a new work in his repertoire, and the current strength of the Royal Philharmonic Orchestra under Vasily Petrenko. Even so, it was the culmination, Rachmaninov’s multifaceted “Choral Symphony” The Bells, which truly dazzled. Read more... |
Daphnis et Chloé, Tenebrae, LSO, Pappano, Barbican review - lighting up Ravel’s ‘choreographic symphony’Thursday, 11 April 2024
Antonio Pappano fervently believes that talking about music is a vital part of his communicative art, and nobody does it better. Given that the London Symphony Orchestra's enterprising Half Six Fix format is scheduled for an hour each time, and that Ravel’s complete Daphnis et Chloé lasts almost that long, there wasn’t going to be much room for pre-performance demonstration yesterday evenng, but what we got still hit the mark. Read more... |
Goldscheider, Spence, Britten Sinfonia, Milton Court review - heroic evening songs and a jolly horn rambleWednesday, 10 April 2024
Milton Court, like its parent Barbican Hall, disconcertingly inflates the sound of larger ensembles and voices. Had there been a conductor for all four pieces in the Britten Sinfonia’s programme - Michael Papadopoulos was there for the two most recent works – the approach might have been more nimble and nuanced. Though Mozart in masterpiece form could have been a gambit to entice warier punters, a fourth British work would have rounded out the overall picture better. Read more... |
Marwood, Power, Watkins, Hallé, Adès, Bridgewater Hall, Manchester review - sonic adventure and luxurianceTuesday, 09 April 2024
For the second big concert of his “residency” with the Hallé this season, Thomas Adès chose one major piece of his own, rather than a set of shorter ones. Tevot, a 21-minute one-movement work written for the Berlin Philharmonic 18 years ago, requires a huge assembly of performers, so it was probably too good a chance to miss once having taken the decision to do Tippett’s Triple Concerto, which is pretty lavish in that regard, too. Read more... |
Elmore String Quartet, Kings Place review - impressive playing from an emerging groupTuesday, 09 April 2024
The young Elmore String Quartet, recent graduates of the Royal Northern College, made an impressive Kings Place debut last night with a programme that put music written by composers at a similarly early stage in their careers alongside another’s last work. They played with a subtlety and thoughtfulness that point them up as a group to keep an eye on. Read more... |
Gilliver, LSO, Roth, Barbican review - the future is brightMonday, 08 April 2024
It’s hard to know which aspect of this adventure to praise the most. Perhaps the fact that of the four recent works originally programmed, the two freshest were by young beneficiaries of the LSO Panufnik Composers Scheme. There was also the pleasure orchestral members took in their colleagues’ playing, not just Rebecca Gilliver’s as soloist. The culminating glory was their response to François-Xavier Roth’s mastery in Bartók’s Concerto for Orchestra. Read more... |
Josefowicz, LPO, Järvi, RFH review - friendly monstersMonday, 08 April 2024
At first glance, this looked like an odd coupling: Stravinsky’s Violin Concerto from 1931, all spiky neo-classicism and short-winded expressionist sparkle, as a tributary opening before the mighty rolling stream of Bruckner’s Seventh Symphony. Read more... |
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