fri 07/03/2025

Classical Reviews

Lill, Moscow State Symphony Orchestra, Kogan, Symphony Hall Birmingham

Richard Bratby

Behemoth Dances. Who dances? You know, Behemoth, the huge demonic black cat who cakewalks through Stalin’s Moscow in Bulgakov’s The Master and Margarita spreading mayhem and magic; the spirit – as quoted by Bulgakov, and taken by Stephen Johnson as a sort of motto for his new orchestral work – “that always wills evil, but always does good”. A sardonic fanfare announces his appearance, before the orchestra whizzes away on a bustling, bristling spree.

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BBC Young Musician 2016

Jasper Rees

What makes a musical performance? The final of Young Musician 2016 presented five judges with this philosophical teaser to ponder. For the previous 90 minutes three contestants with three radically contrasting styles of delivery cleared every bar in front of them, with the help of Mark Wigglesworth and the BBC Symphony Orchestra. Giving the nod to one meant the elbow for the others.

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Stravinsky: Myths & Rituals, Philharmonia, Salonen, RFH

Peter Quantrill

Looking past the ballets for Diaghilev, there are still many superb scores by Stravinsky honoured more in scholarship than performance. In Myths and Rituals, the Philharmonia addresses that lack of wider appreciation with five concerts from May to September. The series got off to a promising start last night with the tiny fanfare for three trumpets – Monteverdi with attitude and wrong notes – from 1955, which was one of Stravinsky’s first thoughts for his last ballet, Agon.

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theartsdesk at Tectonics Glasgow 2016

David Kettle

For a festival of wild, genre-colliding musical experimentation, Tectonics is almost starting to feel like part of the establishment. Which shows, if nothing else, that it must be getting somewhere with its boundary demolishing. The 2016 weekend over 7-8 May was its fourth outing in Glasgow – conductor Ilan Volkov founded it in Reykjavík in 2012, and since then it’s spread its all-embracing eclecticism worldwide to Tel Aviv, Adelaide, New York and beyond.

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Classical CDs Weekly: Maurice Greene, Mahler, Stravinsky

graham Rickson


Maurice Greene: Overtures Baroque Band/Garry Clarke  (Cedille)

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The Dark Mirror: Zender's Winterreise, Barbican Theatre

alexandra Coghlan

Elasticity is a surprisingly reliable test for great art. How far can you stretch, bend, or reshape a work before it loses its essence, its identity?  Hamlet, The Well-Tempered Clavier, Antigone, Pride and Prejudice can all take almost anything you can throw at them, but what about Winterreise, Schubert’s song-cycle of lost love?

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Andsnes, LSO, Flor, Barbican

Peter Quantrill

Laid low by a bug, Daniel Harding had to withdraw at the last minute from conducting the LSO last night. Booked as the soloist, Leif Ove Andsnes stepped into the breach to lead Mozart’s Piano Concerto No 20 from the piano, as the composer would have done. His unruffled keyboard technique and unimpeachably neat phrasing betrayed no sign of hasty preparation.

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Coote, CBSO, Wilson, Symphony Hall Birmingham

Richard Bratby

Can it be true? Was this really the CBSO’s first performance of Bax’s The Garden of Fand? OK, Bax is hardly mainstream repertoire, and if Oramo or Rattle had conducted it, someone would have remembered. Further back in the orchestra’s 96-year history, though, surely Adrian Boult or George Weldon must have been tempted? The records are vague...

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Classical CDs Weekly: Beethoven, Cindy Cox, Nielsen

graham Rickson


Beethoven: Symphonies 1-9 Berliner Philharmoniker/Sir Simon Rattle (Berliner Philharmoniker Recordings)

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A Midsummer Night's Dream, Middle Temple Hall

David Nice

You rarely see a full production of Shakespeare's dream play so magical it brings tears to the eyes. But then you don't often get 42 players and 14 voices joining the cast to adorn the text with Mendelssohn's bewitching incidental music, plus the Overture composed 16 years earlier – certainly the most perfect masterpiece ever written by a 17-year-old.

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