Classical Reviews
Classical CDs Weekly: Adams, Beethoven, Berg, Debussy, SzymanowskiSaturday, 21 April 2012
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Currie, LPO, Vänskä, Royal Festival HallThursday, 19 April 2012
A mischievous part of me firmly believes that from the mountain of dubious art works produced in the world since the 1980s, the most dubious of all have been the percussion concertos. I know I’m being somewhat harsh, for I’ve thrilled along with most audiences to James MacMillan’s Veni, Veni, Emmanuel – far and away the best piece ever premiered by Evelyn Glennie, instigator of this percussion avalanche. Read more... |
Staatskapelle Berlin, Barenboim, Royal Festival HallTuesday, 17 April 2012
Lightness. Tenderness. Grace. These are not words you normally associate with Barenboim's pianism - not these days. But they were exactly the thoughts running through my head while listening to his performance of Mozart's C minor piano concerto last night at the Royal Festival Hall. Subtly marshalling his Staatskapelle Berlin from the keyboard, Barenboim was a wholly transformed figure from the ingratiating, lollipop-distributing showman I'd seen at the Tate Modern last year. Read more... |
The Sinking of the Titanic, Gavin Bryars Ensemble, Philip Jeck, Barbican HallTuesday, 17 April 2012
I don't have many feelings about the Titanic (any more than I do about any tragedies of the distant past). I know few of the facts, I can remember nothing of the film and I have been left almost completely untouched by the centenary. Yet I am enormously grateful to have caught a Barbican performance of The Sinking of the Titanic, Gavin Bryars' beautiful musical meditation on the event. Read more... |
The Yeomen of the Guard, Philharmonia Orchestra, Wilson, Royal Festival HallMonday, 16 April 2012
Looking at John Wilson conduct, it’s possible to think that you’re watching an incarnation of that Proms favourite of decades past, Sir Malcolm Sargent. The immaculate tailcoat, shining white cuffs, the florid gestures with a baton as long as a magic wand: the only missing visual ingredient is Sargent’s self-regarding air. Read more... |
The Dream of Gerontius, City of Birmingham Symphony Orchestra, Gardner, BarbicanSunday, 15 April 2012
It's one of the great perversities of modern cultural life that orchestras from America and Venezuela visit London more often than those from Birmingham or Manchester. A perversity and a shame, as last night's exceptional performance of Elgar's The Dream of Gerontius by the City of Birmingham Symphony Orchestra and CBSO Chorus on a rare visit to the Barbican showed. Read more... |
Maxim Vengerov, Itamar Golan, Wigmore HallFriday, 06 April 2012
Musicians can go one of two ways after a period of prolonged professional absence. The hiatus can either set them free (Horowitz) or screw them up (Pogorelich). In the case of Maxim Vengerov, we already knew that the latter hadn't happened. Read more... |
Verdi Requiem, Mariinsky Orchestra and Chorus, Gergiev, Barbican HallThursday, 05 April 2012
After conducting two performances of Parsifal since Saturday and one of Mahler’s Eighth Symphony, most human beings would be spending a day curled up at home. But Valery Gergiev doesn’t know what carpet slippers look like. Besides, he’s currently on tour in Britain with his Mariinsky Opera forces, and he’s conducting nothing but blockbusters. Last night, Verdi’s Requiem in London. On Good Friday, it’s the epic Parsifal again, in Birmingham. Read more... |
Mahler Eighth, Mariinsky Orchestra/Gergiev, Wales Millennium CentreMonday, 02 April 2012
Gergiev’s second Cardiff concert was thematically linked to his first. Mahler’s Eighth Symphony shares with Parsifal a certain kind of solipsistic religiosity that talks about God in the way some people talk about their ancestors. We don’t really need them any more, but they make us feel important. One approaches both works with mixed feelings (some, with actual distaste). But in the end one usually has to admit: art conquers, and God is not (altogether) mocked. Read more... |
Fischer, Royal Philharmonic Orchestra, Dutoit, Royal Festival HallSaturday, 31 March 2012
If Dr Frankenstein wanted to manufacture the perfect violinist, he’d require a long list of ingredients. Perfect, unfussy technique, of course; but also seriousness of purpose, a sense of humour, a clear head, a passionate heart, a generous tone, plus access to a Stradivarius. On the other hand, the good doctor could simply go out and find Julia Fischer, the 28-year-old German violinist who ticks almost all of the above boxes, except perhaps “sense of humour”. Read more... |
John Adams: Harmonielehre, Short Ride in a Fast Machine San Francisco Symphony/Michael Tilson Thomas (SFS Media)Pages
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