Classical Reviews
Ensemble Augelletti, London Handel Festival, Charterhouse review - dynamic framing of the honorary EnglishmanThursday, 21 March 2024
One of the many delightful discoveries in this dynamic, imaginative lunchtime concert was that Handel and Telemann had a thing for sending each other flowers. Not bouquets, but earthy bulbs and tubers, “I am insatiable where hyacinths and tulips are concerned, greedy for ranunculi, and especially for anenomes,” Telemann wrote. Read more... |
St Mary's Music School, RSNO, Søndergård, Usher Hall, Edinburgh review - a shining role for young choristersWednesday, 20 March 2024
For the second year in a row the Royal Scottish National Orchestra chose to share its platform in Edinburgh’s Usher Hall with the young musicians of St Mary's Music School. As RSNO chief executive Alistair Mackie pointed out in a short opening speech, the links between the two organisations run deep, as many players in the RSNO started their musical careers at St Mary's. Read more... |
Bevan, Williams, BBCSO, MacMillan, Barbican review - inspirational journey from darkness to lightMonday, 18 March 2024
It began with the tolling of a lone bell and ended in a transcendent blaze of golden light. Read more... |
Hughes, SCO, Kuusisto, Queen’s Hall, Edinburgh review - Clyne shines, Grime fragmentsSaturday, 16 March 2024
Most concert promoters will tell you that contemporary music tends to be, to put it politely, a tricky sell, which is one of the reasons why it’s most often programmed alongside Beethoven or Tchaikovsky. A whole programme of the stuff tends to be box office suicide, so it’s almost never done. Read more... |
Winterreise, Clayton, Aurora Orchestra, Collon, QEH review - new maps for the great journeyFriday, 15 March 2024
Like Hamlet or Fidelio, Schubert’s Winterreise can withstand and overcome (almost) any kind of re-imagining. In the case of Hans Zender’s 1993 “composed interpretation” of the work for chamber orchestra – and sundry sound effects – the new model has itself become a near-canonical classic. Read more... |
Esther, London Handel Festival, St George’s Hanover Square review - a lopsided celebratory oratorioFriday, 15 March 2024
“Spring Awakenings” promised as the theme of this year’s London Handel Festival began with a big if messy vernal bouquet of “Alleluia"s and “God Save the King”s. Esther, Handel's first London oratorio, seemed like an appropriately jubilant way to celebrate Laurence Cummings' 25th and final year as festival director. Read more... |
Theresienstadt-Terezin 1941-1945, Nash Ensemble, Wigmore Hall review - memorial music of stunning impactTuesday, 12 March 2024
Towards the end of his book Killers of the Flower Moon, David Grann deploys a cogent expression: “chasing history, before it disappears”. Read more... |
Osborne, BBC Philharmonic, Bihlmaier, Bridgewater Hall, Manchester review - an orchestra at the top of its gameMonday, 11 March 2024
Just a few days after the Hallé’s Bruckner 8, the BBC Philharmonic weighed in with his Seventh Symphony for its Manchester audience. We’re all getting a lot of Bruckner in his 200th anniversary year, and this was a wise choice, being one of his shorter creations in the genre – only about an hour and 10 minutes in playing time – and containing some of his best melodic ideas and rhythmic inventions. Read more... |
Scottish Ensemble, Glasgow Royal Concert Hall New Auditorium review - making a moveMonday, 11 March 2024
Continuing the relationship with choreographer Örjan Andersson – who choreographed their landmark project Goldberg Variations – Scottish Ensemble gave the first of their latest movement-inspired performance, Impulse: Music in Motion in Glasgow on Friday evening. Read more... |
Morison, Big Noise Wester Hailes, RSNO, Søndergård, Usher Hall, Edinburgh - shimmering delicacy and surging swellSaturday, 09 March 2024
While it is an incontrovertibly good thing that the classical music world has set about rediscovering the work of neglected female composers, not all rediscoveries are equally worthy of being found. Particularly on a day like International Women’s Day (IWD), concert programmers run the risk of unearthing work that tends towards the mediocre, and which can end up being tokenistic. Read more... |
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