Classical Reviews

Hardenberger, Philharmonia Orchestra, Nelsons, Royal Festival Hall

Edward Seckerson Wednesday, 08 December 2010

The heroics came fast and fervently with Andris Nelsons and the Philharmonia Orchestra emerging from suffocating pianissimi to rip out the exultant fanfares of Beethoven’s Leonora No 3 Overture as if already limbering up to take on Strauss’s critics in Ein Heldenleben. That he saw them off so decisively didn’t, on his present form, come as much of a surprise. Nelsons doesn’t need anyone to fight his battles for him – not even the egotistical Strauss.

Scholl, Jaroussky, Ensemble Artaserse, Barbican

alexandra Coghlan Wednesday, 08 December 2010

The egos and rivalries of the great castrati – of Senesino, Carestini, Farinelli – are legendary. Too few arias, too unheroic a role, or just too little virtuosity (Handel’s beautiful “Verdi prati” was almost lost to us when Senesino rejected its simplicity) were all cause enough for a tantrum. How times have changed. Collaborating for their new Purcell project, superstar countertenors Andreas Scholl and Philippe Jaroussky are trading jealousy for duets, and proving that you really...

Comment

Richard Thompson, Philip Pickett, Musicians of the Globe, Cadogan Hall

alexandra Coghlan Tuesday, 07 December 2010

I defy anyone not to be excited at the prospect of a concert featuring such numbers as “Cuckolds All Awry”, “The Queen’s Dumpe”, “The Wooing of the Baker’s Daughter” and “Tickle My Toe”. Add to these tantalising scenarios early music’s favourite rebel Philip Pickett, and a guitarist who made it into Rolling Stone magazine’s Top 20 Greatest Guitarists of All Time chart, and you have yourself quite the unlikeliest of parties.

Comment

Birmingham Contemporary Music Group, CBSO Centre, Birmingham

stephen Walsh Monday, 06 December 2010

Tansy Davies: Like an over-stimulated teenager who has learnt how far one can go too far

The Birmingham Contemporary Music Group does star concerts, which fill (or nearly) the CBSO Centre; and they do old-fashioned New Music concerts, which don’t quite empty it, but leave one wondering who exactly – if anyone - some of the works being played are intended to reach. Their latest offering was of this latter kind. The performers came and went, the audience clapped politely, the electric keyboard went wrong, luckily near the start of Enno Poppe’s Salz, so that we didn’t...

Sandrine Piau, Les Talens Lyriques, Wigmore Hall

Ismene Brown Sunday, 05 December 2010

Who was a greater composer of words: Schubert or Purcell? A toss-up, I think, after a revelatory concert at the Wigmore Hall by Les Talens Lyriques with the French soprano Sandrine Piau on Saturday. The sheer quality of the poetry Purcell set in his Harmonia Sacra, collections of “divine hymns and dialogues”, is both profound and emotionally direct: “Lord, what is man?”, “In the black, dismal dungeon of despair”, “Music, for a while”...

Lill, Orchestra of Opera North, González, Leeds Town Hall

graham Rickson Saturday, 04 December 2010

Gaudy Victorian splendour: Cuthbert Brodrick’s town hall in Leeds

Outstanding orchestral playing can be found outside London, Manchester and Birmingham. Unlike those cities, Leeds doesn’t have a purpose-built modern concert hall suitable for large-scale concerts, making do with the gaudy Victorian splendour of Cuthbert Brodrick’s town hall. Acoustically it’s not perfect, but the striking canopy hanging precariously over the concert platform has improved matters. Leeds does have a full-time orchestra; formerly known as the English Northern Philharmonia,...

Volodos, Leipzig Gewandhaus Orchestra, Chailly, Barbican

Igor Toronyi-Lalic Friday, 03 December 2010

Not much snow left on the Barbican after last night's barnstormer from Riccardo Chailly and the Leipzig Gewandhaus. What hadn't melted in the flames of the Russian pyre that is Tchaikovsky's Francesca da Rimini would had been swept aside by the great quakes of Respighi's tub-thumping Pines of Rome. And the icy refuseniks clinging to Barbican pavements?

Comment

Schäfer, London Philharmonic Orchestra, Jurowski, Royal Festival Hall

David Nice Thursday, 02 December 2010

Despite footsteps in the snow, as creepily characterised by Debussy's prelude of the same name, and sleighbells to launch a childlike symphonic journey, interior illumination should have been at the core of this concert. Sadly, given Colin Matthews's refined but fussy designer lighting in his Debussy orchestrations, a low-wattage Rimbaud/Britten zoo from one-tone soprano Christine Schäfer and hard sunbeams failing to probe the inner mysteries of the tomb-effigies Mahler envisaged in his...

Comment

Sophie Daneman, Apollo's Fire: Cleveland Baroque Orchestra, Wigmore Hall

alexandra Coghlan Wednesday, 01 December 2010

Sophie Daneman: Vivid vocal colour for mythology's heroines

Visits from the pick of Europe’s Baroque orchestras – Concerto Köln, Europa Galante, Le Concert d’Astree, Les Musiciens du Louvre – are a blissfully frequent occurrence in London, an alternative and supplement to our own ever-growing roster of period talent. A tour by a North American ensemble is, by contrast, something of a rarity, and I can’t have been alone last night in hearing the much-lauded Apollo's Fire (otherwise known as the Cleveland Baroque Orchestra) live for the first time. “...

Julia Fischer, Martin Helmchen, Queen Elizabeth Hall

David Nice Tuesday, 30 November 2010

Fischer and Helmchen: A subtle duo making the most of Schumann's equal shares

An entire evening of Schumann for two would usually cue singer and piano. Not that the majority of Lieder specialists, blessed as naughty Anna Russell once saw it "with tremendous artistry but no voice", could hold the spell for that long. Julia Fischer is one of the half-dozen violinists in the world with the greatest artistry, a golden "voice" and a habit of choosing partners like Martin Helmchen, very much on her level. The only trouble is that Schumann songs can capture a world in 90...