Classical Reviews
Bengt Forsberg, Wigmore HallThursday, 15 April 2010
He may not be the most famous musical Swede - in terms of name-recognition that would be Benny of Abba fame rather than Bengt the long-term recital partner of the divine Anne Sofie von Otter - but everyone in the business seems to adore Forsberg, a true musicians' pianist (and the only one I've ever seen... Read more... |
Philharmonia, Denève, Royal Festival HallFriday, 09 April 2010
Why, a modish reader might ask, did I go to hear a rum-looking cove conducting a classical lollipop at the Festival Hall when I might have tasted the latest fruits of a controversial prodigy over at the Barbican? First, because there's plenty of time to wait and see whether bumptious wunderkind Alex Prior will get beyond the derivative, lurid monsterworks he's currently producing. Second, because the immensely likeable cove, French-born Stéphane Denève, is so busy... Read more... |
Bernstein on Broadway, Queen Elizabeth HallThursday, 08 April 2010
One girl can hit a high C, and how; the other would surely melt the iciest-hearted in Rodgers and Hammerstein torchsongs. That's Roberta Alexander, on the evidence of her "Somewhere" last night. Together with classy lyric-coloratura Claron McFadden, the beaming high Cs girl, and sophisticated pianist-animateuse Reinild Mees, she ran the gamut of Bernstein's song-and-dance cornucopia. Read more... |
Philharmonia Orchestra, Muti, Royal Festival HallTuesday, 30 March 2010
If all orchestras inspire a sense of loyalty to some degree, then the Philharmonia perhaps does it better than most. Mackerras is still performing with them, 54 years after he first conducted the orchestra; so is Maazel, who has clocked up 41 years, on and off. There’s Ashkenazy and Dohnányi. And then of course there’s Riccardo Muti, who appears to have been given the unofficial title of conductor-in-chief of anniversaries. |
London Symphony Orchestra, Ticciati, Barbican HallFriday, 26 March 2010
It’s a very assured - not to say very brave - young conductor who chooses to make his debut with the London Symphony Orchestra in Sibelius’ notoriously challenging Seventh Symphony. Mighty talents have fallen at this particular fence, defeated by the work’s circuitous evolution and elusive logic. Robin Ticciati has no fear, though, and more importantly has been mentored by a man who knows the Sibelian psyche and terrain better than most – Sir Colin Davis. Could this be his heir apparent? |
Martin Fröst, Roland Pöntinen, Wigmore HallWednesday, 24 March 2010
It’s tempting to say that if Martin Fröst didn’t play the clarinet then he’d be an actor or a dancer. But he is an actor and a dancer and at one point during this scintillating recital he even sang, too – whilst playing the clarinet at the same time, of course. That’s a given. It’s an extension of his lissom body, and in his shiny grey silk suit and untucked shirt he looked decidedly feline. Ever heard a clarinet purr? Ever heard it yowl, scamper, hiss, scratch? Read more... |
Hilary Hahn, Violin and Voice, BarbicanTuesday, 23 March 2010
Concert programming can become a little bit predictable, don’t you think? If we’re honest, there are quite a lot of standard programmes bouncing around our halls at the moment. Don’t get me wrong; I understand that putting together an original and enticing programme isn’t easy. There are problems by the bucketload: what to pair with a big symphony, other than another big symphony; what to partner with a radical contemporary piece, other than Bach or something medieval; what to put before Rach 2... Read more... |
Martino Tirimo, Kings PlaceSunday, 14 March 2010
This is what Chopin anniversary year ought to be all about; not some celebrity showcase of plums and cornerstones in too large a hall before a restless audience, but a thoughtfully planned adventure zigzagging through the complete works on which the listener feels privileged to eavesdrop, and where the chameleonic genius of the composer always comes first. This eighth concert in the... Read more... |
Wolfgang Rihm Day, BarbicanSaturday, 13 March 2010
It's hard to miss German composer Wolfgang Rihm. He has an enormous head. There it is, bulging from his giant frame, a big, friendly grin slapped onto it while he wanders around the Barbican on his celebratory day, none of it going to waste. Listen to his prolifically combustible music, the million and one ideas hurtling about with the energy of a school playground and the intensity of a burning sun, and you soon realise that all that cranial space is probably quite necessary.
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London Symphony Orchestra, Adams, Barbican HallFriday, 12 March 2010
Adams began with two Debussy preludes swept by a different kind of wind in Colin Matthews's ingenious, luminous orchestrations. Well, windswept was the idea, but there was no more elemental scouring here than by all accounts there had been in the Britten Sea Interludes from Peter Grimes on Sunday (interesting parallel programming, though). Read more... |
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