Classical Reviews
St Matthew Passion, Irish Baroque Orchestra, Whelan, St Patrick’s Cathedral, Dublin review - fluency, fire and some jaw-dropping solosSaturday, 02 March 2024
After last year’s small-scale, big-impact Messiah in the Wigmore Hall, superlatives are again in order for the IBO’s performance of the greatest musical offering known to humankind. With the fluency established by that most supple of directors Peter Whelan at the start of Bach's opening chorus leading to the astonishing heft of nine singers and gleaming instrumentalists at its culmination, we knew we were in for something approaching perfection. Read more... |
Hallé, Elder, Bridgewater Hall, Manchester review - Bruckner is backFriday, 01 March 2024
Sir Mark Elder conducted Bruckner’s Symphony No. 8 for his first time in last night’s Hallé series concert, a reflection of his untiring exploration of new territory even as he nears the end of his time as the orchestra’s music director. Read more... |
Colin Currie Quartet, Wigmore Hall review - toccatas for triangles and teacupsWednesday, 28 February 2024
I have never seen the Wigmore Hall stage more crammed with instruments than for this Colin Currie Quartet concert. Sadly the auditorium was not similarly packed, the hall’s admirable initiative of broadening its repertoire away from mainly dead Germans being disappointingly shunned by the regular patrons. Read more... |
'Migrations' String Quartet Weekend, National Concert Hall, Dublin review - memorials and masterpiecesTuesday, 27 February 2024
It was chance that the National Concert Hall’s weekend of quartet events featuring responses to war and refugees should coincide with the second anniversary of Putin’s Invasion of Ukraine. By late Saturday morning thousands of Ukrainians and friends had processed beneath our windows on Merrion Square with the usual array of flags and heartfelt banners; at 2.30pm we were listening to a Syrian poet’s words about devastation and displacement as set to music by Jonathan Dove. Read more... |
RSNO Chorus, Doughty, Greyfriars Kirk, Edinburgh review - breaking out in anniversary BrucknerMonday, 26 February 2024
The Scottish Chamber Orchestra Chorus has a well-established concert life away from the main orchestra; the Royal Scottish National Orchestra Chorus less so. So it was refreshing to get to hear them going it (almost) alone in Edinburgh’s Greyfriars Kirk, and the Bruckner anniversary gave them a good excuse, building their programme around a motet and the E minor Mass. Read more... |
Sánchez, National Symphony Orchestra, Martín, National Concert Hall, Dublin review - Spanish panacheSaturday, 24 February 2024
Ravel’s Boléro, however well you think you know it, usually wows in concert with its disconcerting mix of sensuality, fun and violence. Context can make it even more powerful: in this case as the culmination of NSO Chief Conductor Jaime Martín’s brilliantly programmed Spanish fiesta, a cool and even customer at first after chameleonic Chabrier and fidgety-brilliant, fluid Falla. Read more... |
Uproar, Rafferty, Royal Welsh College, Cardiff review - a rare spring in the new music stepSaturday, 24 February 2024
It’s not often one comes out of a concert of mainly new works with a spring in one’s step. A sigh of relief is rather more usual. But this concert on Thursday by the Welsh new music ensemble Uproar was an exception, partly but by no means exclusively because of the brilliant performance of John Adams’s invigorating, even appropriately uproarious Son of Chamber Symphony with which it ended. Read more... |
Fung, BBC Philharmonic, Weilerstein, Bridgewater Hall, Manchester review - clever and comicalMonday, 19 February 2024
Placing the UK premiere of Katherine Balch’s whisper concerto (for cello and orchestra) after Haydn’s Symphony No. 100 was probably an inspired idea from the BBC Philharmonic and conductor Joshua Weilerstein. Read more... |
Malofeev, BBCSO, Lintu, Barbican review - finesse as well as fireworksSaturday, 17 February 2024
This was a muesli programme: nutty, crunchy, just sweet enough, its success lying in the balance of the various ingredients. At times, such was the explosiveness of the playing, it felt like popping candy had been added to the muesli, but in a good way. The fireworks came in the brilliant John Adams finale, but also from the young Russian pianist Alexander Malofeev, whose playing blazed in the first half. Read more... |
Lugansky, Strasbourg Philharmonic Orchestra, Letonja, Cadogan Hall review - Russian soul, French flairWednesday, 14 February 2024
To judge by the post-interval empty seats near me, some of the Cadogan Hall audience had turned up last night solely to hear Nikolai Lugansky play Rachmaninov’s Second Piano Concerto. Well, the more fool them. For sure they would have enjoyed their not so-brief encounter with a truly distinguished Russian pianist – noble standard-bearer for a grand tradition – who gave a finely-polished, well-shaped rendition of this beloved old story (on the eve of Valentine’s Day, too). Read more... |
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