wed 16/04/2025

Classical Reviews

Geniušas, SCO, Emelyanychev, Usher Hall, Edinburgh review - glorious return to a much-missed venue

Simon Thompson

This concert almost had me in tears before a single note was played because it marked (joy!) the first classical concert to take place in the Usher Hall since it was shut in March 2020. She has been closed for eighteen long months, but she hasn’t aged a day.

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Philharmonia, Rouvali, RFH review - the really big orchestra is back for cosmic Strauss

David Nice

Two suns, two moons, two Philharmonia leaders sharing a front desk, two aspirational giants among Richard Strauss's symphonic poems bringing the number of players, in the second half, to 134.

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The Creation, Academy of Ancient Music, Cummings, Barbican review - back to choral paradise

Boyd Tonkin

Whatever the upsets and uncertainties of this musical season, the return of choral works at full scale and full power has been an unalloyed joy. And sheer, exhilarated, heaven-storming joy branded the Academy of Ancient Music’s reading of Haydn’s The Creation in the Barbican Hall on Tuesday night.

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Gerhaher, Faust, Wigmore Hall review - husky shadings and dark hues

Gavin Dixon

Christian Gerhaher and a string ensemble led by Isabelle Faust presented here a programme of works with a nocturnal theme. Gerhaher’s voice is an instrument of husky shadings and dark hues, so the night theme seemed wholly appropriate.

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Carnac, BCMG, Kemp, Music@Malling Festival - lyrical Turnage frames abstruse fancies

David Nice

Is there any composer alive who writes more luminously bittersweet elegies than Mark-Anthony Turnage? Taking key lines from memorialising poets through the ages as inspiration, he knows that instrumental phrases must sing, sometimes to invisible words, as well as dance if they’re to pierce the heart.

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Iestyn Davies, Aurora Orchestra, Collon, Kings Place review - Elizabethans and extraterrestrials

Boyd Tonkin

Music in London has faced down plagues, puritans, philistines and planners over the four centuries spanned by the Aurora Orchestra’s season-opener at Kings Place on Saturday. This concert in the venue’s “London Unwrapped” strand filled its main hall without distancing for the first time since the capital’s (and the world’s) latest pandemic struck.

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Nicola Benedetti, Barbican Hall review – from Bach to the Highlands via New Orleans

Boyd Tonkin

If a standard-sized recital hall can be a lonely place for a solo violinist, playing an auditorium of Barbican dimensions must feel like crossing a desert under pitiless spotlight sun. Happily, Nicola Benedetti’s prowess as a communicator means that she made those trackless wastes shrink into a shared garden where she, and we, explored her instrument’s many kinds of bloom.

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Kanneh-Mason, Terfel, RPO, Philharmonia Chorus, Petrenko, RAH review - an anniversary feast

Jessica Duchen

75 years after Sir Thomas Beecham founded the Royal Philharmonic Orchestra, it’s sobering to reflect that without this one person’s hubris and sheer cantankerousness, British musical life would be a whole lot worse off. Beecham, who fortuitously combined musical flair with force of personality and the inheritance of a pharmaceutical fortune, tended to start orchestras of his own after falling out with other ones.

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Black British Musical Theatre 1900-1950, Wigmore Hall review – a disappointing missed opportunity

Bernard Hughes

The Wigmore Hall is a bastion of white musicians playing the music of white composers to a largely white audience and it is to the credit of the management that, in seeking to diversify, it staged this lecture-recital on the history of black musicals in Britain from 1900-1950 in a main evening slot.

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Esther Yoo, Yekwon Sunwoo, Wigmore Hall review - Korean duo needs time to develop

Sebastian Scotney

The duo partnership between violinist Esther Yoo and pianist Yekwon Sunwoo is still at a very early stage.

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