Bach
Jessica Duchen
Daniil Trifonov, 23, has shot to prominence as one of the hottest pianistic properties of the moment. With multiple competition wins behind him, including the Tchaikovsky in his native Russia, plus a recording contract with DG and a frenetic globe-trotting schedule, he is now a very busy young man. Last night’s London appearance was his recital debut at the Royal Festival Hall, a venue only accorded to the biggest names in the Southbank Centre’s International Piano Series, the new season of which he was opening.A sizable though not quite capacity crowd of pianophiles largely took this young Read more ...
alexandra.coghlan
Peter Sellars’ work used to be about making a statement. He would dislocate texts from contexts, subvert musical suggestion and ignore written statement for the sheer joy of the artistic friction it would generate. The beauty of his St Matthew Passion staging however, first seen in 2010, is that it does nothing of the sort.By the end of three hours of delicate, interpersonal drama and choric tableaux, Sellars has made no statement at all, and that refusal, that restraint, allows Bach’s music to speak louder than any amount of “konzept”. Of course Sellars is not alone in this. Jonathan Miller’ Read more ...
David Nice
“If this isn’t nice, what is?” Kurt Vonnegut’s vow to repeat his Uncle Alex’s mantra when things were going “sweetly and peacefully” has been much on my mind during various idylls this war-torn summer. It certainly applied to hearing three boys and a girl in their early teens play a cloudless early Haydn string quartet in the beautifully restored small neoclassical theatre of a perfect Umbrian hill town. But as so often with troubles elsewhere always at the back of our minds, nothing was quite that simple.The young people were totally focused on the work in a performance of astonishing Read more ...
David Nice
Despairing in the depths of the Second World War, Richard Strauss turned to Mozart’s string quintets as well as the complete works of Goethe for evidence that German culture still existed. Vaughan Williams might well have done the same for his native art during the so-called Great War in homaging the music of Thomas Tallis. In fact his great Fantasia was first performed in 1910, not long after Mahler completed his Ninth Symphony – again, not as a premonition of the cataclysm to come but in this instance as a personal, embattled late chapter reflecting on a life he knew was coming to an end. Read more ...
Kimon Daltas
Sir Roger Norrington, 80 this year, produced a masterful St John Passion in the first of his two appearances at this year’s Proms, built around his excellent Swiss chamber orchestra and the Zürcher Sing-Akademie.Predictably, one of the main highlights was tenor James Gilchrist (pictured below). He hasn’t become a one-man Evangelist industry by chance: the ringing tone, faultless diction and projection are his stock-in-trade, but the magic lies in the subtlety of his delivery and master storyteller’s engagement with the text. The distaste when Jesus is struck by the officers; the shivers of Read more ...
David Nice
“I feel so alone I could cry”. As the keynote of Adam Smallbone’s Passion in the breathtaking third series of Rev, that unspoken sentiment provided a passacaglia bass line to the failure of St Saviour’s. Made explicit In the mouths of possibly 600 Londoners just around the corner from that noble edifice, in reality the relatively thriving St Leonard’s Shoreditch, it felt paradoxically uplifting and – I feel myself sucked in to use the word now that I'm signed up to Spitalfields hip – empowering.Arnold Circus, the heart of London’s first major housing project now graced by beautiful planting, Read more ...
David Nice
Everyone who heard it must have been charmed by South African soprano Pretty Yende’s Radio 4 chat in which she recounted what hooked her on opera. It was a coup de foudre, watching a British Airways ad on telly at home in Piet Retief, and the sound of those two female voices entwined in the Flower Duet from Delibes’ Lakmé.Quite a catchy tunesmith, that Delibes: for those of an older generation, like myself, it was Lakmé's Bell Song which parents remembered from old films, occasioning in my case a trip to Sutton Record Library to find it on The World of Joan Sutherland. I became infatuated Read more ...
graham.rickson
Bach: St John Passion Academy of Ancient Music/Richard Egarr (AAM)The dissonant oboe suspensions at the start of Bach's St John Passion have a sharp, potent sting here, compelling you to sit up and listen with unusual attentiveness. Released in time for Easter, Richard Egarr's rather wonderful performance of was taped after concert performances given in 2013. This is one of those sets where you're compelled to drop whatever you're doing and listen to the whole thing in one sitting. Why is it so good? Much is to do with Egarr's shrewdly chosen speeds; the whole thing zipping along with Read more ...
Hanna Weibye
Belgian Alain Platel makes the kind of dance theatre (like Pina Bausch, to whom he has an oft-remarked debt) for which both “dance” and “theatre” are very loose and inadequate umbrella terms. “Sets” are often jaw-dropping colonisations of stage space; there are no flats or drops painted to resemble other things, but huge quantities of actual stuff with which the dancers interact. These “dancers” are actors too, but their “dialogue” is not continuous speech but snatches and fragments, absurd and incongruous phrases which sit in the air like the absurd and incongruous objects on the stage. And Read more ...
graham.rickson
John Adams: Harmonielehre, Doctor Atomic Symphony, Short Ride in a Fast Machine Royal Scottish National Orchestra/Peter Oundjian (Chandos)Harmonielehre's opening E minor chords ring out with unusual force in this swiftly-paced performance. The benchmark performance remains Michael Tilson Thomas's recent live San Francisco Symphony version, but this new one has some sensational moments. The RSNO's brass and percussion acquit themselves brilliantly, and Chandos's sound is punchy and immediate. Peter Oundjian understands the work's structure, allowing the repetitive ostinati to register as music Read more ...
Hanna Weibye
Is it odd that, in a bill containing an achingly contemporary première and a classic meditation on the First World War, a pastel-painted present for the Queen Mother’s birthday should race away with the honours?Not if it was by Frederick Ashton, the Royal Ballet’s founder-choreographer. He’s been rather an undersung genius since his death, but maybe last night will tip the balance towards him again in the capacity crowd stakes, for his plotless Rhapsody (1980) was the standout piece in the Royal Ballet’s latest triple bill. Much of the credit goes to Steven McRae, who danced his heart Read more ...
David Nice
Not every Yuletide fixture need be commercial and routine. Certainly St John’s annual Christmas Festival packs them in, but why wouldn’t it when the voices for the last two events, backed up by no less than the Orchestra of the Age of Enlightenment, are the best you could possibly find for the great monuments of Handel and Bach?Admittedly, Bach’s cornucopia of celebration isn’t an oratorio like Handel’s Messiah, rather a sequence of six self-contained cantatas, of which last night’s team omitted two which are in no way inferior to the others (indeed, Part Four, with its horns adorning two Read more ...