Barbican
alexandra.coghlan
Ian Bostridge’s relationship with Schubert’s song-cycle Winterreise goes back 30 years. Many of those years have been spent in the public eye (and ear), allowing us to watch the tenor grow and grow-up with this music. It’s been over a decade since his first recording of the cycle with Leif Ove Andsnes, and almost that long since David Alden’s filmed version; the Bostridge who tours the cycle with Thomas Adès this year is quite a different singer and performer.The most marked shift is one of tone. Listen back to the Andsnes recording and you’ll find a singer alive and sensitive to the cycle’s Read more ...
graham.rickson
Elgar. Hmm. Music for the home counties. Party conferences. Golf clubs, and chaps wearing tweed jackets. All wrong, of course; it’s easy to forget that this most misunderstood of composers was actually a bit of an outsider. A self-taught, working-class Catholic, he definitely wasn’t a member of the establishment.Elgar’s First Symphony isn’t music for crusty old buffers, and John Wilson’s coruscating performance with the National Youth Orchestra of Great Britain served to highlight its many wonders. Despite the vast forces assembled, has Elgar’s scoring ever sounded so transparent? Or, dare I Read more ...
David Nice
Heritage Shakespeare for the home counties and the tourists is just about alive but not very well at the Royal Shakespeare Company. If that sounds condescending, both audiences deserve better, and get it at Shakespeare’s Globe, where the verse-speaking actually means something and the communication is much more urgent. Maybe it didn’t help that I saw RSC artistic director Gregory Doran’s diligent trawl through both parts of Henry IV less than a month after Phyllida Lloyd’s dazzling, visceral portmanteau version at the Donmar, welding most of Part One to selective scenes from its successor. Read more ...
David Nice
How disorienting it is to find century-old works in the concert repertoire of which you can still say “I’ve never heard anything like it”. That must have been the reaction of most audience members last night to Tuscan-German composer Ferruccio Busoni’s 85-minute symphony-concerto for piano, orchestra and male voice choir, since only a few will have caught what classical anoraks tell me was its only other London performance in recent years, at the 1988 Proms.This misleadingly named Piano Concerto crowned a magnificent triptych of a concert programme centred around the Janus-headed year 1902, Read more ...
Tom Birchenough
Hong Kong master Wong Kar Wai has ventured into new territory with The Grandmaster. Many years in the making, his new film is a remarkable portrayal of martial-arts traditions, specifically the story of kung fu master Ip Man from his early life in mainland China on the eve of World War II, through to post-war exile in Hong Kong. It was there that he set up his own Wing Chun school, which would with time achieve huge international popularity; Ip went on to train future kung fu stars, most notably Bruce Lee.Fans of the heightened aesthetics of Wong’s early arthouse masterpieces like 2000’s In Read more ...
Thomas Rees
It’s not easy to write about a gig when you’re still shaking with adrenaline, still less so when that gig is the grand finale of the 2014 EFG London Jazz Festival, the climax to a giddy ten days of world-class contemporary music. But it’s a cross I’ll have to bear, because last night’s performance from legendary saxophonist Charles Lloyd and jazz giants tenorist Joe Lovano and trumpeter Dave Douglas demands it.Appearing as part of their Sound Prints quintet, completed by young pianist Lawrence Fields, bassist Linda Oh and the ebullient Joey Baron on drums, it was Douglas and Lovano who took Read more ...
David Nice
Had the BBC Symphony Orchestra been at full stretch, rather than in the neoclassical and otherwise selective formations of last night’s concert, it might have outnumbered the live audience. Perhaps I exaggerate, but not much; this was never going to be a box-office hit. A big-name soloist might have made a difference. But just about every orchestral principal last night was a star, thanks to the cornucopia of solos in Respighi’s Trittico botticelliano and Strauss’s Suite from Le bourgeois gentilhomme. Besides, the programming was clever and satisfying, no doubt about it, with the blue skies Read more ...
Jenny Gilbert
Were it not for William Christie and Les Arts Florissants, the vocal and instrumental ensemble he started in Paris in the 1970s, the beauties of the musical French Baroque might have remained a dusty fact of pre-Revolutionary history. As it is, there is barely a singer, player or conductor now performing Lully, Couperin, Rameau, Charpentier et al who has not benefited from the life’s work of this diligent conductor-musicologist. Through him, their arts are indeed flourishing.So a one-off concert at the Barbican, part of a Europe-wide tour to mark the 250th anniversary of the death of Read more ...
peter.quinn
Is it just me, or do Guy Barker's orchestral charts for Jazz Voice get more refined, more nuanced, more richly detailed every year? Effectively becoming earworm central last night, the Barbican resounded with tintinnabulating glockenspiels, delicately plucked harp strings, punchy horn charts and luxuriant strings, as Barker sprinkled his arranging magic over the customary epoch-spanning celebration of anniversaries, birthdays and milestones stretching back from 2014.Grounded by the fabulous rhythm section of pianist Dave Newton, bassist Chris Hill, drummer Ralph Salmins and the Read more ...
David Nice
Earlier this year two giant puppets, plus a bottom (lower case, human) on wheels, dominated Shakespeare’s dream play at the Barbican. Replace the bottom with an ever-present little dog and you might think we’re back more or less where we started nine months ago. But what the febrile imagination of Russian theatre surrealist Dmitry Krymov gives us is the rude mechanicals’ Very Lamentable Comedy of Pyramus and Thisbe, Sort Of, along with audience interpolations beyond anything the priggish Theseus, Hippolyta and lovers ever ventured, in an often hilarious, occasionally tedious and anything but Read more ...
graham.rickson
Barry: The Importance of Being Earnest Soloists, Birmingham Contemporary Music Group/Thomas Adès (NMC)I missed the live performances of this work; being allergic to Wilde as a dramatist, I wasn't in any hurry to assimilate The Importance of Being Earnest as contemporary opera. But this is a superb live recording – edgy, brilliantly sung and boasting electrifying playing from Thomas Adès' Birmingham Contemporary Music Group. And while I didn't laugh out loud, I was beguiled and entertained by Gerald Barry's ruthless deconstruction of Wilde's original. Which could probably form the basis Read more ...
David Nice
Dvořák’s rustic operetta sits, swinging its legs rather diffidently, historically somewhere between the neverland Bohemia of Smetana’s The Bartered Bride and the lacerating reality of village life in Janáček'’s Jenůfa. The Cunning Peasant’s charms lie in its string of sophisticated songs and dances, more through-composed than Smetana’s, and in the abundance of not over-taxing roles, as well as chorus numbers, it offers to students.That the Guildhall School embraces these so cheerfully has much to do with the way that fine, underrated conductor Dominic Wheeler effortlessly drives the tractor, Read more ...