Southbank Centre
igor.toronyilalic
Let no one tell you that Chinese pianists can't play with passion. Yuja Wang ran the full gamut of emotions in last night's Queen Elizabeth Hall recital from the tender to the rhapsodic. But mostly she channelled her energies to delivering some of the most colourfully explosive playing I've heard for ages. A good deal of excitement comes from the fact that Wang is a pianist that plays with her whole body. One gets as much of a thrill from watching the extraordinary lever activity of her feet, which must navigate pedals and five-inch heels simultaneously, as one can from her spidery hand Read more ...
igor.toronyilalic
This has to be the only music festival I've ever been to where two vacuum cleaners were on standby in case the star performer conked out. But that's what happens when your star performer is a player piano - they seem to run on Hoover tubes. With 11 concerts and one film in two days, this celebration of American maverick Conlon Nancarrow was London's alternative marathon. One that was no less eccentric, exhausting or adrenalin-generating (though much less running-based).At the core of the weekend was a nine-concert cycle of the complete studies for player piano. As far as anyone knew, it was Read more ...
theartsdesk
Southbank Centre’s current season has included weekends devoted to three contemporary giants: Pierre Boulez, Conlon Nancarrow and George Benjamin. But it closes with a festival devoted to not to one contemporary composer but 20. The New Music 20x12 weekend, initiated by the PRS for Music Foundation, is a Olympic celebration of the range and diversity of new British composition. Indeed, the only thing all 20 pieces will have in common is that – you’ve guessed it - they will last 12 minutes.Performances will take place all over the Southbank Centre, and 14 of them will be freeSome of Read more ...
igor.toronyilalic
Oh boy. More Schubert. Deep breath. I had flashbacks of last month's wall-to-wall Franzi on BBC Radio Three. Nothing's come closer to ending my lifelong love affair with the tubby Austrian than the endless stream of half-finished three-part drinking songs that seemed to become the mainstay of that week-long celebration. Thankfully, last night at the Royal Festival Hall, we weren't getting any old Schubert. We were getting the great final trio of piano sonatas. And it wasn't just any old pianist performing them. It was Mitsuko Uchida. Who better to rekindle my feelings for the composer than Read more ...
geoff brown
A mischievous part of me firmly believes that from the mountain of dubious art works produced in the world since the 1980s, the most dubious of all have been the percussion concertos. I know I’m being somewhat harsh, for I’ve thrilled along with most audiences to James MacMillan’s Veni, Veni, Emmanuel – far and away the best piece ever premiered by Evelyn Glennie, instigator of this percussion avalanche. But these ears have also been witness to enough trivial and meretricious concoctions to feel at least some trepidation before the launch of another percussion world premiere.Having Colin Read more ...
igor.toronyilalic
Lightness. Tenderness. Grace. These are not words you normally associate with Barenboim's pianism - not these days. But they were exactly the thoughts running through my head while listening to his performance of Mozart's C minor piano concerto last night at the Royal Festival Hall. Subtly marshalling his Staatskapelle Berlin from the keyboard, Barenboim was a wholly transformed figure from the ingratiating, lollipop-distributing showman I'd seen at the Tate Modern last year. It wasn't immediately certain that we weren't going to get Barenboim the splashy ringmaster again. The first Read more ...
geoff brown
Looking at John Wilson conduct, it’s possible to think that you’re watching an incarnation of that Proms favourite of decades past, Sir Malcolm Sargent. The immaculate tailcoat, shining white cuffs, the florid gestures with a baton as long as a magic wand: the only missing visual ingredient is Sargent’s self-regarding air. On Sunday afternoon at the Festival Hall, Wilson, Britain’s golden maestro of light music, garnished the impression by venturing into some of Sargent’s own territory with The Yeomen of the Guard: the only quasi-serious piece among Gilbert and Sullivan’s corpus, and the only Read more ...
geoff brown
If Dr Frankenstein wanted to manufacture the perfect violinist, he’d require a long list of ingredients. Perfect, unfussy technique, of course; but also seriousness of purpose, a sense of humour, a clear head, a passionate heart, a generous tone, plus access to a Stradivarius. On the other hand, the good doctor could simply go out and find Julia Fischer, the 28-year-old German violinist who ticks almost all of the above boxes, except perhaps “sense of humour”. There’s not a flashy or egotistical bone in her body, nor an itchy one: even six years ago she’d vaulted way past the promising stage Read more ...
alexandra.coghlan
In this, the work’s 50th anniversary year, there will be a lot of War Requiems. Benjamin Britten’s howl of Pacifist conviction has lost little of its poignancy since its composition – a period marked by the almost continuous military presence of British forces abroad. With action in Afghanistan coming to a close and political stirrings animating the Falklands issue once again, this plaintive reminder of “truth untold”, of the “pity of war” still speaks loudly and directly. In the workmanlike hands of Maazel and the Philharmonia Chorus, heavenly trumpets blare and military glory is neatly Read more ...