Strauss
graham.rickson
Jacqueline du Pré: The Complete Warner Recordings (Warner Classics)There’s something both humbling and miraculous that a great musician’s recorded output can be squeezed into a neat box. Most of the material in Warner Classics’ latest Jacqueline du Pré collection has been reissued before, but one suspects that this will be its final appearance in CD format. Multiple sclerosis ended du Pré's playing career in 1973; 50 years on, one wonders whether her stellar reputation was justified, and whether these recordings stand up. Asking a couple of string playing contacts and trawling Read more ...
Christopher Lambton
It is quite some years, if not decades, since the Edinburgh International Festival had any claim to be a festival of staged opera. This year we have had just one – Garsington Opera’s bewitching Rusalka – surrounded by a handful of concert performances: Beethoven’s Fidelio with the Philharmonia under Donald Runnicles, Handel’s Saul (yet to come), and Sunday evening’s Salome.There is, of course, much to be said for a really good concert performance; the bar was set almost unattainably high in the 1990s by Sir Charles Mackerras and the Scottish Chamber Orchestra’s series of Mozart’s Da Ponte Read more ...
David Nice
Klaus Mäkelä, 26-year old chief conductor of the Oslo Philharmonic and Orchestre de Paris, lined up for the same role at the Royal Concertgebouw Orchestra in 2027, knows exactly where he’s going: a crucial asset in the idiosyncratic ebb and flow of orchestral oddities by Sibelius and Strauss. So, too, does pianist Yuja Wang; boundless imagination matched to phenomenal technique made something far more fascinating than usual of Liszt’s First Piano Concerto.If you dwell too much on the age of one – yes, I mentioned it just the once – or the fashion sense of the other – she can wear Read more ...
graham.rickson
Fauré: Complete Songs Cyrille Dubois (tenor), Tristan Raës (piano) (Aparté/ Palazzetto Bru Zane)Forget streaming. Go and buy albums. This 3-CD box set of Fauré songs by tenor Cyrille Dubois and pianist Tristan Raës comes to life when it is paired with its brilliantly put-together 140-page booklet, of essays and words and translations, making the whole enterprise worthwhile. The essays tell the story of the phases in Fauré’s songwriting clearly and thoughtfully. And if there’s a single unidiomatic translation or misprint lurking somewhere in the acres of text, I haven’t yet found Read more ...
David Nice
When in 2018 Andris Nelsons and his "new" Leipzig orchestra sealed an auspicious partnership with a locally significant but modestly scaled symphony, Mendelssohn’s “Scottish” (No. 3), they could not have foreseen two years ahead when the bigger orchestral works would stay under wraps. Nelsons’ “Richard Strauss project”, shared between Leipzig and his other orchestra, the Boston Symphony Orchestra, makes sumptuous amends.Sadly, the Boston diptych due to follow this one in London has been cancelled, and the second of the Leipzig concerts (★★★) – I missed the first owing to Europe Day duty/ Read more ...
Christopher Lambton
In my last review from Edinburgh, I remarked on the sheer size of the National Youth Orchestra of Scotland, with over 100 players on stage. Little did I know that two weeks later the Royal Scottish National Orchestra would swell its ranks with around 50 young students from the Royal Conservatoire of Scotland, taking the total number of musicians to over 130. This was for a performance of Richard Strauss’s An Alpine Symphony, a somewhat gargantuan piece at the best of times, but here rendered with almost overwhelming volume.But that was after the interval. The RSNO began the evening, the first Read more ...
David Nice
So Helen of Troy arrives at a church in Fulham via Poseidon’s island palace and a pavilion at the foot of the Atlas Mountains. She’s trickier than ever in the golden but tangled web Richard Strauss and his myth-and-symbol-mad poet Hugo von Hofmannsthal weave around the story of a phantom beauty wreaking havoc on Greeks and Trojans while the real version gets whisked off to the Egyptian desert. Given an ultimately voluptuous first act and a disastrously wambling second, it’s the most perilous Strauss opera of the lot, and it seemed like madness for a pocket group in west London to take it on. Read more ...
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. Who’d have thought we’d be witnessing such phenomena when, contrary to what the orchestra’s CEO claimed at the start and the unmasked half of a packed audience seemed to think, we haven’t even reached the “post-Covid era”.Never mind the long-term implications; by the time we reached the huge arc of Strauss’s one-movement Alpine Symphony, everyone in the audience must surely have been feeling the physical Read more ...
Douglas McDonald
This lively interpretation of Richard Strauss’s opera within an opera provides a feast for the senses as a musical highlight of the Edinburgh international Festival. As with the rest of the festival’s 2021 programme, the opera is performed outdoors, in a hangar designed to protect the audience from the Scottish elements and to allow for social distancing.While the venue has proven challenging for some concert performances, it feels appropriate for the setting of Ariadne auf Naxos.The two-hour show is an excellent choice for a slightly chilly evening, as Strauss delights in revealing the Read more ...
David Nice
Whatever else happens on the country opera scene this summer, the golden rose award for sheer chutzpah goes to the ever-ambitious Garsington team in pulling this off in no small style. Planning any production of Richard Strauss and Hugo von Hofmannsthal’s intricate 1911 “comedy for music” is daring at the best of times; in the still-shaky Covid era, the decision to go ahead might have seemed foolhardy. The life-saver would seem to have been Eberhard Kloke’s reduced orchestration of the 100-plus-players original, briefly annoying in places where a piano substitutes for instruments still Read more ...
David Nice
Venus, Cupid, Folly and Time stalk this haunting dream of a Rosenkavalier. The love games of teenager Octavian and his experienced mistress the Marschallin are sexy and plausible; the comedy of ridiculous Baron Ochs keeps a low profile, but stays real and turns out funny in unexpected places; a winged old gentleman (Ingmar Thilo) embodies the second and fourth manifestations. Does he make up for all the detail in the minor and non-singing roles shed by director Barrie Kosky? For me, yes. Hugo von Hofmannsthal’s libretto for Richard Strauss, firmly rooted in the detail of a mid-18th century Read more ...
Robert Beale
The second of the Hallé’s Winter Season concerts-on-film is scarcely less ground-breaking than the first. But this time we are in the orchestra’s second home, the former church now extended to be Hallé St Peter’s in the regenerated part of Manchester's city centre. The same skilful use of camera techniques to show a socially distanced ensemble, with Sir Mark Elder as conductor and, this time, Roderick Williams as vocal soloist, makes satisfying visuals to go with arresting sound. Despite limited resources in the installed lighting, there’s still effective use of washes of colour in the Read more ...