Classical music
Boyd Tonkin
Good conductors should surely be seen as well as heard. Positioned behind Emanuel Ax’s piano in Brahms’s first piano concerto, with the two flanks of the London Philharmonic’s strings spread wide on either side across the stage, Karin Canellakis sometimes looked from the stalls of the Royal Festival Hall as if she were directing the chamber ensemble of horns and woodwind just in front of her. Thankfully, the sounds she spun from the LPO and her much-loved veteran soloist told a much more comprehensive story. Ax embraced the work like the old friend it is to him, perhaps holding back Read more ...
David Nice
A 150th birthday cornucopia was anticipated: vintage chamber and vocal Vaughan Williams in a big Wigmore Hall three-parter alongside music by other great Brits. It turned out, instead, to be a handsome if overlarge horn sounding several cracked notes.None of those had to do with the performances, which were first-class throughout: could it be otherwise with players from the Nash Ensemble, baritone Roderick Williams and 14 other remarkable British-based singers? Let’s get the moans out of the way first. This was proof that VW’s Five Mystical Songs and Serenade to Music, typical of his taste in Read more ...
Robert Beale
Within its own aspirations, Orpheus is a complete triumph. “Monteverdi reimagined”, as Opera North subtitled it from the start, is an attempt to unite (and contrast, and compare, and cross-fertilise) early baroque opera with South Asian classical music.That’s a big ambition, as the two might seem to have little in common. But Anna Himali Howard’s simple production concept of a marriage celebration, where Orpheus is a white British guy and Eurydice an Asian girl, set in the back garden of a semi-detached house – probably in Leeds – is a symbol of the whole enterprise.The design (Leslie Travers Read more ...
Christopher Lambton
This was one of those rare occasions when a somewhat diverse collection of pieces knits together into a rather satisfying programme. To start at the end, the Saint-Saëns “Organ” Symphony is a rumbustious crowd pleaser not least because of its theatrical appeal: the lone organist sitting way above the orchestra unleashing the final peroration in a great surge of full-fat romantic harmony.“Feel how it moves the air”, as the late great Carlo Curley once told me, of the then partially defunct Usher Hall organ. Now in fine fettle, this great civic instrument by Norman and Beard makes light work of Read more ...
David Nice
If there’s a dud or a dullard among Sibelius’s 116 official opus numbers, I haven’t heard it. Yet catching even many of the outright masterpieces live in concert isn’t easy; the brevity that can show us a world in under 10 minutes makes some difficult to programme.All hail, then, to the BBC and scholar/biographer Daniel Grimley for mapping the Finn’s legendary universe in three concerts of wall-to-wall Sibelius and another placing his two main pupils’ choral music alongside his own.Missing Grimley’s morning introduction was excusable: at exactly that time I was submitting to the pneumatic- Read more ...
Rachel Halliburton
When Roberts Balanas was at the Royal Academy of Music he was asked to perform something “different” for an open day. The Latvian violinist already had a reputation for being as experimental as he was virtuosic. He began with a rendition of the Andante from Bach’s Sonata 2 in A minor – a tricky polyphonic piece in which the violinist must accompany the melody with repeated notes on the lower string. Yet as the piece progressed he started to introduce some of his own harmonies, gently shifting the polyphony till it sounded more like something from…ABBA.This witty, teasing musical hybrid Read more ...
David Nice
A double-sided A4 sheet is better than a programme online only – the default for several London venues now – but the Wigmore Hall missed a vital trick in failing to tell us what Boris Giltburg intended in a transcendental sequence which should have been headed “death and remembrance”, He’s an eloquent writer, too; his own note would have been much better than the disconnected observations we got about Bach/Busoni, Ravel, Chopin and Medtner.No matter: the unity in variety was both stunning and perfectly placed in a recital of two equally compelling but very different halves. Everything, Read more ...
graham.rickson
Colourise London Choral Sinfonia/Michael Waldron, with Roderick Williams (baritone), Andrew Staples (tenor), Elena Urioste (violin) (Orchid)Colourise, the latest album from by the London Choral Sinfonia, proved revelatory: I came for the Vaughan Williams, but got unexpectedly drawn in by the Lennox Berkeley. His Variations on a Hymn by Orlando Gibbons gets its premiere recording and is a piece I am very pleased to know: it grows engagingly from a humble beginning, solo strings quietly mimicking viols, before growing to fill its 19-minute duration without feeling a moment too long. Read more ...
Robert Beale
As Sir Mark Elder begins his penultimate season as music director of the Hallé, it’s clear that his command of, and communication with, the orchestra are as complete and purpose-driven as ever. It’s the first Thursday series concert of the new season, and at last a full set of concerts is in the offing, after three years of interruption and adaptation, but change is in the air.The orchestra’s new leader, Roberto Ruisi, takes his place and there are some guests in other principal roles as well. But this is still very much the orchestra Elder has moulded, with the sound he crafted and at least Read more ...
Elena Dubinets
Just as I was moving from the US to the UK to begin working as the Artistic Director of the London Philharmonic Orchestra last summer, the orchestra was emerging from the COVID-19 period and our audiences began coming back. During the course of the first few concerts, I realised over and over again that the LPO’s strategy should be based on creativity, flexibility and access – and on tying our work to the needs of the community.In the COVID years, when nothing was normal anymore, we all realised that orchestras have a broader role in civic life and in society and that we must strive to Read more ...
David Nice
“What about the communication with the audience?” asked violinist and impresario Bjarte Eike in his First Person piece for theartsdesk. “How can a 'normal' concert be turned into a special event?” Explaining how is one thing – but doing it to dazzle our senses is what counts. Though the Alehouse Session which followed out in the foyer was brilliant business more or less as usual, “Purcell’s Playhouse” took us further on the road of making the old absolutely new.The cue for our entertainment surely came from great Henry himself, purveyor of theatre music for curious hybrids as well as odes and Read more ...
Rachel Halliburton
It probably tells you all you need to know about Igor Levit that when a mobile phone pinged just before his encore, he neither ignored it, nor seemed annoyed, but turned it into a seamless musical gag. After sending a ripple of laughter through the audience as his eyes widened in comedic shock, he played a responding ping on the piano at exactly the same pitch. But then, as the New Yorker article famously put it, Igor Levit is “like no other pianist”. Musically, politically and technologically he is so consistently on the pulse that frankly you would have expected nothing less.This moment of Read more ...