Between bouts of that far from shabby, still shocking masterpiece Tosca, Royal Opera music director Jakub Hrůša went for fleshcreep: too little of Bartók's The Miraculous Mandarin – given a chorus, he could have done the half-hour ballet, not just the suite – and too much of a spooky thing in a big Dvořák cantata.The Spectre's Bride was last heard in London at the Proms conducted by Hrůša’s late master Jiří Bělohlávek. I’d only previously heard Rozhdestvensky feature it in a 1991 Prom, and was racking my brains to remember why it didn’t stick. Here’s the reason. Imagine, Read more ...

Does the orchestra that sways together play together? Quite apart from their (reliably gorgeous) sound, the tight-packed strings of the Gewandhausorchester Leipzig made quite a sight at the Proms as they collectively surged through key passages of Dvořák and Sibelius as if staging a succession of seated Mexican waves. That, of course, was merely the visible token of the seamless integration that their music director, Andris Nelsons (pictured below), sought and found in this concert that brought the Leipzigers’ legendary focus, density and polish to the Royal Albert Hall. All that fabled Read more ...

 Michael Tilson Thomas: The Complete Columbia, Sony and RCA Recordings (Sony)Big box sets continue to arrive. This one’s a whopper: 80 discs celebrating Michael Tilson Thomas’s 80th birthday. Artistic qualities aside, the production values here are superb, Sony’s 200-page hardback book accompanying individual discs replete with original sleeve art and spines that display each CD’s contents. This is a minor detail but a significant one, making it easy to find the performance you’re looking for. As with the recent Paavo Järvi set, it’s nice to see a celebration of a conductor who’s very Read more ...

 Schubert: Sonata in G major D. 894, Moments Musicaux D. 780, Fantasy in F minor D. 940 Maurizio Pollini, Daniele Pollini (pianos) (Deutsche Grammophon)What a superb cover image for the last recording by Maurizio Pollini (1942-2024). Pollini ‘père’ is seated at the piano, backlit. His son Daniele (b.1978) stands behind him, looking over his shoulder.  Cosimo Filippini’s photograph tells the story of this album so well. Pollini is in the role of the authoritative guide, as if teaching his son – and us listeners – lessons about this music. I can somehow imagine him repeating Paul Read more ...

“Sero sed serio”: so runs the Salisbury family motto on the carved coat-of-arms in the lavishly panelled and painted Marble Hall of Hatfield House. “Late, but in earnest”. The first adjective certainly doesn’t apply to any member of the Kaleidoscope Chamber Collective, five of whom performed in the Hall for one of the centrepiece events of the 13th Hatfield House Music Festival.The Collective, founded by violinist Elena Urioste and pianist Tom Poster in 2017, hosts a flexible roster of instrumental partners equipped to deliver small-ensemble pieces across a spectrum of different Read more ...

Namedrop first: it was Charles Mackerras who introduced me to the music of Vítězslava Kaprálová, lending me a CD with her Military Sinfonietta leading the way. It piqued interest, but more as a sense of promise cut short: this abundantly gifted young woman, first female conductor of the Czech Philiharmonic at the age of 22 when she premiered the work, died three years later before fulfilling her genius.Last night’s performance of what might be more accurately called Semi-military Kaleidoscope, though it couldn’t have been finer than in the supple hands of Jakub Hrůša in his second Prom with Read more ...

How easy it is to fall instantly in love with the Dvořák Cello Concerto. And particularly when it is played by an orchestra as fine as the Czech Philharmonic.Everything’s there in the opening minute. We get our first, wonderful. ear-wormish theme straight away, from the subtle grenadilla wood of a lone clarinet in A. Then we hear it build in what seems no time at all to the blaze of the full orchestra. Dvořák marked that first glorious arrival “Grandioso”, and the whole of the strings, wind and brass are involved, every single player throwing her or his whole being into the fortissimo. Read more ...

The summer festival circuit in Central Europe can be a bit of a merry-go-round. Notices in festival towns promise world-class orchestras and soloists, but they are usually the same performers, making festival appearances as part of broader touring schedules.But a festival needs to be distinctive, it needs to be unique. Any hint of routine is fatal to its spirit of occasion. The setting usually helps, and the festivals in Lucerne and Gstaad both take place amid breathtaking scenery and in towns of real charm and character. Add to that a homegrown ensemble – typically a festival orchestra – and Read more ...

When you’re running a three-concert residency, you can afford to take a few repertoire risks, to programme a few things that might be close to your heart but which won’t pack in the punters.That must be the reason why the Bamberg Symphony Orchestra’s EIF residency included Hans Rott’s First Symphony in its first night and in this, its last, Dvořák’s Te Deum and Josef Suk’s Asrael symphony, works close to Chief Conductor Jakub Hrůša’s heart but which don’t resonate so much with British audiences.Predictably, therefore, the Usher Hall was only half full for both of those concerts (their middle Read more ...

It’s probably a bit early to be getting misty-eyed about the approaching end of Sir Mark Elder’s time as music director of the Hallé, but the programme he and they have just finished touring in the North of England will have been, for many, his real farewell.Its last outing was at the Bridgewater Hall yesterday, and it was (characteristically) a blend of the much-loved and familiar and something adventurous and new.That second element comprised the European premiere performances of a new piano concerto written and played by Sir Stephen Hough – titled The World of Yesterday, it was Read more ...

As he approaches his 70th birthday, Masaaki Suzuki has not just travelled into pastures new but proved himself thoroughly at home in them. The founder-director (in 1990) of Bach Collegium Japan, a distinguished harpsichordist-organist as well as one of the most rigorous and scholarly interpreters of the Baroque legacy, has just completed a tour with the Philharmonia that joyfully embraced a selection of Romantic masterworks. They returned from Spain to the Royal Festival Hall (pictured below) with a programme that saw Suzuki, stick-less and relaxed but fiercely attentive to every fine Read more ...

We began in a forest packed with dangers and delights and ended, also in the Czech lands, with an infectiously joyful country dance. In between, however, came a sombre and spellbinding exposure to the pain and grief of war.Last night at the Royal Festival Hall, Ukrainian guest conductor Oksana Lyniv led the London Philharmonic Orchestra in spirited interpretations of two life-enhancing favourites from a place somewhat to the west of her beleaguered homeland: Janáček’s orchestral suite from his opera The Cunning Little Vixen, and Dvořák’s ebulliently tuneful Symphony No. 8. Yet the piece Read more ...