Stravinsky
David Nice
Serendipity smiled on a lunchtime event you'd have been happy to hear any time, anywhere in the world. Edward Gardner's typically engaging short introduction told us that Royal Academy of Music string students were facing exams in a fortnight, so the brief was to find a programme predominantly for wind and brass. Quite apart from the fact that here were two amazing young soloists, RAM postgraduates, up to the mark of each work, the concertos in question were both created in 1924, both had divided double-bass parts - now that really was a coincidence - and (this bit I'm adding) Gardner had Read more ...
Robert Beale
The Hallé Orchestra is still in many ways the well honed, burnished instrument created by Sir Mark Elder over his near quarter-century as its music director, and his calm authority over it was apparent in almost every note of this, his second Bridgewater Hall appearance in the present season.Radio 3 listeners – the concert was broadcast live – will have been aware as much as those in the auditorium of the qualities of its playing under its now Conductor Emeritus: incisive articulation, intelligently balanced and unified ensemble, sweet and passionate string playing, rapier-thrust brass Read more ...
Rachel Halliburton
The Southbank Centre’s second Multitudes festival – which commissions artists ranging from filmmakers to acrobats to shine new light onto the orchestral repertoire – began last night in triumph with the Aurora Orchestra’s celebrated performance of Stravinsky’s The Rite of Spring from memory. As a musical feat alone this seemed the equivalent to building a human pyramid on a tightrope above the Thames, but the Aurora Orchestra heightened the challenge by sweeping us back to 1913 for a dramatised account of the Rite’s origin. Experiments fusing classical music and theatre are, perhaps Read more ...
graham.rickson
Lise Davidsen: Live at the Met Lise Davidsen (soprano) James Baillieu (piano) (Decca)
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This really is Lise Davidsen’s moment. At the time of writing, the singer often described “greatest dramatic soprano in the world” has just performed the opening night of a run of performances at the Metropolitan Opera as Isolde. She made her house debut in 2019 (as Lisa in The Queen of Spades) and has been frequently welcomed back: this is her ninth different role in a house which she is starting to call it her second home. The current production of Read more ...
graham.rickson
An English Violin Geneviève Laurenceau (violin), Orchestre de Picardie/David Niemann, with Jean-Frédéric Neuburg (piano) (NoMadMusic)
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An English Violin, from French violinist Geneviève Laurenceau, consists of a superb and thoroughly recommendable new recording of the violin concerto from 1935 by English composer Guirne Creith (born Gladys Mary Cohen, 1907-1996), and a beautifully played selection of pieces for violin and piano: Elgar from the late Victorian era, Rebecca Clarke from the 1920s, right through to Walton Read more ...
graham.rickson
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Stravinsky: Late Works Cappella Amsterdam, Nord Nederlands Orkest/Daniel Reuss (Pentatone)In 1952, his 70th year, Stravinsky had a compositional crisis. After completing his biggest piece – The Rake’s Progress – he felt unable to compose and didn’t know what to do. The route to a solution was laid out by Robert Craft, the young American conductor who had been helping Stravinsky with the English pronunciation of The Rake’s libretto. Craft led him to the serial music of the avant-garde – composers like Webern and Boulez – and this Read more ...
How to be a Dancer in 72,000 Easy Lessons, Teaċ Daṁsa review - a riveting account of a life in dance
Jenny Gilbert
Anyone who has followed the trajectory of choreographer-director Michael Keegan-Dolan and his West Kerry-based company Teaċ Daṁsa (House of Dance) will know by now to expect the unexpected. Such as a Swan Lake whose storyline, in part a searing attack on the abuses of the Catholic church, bore so little resemblance to the original that you might think you’d come to the wrong theatre until the spectacular finale seen through a blizzard of white feathers.His staging of Stravinsky’s Rite of Spring (a co-production with English National Opera) is up there with the finest, pitting Irish hare Read more ...
graham.rickson
Thomas Adès, Oliver Leith, William Marsey: Shanty, Aquifer et al Hallé Orchestra/Thomas Adès (Hallé)This album on the Hallé’s own label, rounds up recent works by Thomas Adès, alongside pieces by two British composers he has championed, Oliver Leith and William Marsey, all conducted by Adès himself. The first two Adès pieces both date from 2020, that year of uncertainty and cultural suspension. Shanty has an appropriately tentative air, mechanical lower plucked strings are set against sliding upper strings in a hypnotic web, repetitive but never quite repeating, Read more ...
Bernard Hughes
Every now and then a concert programme comes along that fits like a bespoke suit, and this one could have been specially designed for me. Two established favourites from big names of the 20th century plus a new-to-me piece by a forgotten figure worthy of re-discovery.And the LSO under Susanna Mälkki didn’t disappoint in any regard: this was a great night in the Barbican hall. I came across the black American composer Julia Perry (1924-1979) a few years ago, but this was my first chance to hear her music live. There are a few black and women composers getting performed these days who, I fear, Read more ...
graham.rickson
Reynaldo Hahn: Piano Quartet, Piano Quintet, Songs Karim Sulayman (tenor), Kaleidoscope Chamber Collective (Chandos)I’ve been a fan of the Kaleidoscope Chamber Collective for some time, having heard them in concert and on their excellent previous albums, which often seek out under-recorded composers and give them the spotlight: Samuel Coleridge-Taylor, Fanny Mendelssohn, Alma Mahler, Luise Adolphe le Beau. This album is another example of that, comprising chamber and vocal pieces by Reynaldo Hahn (1874-1947), not someone whose music I was previously familiar with. From being a darling Read more ...
David Nice
Out of innumerable Rite of Springs in half a century of concert-going, I’ll stick my neck out and say this was the most ferocious in execution, the richest in sound. Others may have wanted a faster, lighter Rite. But the two things that make every concert conducted by Klaus Mäkelä so extraordinary are that he inhabits the music to a visibly high level, and that he gets the fullest tone and urgent phrasing from every instrument.This was a love-in between players and conductor, and an exciting first for the London Symphony Orchestra. I remember former tuba-player Patrick Harrild saying of Read more ...
Boyd Tonkin
Every lover of folk-tales knows that the seeker has to endure dangers and setbacks before they finally win the prize. Last night, the ever-enterprising Aurora Orchestra played The Firebird – Stravinsky’s own musical vision of the intrepid hero who outwits the forces of darkness – on a unique site that presents an audience with its own kind of ordeals. Once the Tottenham IKEA, Drumsheds has undergone a metamorphosis from super-store to super-club.Set in a wilderness of concrete lots and wire fences, across a roaring highway, the big blue terminal-sized shed now offers 608,000 square feet of Read more ...