Baroque
alexandra.coghlan
According to the wit of either Dallapiccola or Stravinsky (history is divided), Vivaldi was responsible for writing not 600 concertos, but the same concerto 600 times. It’s a joke that has lingered stubbornly in the popular imagination. Had the concerto in question been one of the Four Seasons or indeed one from L’Estro Armonico I don’t think anyone would be objecting; it’s the workaday Vivaldi, those throwaway concertos composed with his eyes on his purse and his mind on his dinner that have so diluted his reputation. Doing their best to set the record straight, erstwhile Vivaldi champions Read more ...
alexandra.coghlan
The Wigmore Hall, with its laboriously marbled and gilded period interior, doesn’t exactly scream “rebellion”. Yet for the second time in as many months its conservative classical crowd saw recital conventions discarded like the too-tight bow tie that they are. Players strolled on with relaxed ease, discovered a jam session in progress and decided to join in the fun. The guitars may have been of the Baroque variety, the drum kit replaced with tambour and tambourine, and the bass-line provided by a violone, but last night mezzo-soprano Magdalena Kožená fronted quite the coolest gig in town. Read more ...
alexandra.coghlan
No self-mutilation or incest, but plenty of daddy issues at the Wigmore Hall last night in a musical glance through the Bach family album. Carefully keeping Johann Sebastian out of the way (presumably lest he show everyone else up and spoil the fun), Richard Egarr guided us through the work of his four composer sons. Spread across Europe from London to Hamburg and Bologna, the differing influences, fashions and character of each becomes quickly evident. Just a shame that – even in his absence – all remain so comprehensively dwarfed by their father.It was with Johann Christian, the “London” Read more ...
igor.toronyilalic
For us Ramistes the brilliance came as no surprise. But did the genius come across to the uninitiated? This new production of Castor et Pollux, one of Rameau's finest tragédie en musique, was the Baroque composer's Austrian stage premiere. Would the Theater an der Wien's audience look past the oddities and archaisms and unfamiliarities of Rameau's 300-year-old musical and dramatic language and embrace the radical nature of his leggy recitatives and proto-Romantic ebb and flow? No question. This was the theatre that embraced the premieres of Beethoven's Third and Fifth Read more ...
alexandra.coghlan
Not a lot of swooning goes on at the Wigmore Hall. Nor does it seem the kind of institution to endorse rapturous wailing, beating of the breast, or the throwing of either flowers or underwear. All of which leaves one with the problem of how to respond appropriately to a concert such as last night’s by Richard Egarr and countertenor Iestyn Davies. Decorous applause doesn’t quite seem to cut it when faced with such a joyous abundance of talent, and I’d have endured any amount of plague and/or restrictive corsetry for an authentic 18th-century atmosphere in which to experience this ecstatic Read more ...
theartsdesk
Earlier this month, George Osborne, Vince Cable and Jeremy Hunt were spotted in a Royal Opera House box surveying the country's most expensive artistic patrimony. What they thought - and how they and the Arts Council might wield their axe - will change the musical landscape of Britain forever. So here to point them in the right direction, theartsdesk's merry band of regulars - Edward Seckerson, David Nice, Igor Toronyi-Lalic, Alexandra Coghlan, Graham Rickson, Stephen Walsh and Ismene Brown - separate the wheat from the chaff in this round-up of the best and worst concerts, opera, musical Read more ...
alexandra.coghlan
The egos and rivalries of the great castrati – of Senesino, Carestini, Farinelli – are legendary. Too few arias, too unheroic a role, or just too little virtuosity (Handel’s beautiful “Verdi prati” was almost lost to us when Senesino rejected its simplicity) were all cause enough for a tantrum. How times have changed. Collaborating for their new Purcell project, superstar countertenors Andreas Scholl and Philippe Jaroussky are trading jealousy for duets, and proving that you really can never have too much of a good thing.Of all the emotions displayed on the Barbican stage last night, bravery Read more ...
Ismene Brown
Who was a greater composer of words: Schubert or Purcell? A toss-up, I think, after a revelatory concert at the Wigmore Hall by Les Talens Lyriques with the French soprano Sandrine Piau on Saturday. The sheer quality of the poetry Purcell set in his Harmonia Sacra, collections of “divine hymns and dialogues”, is both profound and emotionally direct: “Lord, what is man?”, “In the black, dismal dungeon of despair”, “Music, for a while”... But it was a faintly contrary experience, delivered by a French singer whose English articulation did not quite coagulate as meaningful language, despite the Read more ...
igor.toronyilalic
Classical music does not get any cooler than mezzo Vesselina Kasarova. She jived. She grooved. She shuffled. She shimmied. She possessed the Barbican stage last night, an awesome black jumpsuit hanging off her rangy, kinetic figure, her neck sliding about like an Indian dancer's, her feet (in kitten heels) spinning like a jazzer's, her bullying arms posturing and prodding, her mouth flashing its whites like a primate's. Her voice? Extraordinarily weird, moving, honest, explosive. Her Sta nell'Ircana was a theatrical moment of the year. It wasn't all about Kasarova's Ruggiero, Read more ...
alexandra.coghlan
Visits from the pick of Europe’s Baroque orchestras – Concerto Köln, Europa Galante, Le Concert d’Astree, Les Musiciens du Louvre – are a blissfully frequent occurrence in London, an alternative and supplement to our own ever-growing roster of period talent. A tour by a North American ensemble is, by contrast, something of a rarity, and I can’t have been alone last night in hearing the much-lauded Apollo's Fire (otherwise known as the Cleveland Baroque Orchestra) live for the first time. “Hearing”, however, rather fails to encompass the visually charged, minutely stage-managed musical Read more ...
jonathan.wikeley
We have good days and we have bad days. Ian Bostridge, at last night’s concert at the Barbican, was not having one of his better ones. But time and CD releases wait for no man, and so he gamely ploughed through his programme of music written for three great Baroque tenors (no prizes for guessing what the title of the album is – do you think EMI would pass up an opportunity like that?), and by the end appeared a little more comfortable than at what was a rather tentative start.The concept is actually quite an interesting one. Most of us could tell you about that castrato-extraordinaire Read more ...
alexandra.coghlan
There is an excess about the Wigmore Hall’s Arts and Crafts cupola that lends itself to extravagant musical passions. The mural’s cloudy images may profess to picture music as an abstract creature, but the golden tangle of rays and warmly naked limbs make a rather more human case for its attractions. It was a case matched for persuasive enthusiasm (and significantly bettered for taste) last night by The English Concert and Alice Coote, in a programme of charged highlights from 16th and 17th-century repertoire.To the passions of love and death – those stalwart emotional bookends of the Read more ...