thu 19/09/2019

Bernstein

Edinburgh Festival 2018 review: Zimerman, LSO, Rattle - fizzing chemistry

It was Simon Rattle’s first visit to the Edinburgh International Festival for – well, really quite a few years. And the first of his two concerts with the London Symphony Orchestra drew, perhaps predictably, a capacity crowd in the Usher Hall, for...

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Classical CDs Weekly: Sibelius, Strauss, Bernstein the Pianist

Sibelius: Finlandia, The Swan of Tuonela, En Saga, The Oceanides BBC National Orchestra of Wales/Thomas Søndergård (Linn)Earlier releases in Thomas Søndergård’s ongoing Sibelius cycle were marred by indifferent engineering, so it’s nice to report...

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Pick of the 2018 BBC Proms: women composers first and last, blockbuster Bernstein

Let's be honest, this is the least interesting Proms season on paper for years, at least in terms of adventurous repertoire choices, following on the heels of the best in 2017. Yet in statistical terms it's more comprehensive and multi-media-...

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Tenebrae, Short, St John’s Smith Square review - choral majesty in New World marvels

They started as they meant to go on. Randall Thompson’s lush, consoling six-minute Alleluia, written in 1940, couldn’t be a better opener for Tenebrae, one of this country’s finest, most musically alert and expressive vocal ensembles. Technically,...

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Michael Chance on continuing opera in Hampshire: 'good people like to work with good people'

Out of the blue comes a phone call. A freelance career is based on those to a certain extent. Certainly mine has been. But this one was a bit different. “Would you come and talk to us about the way forward?”. I soon learnt that what this actually...

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Classical CDs Weekly: Bernstein, Bruckner, Schmitt

 Bernstein: On the Waterfront Royal Liverpool Philharmonic Orchestra/Christian Lindberg (BIS)There's much to enjoy in this Bernstein compilation, the first recorded collaboration between trombonist Christian Lindberg and the Royal Liverpool...

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Gulyak, Orchestra of Opera North, Stasevska, Leeds Town Hall – uncommonly exciting

Bach’s Art of Fugue, or maybe Mahler’s Ninth? Nah - in my book, Rachmaninov’s Symphonic Dances is the greatest last work ever composed. This extraordinary piece gets everything right: a kaleidoscopic summing up of a long career which never lapses...

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Bernstein's MASS, RFH review - polymorphousness in excelsis

Live exposure to centenary composer Leonard Bernstein's anything-goes monsterpiece of 1971, as with Britten's War Requiem of the previous decade, probably shouldn't happen more than once every ten years, if only because each performance has to be...

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Bernstein triple bill, Royal Ballet review - epic ambitions unfulfilled

The Royal Ballet last night presented an evening of Bernstein-scored ballets, two of them premieres by Wayne McGregor and Christopher Wheeldon and the other a revival of Liam Scarlett's 2014 Age of Anxiety. Celebrated and accessible composer;...

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Zimerman, LSO, Rattle, Barbican review - a diverse Bernstein centenary

Leonard Bernstein is 100 already. Actually, he’s not – his centenary falls in 2018, but the LSO, an orchestra he conducted many times, is building up to the anniversary with a series of concerts featuring his three symphonies. This performance of...

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LSO, Alsop, Barbican review - Bernstein 100 opens not with celebrations but existential angst

Amen. The end – of a prayer, a service, even the Bible itself. But what, asks Leonard Bernstein’s Symphony No 3, Kaddish, if “Amen” is the beginning and not the end, the start of a conversation that hears the divine word and doesn’t say “So be it”...

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Osud/Trouble in Tahiti, Opera North - swings and roundabouts in a surprising double-bill

It was a topsy-turvy evening. Sometimes the things you expect to turn out best disappoint, while in this case the relatively small beer yielded a true "Little Great" of a production and the best singing in Opera North's latest double bill (subject...

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