tue 19/02/2019

Janáček

Katya Kabanova, Royal Opera review - inner torment incarnate

Backstories, we're told, are a crucial part of stage visionary Richard Jones's rehearsal process. Janáček, or rather Russian playwright Ostrovsky on whose The Storm the composer based Katya Kabanova, gives several of his hemmed-in characters...

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Katya Kabanova, Opera North review – a grim tale

A sad tale’s best for winter, and Opera North have returned to Janáček’s lyrical taken on a classic Russian drama of domestic abuse, guilt and suicide for this ingredient of their current season. Director Tim Albery and designer Hildegard Bechtler...

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Thomas Adès, Wigmore Hall review - playful and erratic Janáček

Janáček has been an abiding passion for Thomas Adès. As both composer and performer, Adès revels in the whimsical and the absurd, and he finds both in Janáček’s piano works. This recital presented the complete surviving piano music of Janáček (...

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theartsdesk in Brno: Czech 100th feted through Janáček and Smetana

Five of Leoš Janáček's 10 operas are staples of the worldwide repertoire. Two I'd never seen on stage, so the slice I chose of the19-day festival devoted to all of them for the second time in the history of Brno, the cultured Moravian capital...

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Classical CDs Weekly: Beethoven, Cage, Janáček

 Beethoven: Symphonies 2 and 7 Wiener Symphoniker/Philippe Jordan (WS/Sony)Philippe Jordan’s cheery face adorns this third volume of Beethoven symphonies from Vienna’s other orchestra, setting the tone fairly well. These are overwhelmingly...

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Borodin Quartet, LPO, Jurowski, RFH review - mixed results in oddball Czechfest

How many times have you heard live in concert a concerto for string quartet and instrumental ensemble? In my case, three, all of the occasions performances of John Adams's Beethoven-based giant scherzo Absolute Jest. Two more got added to the list...

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First Person Plural: the Calidore String Quartet on music for their torn nation

Classical musicians spend much of their lives inhabiting the realms of the past. To effectively practise and perform the music of Bach, Brahms, Beethoven and countless others, performers must combine research and personal intuition to time travel...

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Hallé, Gardner, Bridgewater Hall, Manchester review – drama and humanity

Edward Gardner was back amongst friends when he opened the Hallé’s Thursday series concerts. This was the place where he made his mark, as the Manchester orchestra’s first ever assistant conductor (and Youth Orchestra music director), and he’s been...

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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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From the House of the Dead, Royal Opera review - Janáček's prison oddity prompts hot tears

A political prisoner is brutally initiated into the life of a state penitentiary, and leaves it little over 90 minutes later. Four inmates reveal their brutal past histories with elliptical strangeness - each would need an episode of something like...

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Lisa Halliday: Asymmetry review - unconventional and brilliant

Lisa Halliday’s striking debut novel consists of three parts. The first follows the blooming relationship between Alice and Ezra (respectively an Assistant Editor and a Pulitzer Prize-winning writer) in New York; the middle section comprises a...

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Lortie, BBC Philharmonic, Gardner, Bridgewater Hall, Manchester review – whipping up a storm

Edward Gardner was back on familiar ground when he conducted in Manchester last night – his high-profile career began when he was appointed as the Hallé’s first-ever assistant conductor, early in Sir Mark Elder’s era – and his rapport with young...

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