tue 29/11/2022

LPO

A Child of Our Time, LPO, Gardner, RFH review - the spirit still moves

Half a century ago, Michael Tippett’s A Child of our Time felt inescapable. For a youth-choir singer in the London of that period, his wartime “modern oratorio” supplied a reference-point of ambition and achievement to which our exasperated elders...

Read more...

Ax, LPO, Canellakis, RFH review - from the soil to the stars

Good conductors should surely be seen as well as heard. Positioned behind Emanuel Ax’s piano in Brahms’s first piano concerto, with the two flanks of the London Philharmonic’s strings spread wide on either side across the stage, Karin Canellakis...

Read more...

'Serving the community means representing the narratives of our time': Elena Dubinets on her responsibilities as the LPO's Artistic Director

Just as I was moving from the US to the UK to begin working as the Artistic Director of the London Philharmonic Orchestra last summer, the orchestra was emerging from the COVID-19 period and our audiences began coming back. During the course of the...

Read more...

Gurrelieder, LPO, Gardner, RFH review - everything in place, but still something’s missing

Schoenberg’s “Song of the Wood Dove” takes up a mere 11 of the 100 minutes of his epic Gurrelieder, though it’s a crucial narrative of how King Waldemar of Gurre’s beloved Tove was murdered by his jealous queen. Last night, as in Simon Rattle’s 2017...

Read more...

Prom 59, The Dream of Gerontius, Clayton, Barton, Platt, LPO, Gardner review - most sure in all its ways

Asked which work suits capricious Albert Hall acoustics best, I’d say Elgar’s The Dream of Gerontius, partly due to the choral billows – this year there’s been an extra thrill about massed choirs – but also because the Kensington colosseum...

Read more...

La Voix humaine/Les Mamelles de Tirésias, Glyndebourne review - phantasmagorical wonders

“Variety is the spice of life! Vive la difference!,” chirrups the ensemble at the end of this giddying double bill. And there could hardly be more singular variety acts than a potential suicide at the end of a phone line, a woman who lets her...

Read more...

Prom 13, The Wreckers, Glyndebourne review - an overloaded ship steered with pride

Uncut, lovingly restored, and with two intervals in the antique manner, Ethel Smyth’s The Wreckers invites its audience to embark on an epic voyage as well as a momentous one. This summer’s Glyndebourne Festival visit to the Proms brought us the...

Read more...

First Person: Angela Slater on reaping the rewards of the LPO's Young Composers programme

When I applied to the London Philharmonic Orchestra’s Young Composers programme and found out that I had been accepted, I was expecting to be working on a new orchestral work as in previous years. However, this year, we were invited to explore the...

Read more...

La bohème, Glyndebourne review - a masterpiece in monochrome

According to the programme, La bohème is (probably) the most performed opera, by the most performed operatic composer. Ever. So, what is it about this piece that continues to enthral, inspire and intrigue artists and audiences alike?Perhaps it’s...

Read more...

Le nozze di Figaro, Glyndebourne review - fabulous singing and a classy production

After two years of Covid-affected performances – even though there was a full season last year – Glyndebourne's annual festival is finally back in full glory. Following the big blaze of Saturday's The Wreckers, Sunday welcomed back Michael Grandage'...

Read more...

Hodges, LPO, Gardner, RFH review - four UK premieres, from random to abundant

Kudos, first, to Edward Gardner for mastering a rainbow programme of 21st century works in his first season as the London Philharmonic Orchestra’s Principal Conductor. Three Americans and a Berlin-based Brit, two women composers and two men, one of...

Read more...

Bartlett, LPO, Mathieson, Congress Theatre, Eastbourne review – Rhymes, Rhapsody and Winter Daydreams

Who could have imagined the table-turning controversy that might have cast doubt on the inclusion of works by Rachmaninov and Tchaikovsky when planning this programme?Before raising the baton, Holly Mathieson expressed the hope that Russian music...

Read more...
Subscribe to LPO