LSO
alexandra.coghlan
What rare luxury. A three-concert series from the London Symphony Orchestra and their Principal Guest Conductor Michael Tilson Thomas is lure enough, but add three collaborations with Yo-Yo Ma as soloist and you have to rope off a special area in the Barbican for the returns queue. Rarer still – it would be worth every moment of the wait.The concert-triptych has been a meditation on musical friendships and relationships, with long-time colleagues Ma and Tilson Thomas paying homage to the complex network of emotions and influences that existed between Britten, Copland and Shostakovich, three Read more ...
Gareth Davies
As we approach the end of what feels like a long season of concerts, I cannot think of a more satisfying way to finish than with Bernard Haitink on the podium. All conductors have different styles, whether dancelike, quivering, rude, tormented genius, or extended baton (others are available). Bernard is one of a precious few who don’t really seem to do anything much when they stand in front of an orchestra.Let me clarify that straight away: less is more. I am positive that as Haitink has grown older, as with Sir Colin, economy of effort has influenced his conducting style; but with an Read more ...
Gareth Davies
New York City, the movie star, is so familiar now even to those who have never visited that it’s difficult to imagine the impact on the LSO players of arriving there for the first time. As they stood on the deck of the Baltic, the Statue of Liberty must have been a welcome sight after 10 days at sea. First impressions of the city were not entirely favourable: before they could get to their hotel, the entire orchestra with its baggage, instruments, and music had to be checked through customs. The timpanist Charles Turner notes:Awake about 3 or 4 am. Still dark. The engines are stopping and it Read more ...
David Nice
Down Whitehall, the English Defence League had been making ripples, and at 7.40pm some of its packs were still roaring round Trafalgar Square. At that moment, Berlioz’s March to the Scaffold from the Symphonie fantastique drowned them out in one big va t’en which you could have translated into a hundred languages.For here was the music of a Frenchman conducted by a Russian, played by an orchestra of many nationalities to a packed-out crowd of many more and every creed, made up of adults, children, babies and dogs. As in last week’s horrific murder, for every minus, however gross, more than a Read more ...
David Nice
Backed up by reasonably adventurous orchestral programming, lucky conductors can forge a strong Stravinsky evening by picking and mixing from his five ancient Greek rituals. Sir John Eliot Gardiner, unintentionally homaging the late Sir Colin Davis who at least in earlier days would have jumped to such a pairing, chose to celebrate his 70th birthday with the extremes of white balletic lyric poem Apollon musagète and hard-hitting blackest tragedy Oedipus Rex.Apollo’s celestial strings and the acerbic mix of brass with woodwind in Oedipus, all superbly aligned, guaranteed further contrasts. But Read more ...
alexandra.coghlan
It takes a certain kind of artist to book American mezzo-extraordinaire Joyce DiDonato as a supporting act. It’s a risk. Even if you happen to be Juan Diego Flórez. But it’s one that actually paid off on the first night of Flórez’s three-concert residency at the Barbican.Joined not only by DiDonato but by soprano Julia Novikova and baritone Marco Caria (as well as the massed forces of the LSO), Flórez showed us a softer side than the bravado-recitalist we usually see during his London visits. Surrounded by his peers, duetting, quartetting and generally sharing the spotlight, Flórez rather Read more ...
Humphrey Burton
Colin was an enormous influence in my youth and I’d like to share some memories of those days. It was over 60 years ago, on a Sunday afternoon in May 1952, that I attended a concert performance of The Marriage of Figaro given by Chelsea Opera Group in a school hall in Hills Road, Cambridge. The singers were all young, gifted and sparky. The orchestra purred. The narration (written by David Cairns) was genuinely funny, indeed it seemed bliss to be alive that afternoon and to be young (I was 21) seventh heaven. On the podium was Colin Davis, a slim, shock-headed dynamo who lived and Read more ...
graham.rickson
Rachmaninov: Piano Concertos 1-4, Paganini Rhapsody Valentina Lisitsa, London Symphony Orchestra/Michael Francis (Decca)Read the press notes before listening to this double CD and you’d be forgiven for feeling some trepidation; Valentina Lisitsa is a Ukrainian pianist who was catapulted to megastardom via the medium of, er, YouTube. Then you find out that time constraints prevented Lisitsa from meeting conductor Michael Francis before the sessions. He had to make do with emailled video clips. So it’s a delight to report that much, though not all, of the music making captured here is Read more ...
alexandra.coghlan
It’s not that Bernard Haitink’s tempos are universally slow, it’s just that they often feel that way. When it works the music can be magisterial, immense, but when it doesn’t you find yourself chafing against such unyielding allegiance to restraint. Last night we saw both sides of the veteran conductor, but a performance of Mozart’s Piano Concerto K453 like the one he conjured with Maria João Pires and the London Symphony Orchestra can banish the memory of any orchestral strife with the merest rococo flourish of its wrist.Pires is a transformative pianist – so familiar, so innately right, yet Read more ...
alexandra.coghlan
The tabloids are getting shriller every day in their warnings about the army of Bulgarians and Romanians about to descend on British shores, so it’s probably lucky that none of their journalists was present last night at the Barbican to witness an Eastern European musical coup of deadly efficiency. Kristjan Järvi and the London Symphony Orchestra may have cleared the path with a little help from Enescu and Kodály, but it was Bulgarian virtuoso performer-composer Theodosii Spassov – playing an instrument no one had ever heard of – who routed us completely. The kaval is a “chromatic, end- Read more ...
alexandra.coghlan
And so John Adams’s residency with the London Symphony Orchestra reaches its finale – a brisk allegro of a concert with a cheeky coda in the form of the composer’s latest orchestral work, Absolute Jest. One of contemporary music’s most articulate advocates, Adams here swapped pen for baton in a beautifully programmed concert that took a postmodern road-trip across 20th century musical America, guiding listeners along the highways of Copland’s Appalachian Spring and Ives’s Country Band March and off-road for Elliott Carter’s Variations for Orchestra.Ives’s Country Band March is Read more ...
graham.rickson
Mahler: Symphonies 1-9 London Symphony Orchestra/Valery Gergiev (LSO Live)Buying a set of Mahler symphonies used to mean blowing one’s annual record budget in one swoop. You can now buy cycles by the likes of Bernstein and Tennstedt for less than £30, and this economically priced LSO Live box collects Valery Gergiev’s live recordings. All were taped in the Barbican apart from the 8th, performed in St Paul’s Cathedral. It’s unreasonable to expect any one conductor to get all these pieces right. And, when Gergiev does really hit the mark, these performances contain sensational moments. I’m Read more ...