thu 18/04/2024

Southbank Centre

Sheku Kanneh-Mason, Philharmonia Chorus, RPO, Petrenko, RFH review - poetic cello, blazing chorus

Purple patches flourished in the first half of this admirable programme: it could hardly have been otherwise given Sheku Kanneh-Mason’s devotion to a new work in his repertoire, and the current strength of the Royal Philharmonic Orchestra under...

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Josefowicz, LPO, Järvi, RFH review - friendly monsters

At first glance, this looked like an odd coupling: Stravinsky’s Violin Concerto from 1931, all spiky neo-classicism and short-winded expressionist sparkle, as a tributary opening before the mighty rolling stream of Bruckner’s Seventh Symphony.Yet in...

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Bach's Easter Oratorio, OAE, Whelan, QEH review - the joys of springtime

Waiting, and hoping, may prove just as intense an experience as the fulfilment of a wish – or of a fear. Bach knew that, and infused his Easter Week music with a sense of suspense and anticipation built into vocal and instrumental lines that build...

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Murray, Vlaams Radiokor, LPO, Gardner, RFH review - visual ‘interpretation’ blunts sonic brilliance in Szymanowski rarity

Chances are few enough to catch Polish composer Szymanowski’s densely brilliant 1920s score for a ballet about love in the Tatra mountains. Harnasie (Robbers) is so little known that we need a clear line through action and sung text. That all went...

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The Creation, Alder, Clayton, Mofidian, LPO, Gardner, RFH review - dancing gay in green meadows

Light and grace must flood the concert hall in Haydn’s The Creation, after a striking-for-its time evocation of Chaos, and periwigged creatures skip around the Genesis picture. With Edward Gardner keeping the London Philharmonic Orchestra and Chorus...

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Segev, LPO, Lyniv, RFH review - melody, magic, and mourning

We began in a forest packed with dangers and delights and ended, also in the Czech lands, with an infectiously joyful country dance. In between, however, came a sombre and spellbinding exposure to the pain and grief of war.Last night at the Royal...

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Alder, RPO, Petrenko, RFH review - strings and soprano sing their hearts out

Had it taken place a week later, this concert might have gone under the dubious banner of "Valentine's Day Love Classics". But not of the bitty, Raymond Gubbay variety: Vasily Petrenko was absolute master of three late romantic scores which happened...

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Bartlett, LPO, Bihlmaier, RFH review - a clear path through the storm

Tempest-tossed seas seem all too apt a theme for January, so it felt fitting that the LPO decided to begin Saturday evening with Wagner’s stirringly elemental overture to The Flying Dutchman. As the programme note fascinatingly reminded us, he...

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Paraorchestra, Hazlewood, Southbank Centre review - re-thinking the orchestral experience

The Clore Ballroom at the Southbank Centre is usually an open-plan space within the foyer, a little ambiguous in its extent and purpose. Last night, for the first time, I saw it enclosed and separated off, ambiently lit and full of smoke, for the...

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Reuben Kaye, Purcell Room review - Australian gives powerhouse performance

As the panto season is in full swing, theatregoers will be expecting to hear some smut. For those who don't like the traditional artform but still like a bit of filth – with songs – then Reuben Kaye's The Butch Is Back will do nicely.It's a...

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The House with Chicken Legs, Queen Elizabeth Hall review - a potential charmer swamped by its setting

There are probably two distinct audiences for the latest adaptation from Les Enfants Terribles, The House with Chicken Legs: the young teens who lapped up the fantasy novel by Sophie Anderson on which it is based, and the adults who came with them....

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Nutcracker, Tuff Nutt Jazz Club, Royal Festival Hall review - a fresh, compelling, adult take on a festive favourite

Intimacy isn’t everything, but there’s nothing like seeing dance live and up close. A good seat in a large theatre will give you the whole stage picture but lose the detail. Lost too will be that quasi-visceral connection with the movement.A...

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