mon 07/10/2024

Strauss

Hardenberger, BBC Philharmonic, Storgårds, Bridgewater Hall, Manchester review - splendour and a trumpeter's voluntary

Two splendid pieces of orchestral virtuosity began and finished the second Saturday concert by the BBC Philharmonic under John Storgårds at the Bridgewater Hall. It was given the title of “Mischief and Magic”, an apt summary.For mischief we had...

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Verdi's Requiem / Capriccio, Edinburgh International Festival 2024 review - words, music, judgement

The Philharmonia’s residency was the centrepiece of the Edinburgh International Festival’s final weekend, and it’s right that the orchestra should be the focus because they were consistently the finest thing about both their Verdi Requiem and their...

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Altstaedt, EUYO, Noseda, Edinburgh International Festival 2024 review - inclusive and brilliant

People hold lots of different opinions about the European Union, but there’s really only one acceptable opinion to be held about the European Union Youth Orchestra; namely, that they’re brilliant. Their visit to the Edinburgh International Festival...

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Classical CDs: Swans, hamlets and bossa nova

 Chopin: Études op.10 & op.25 Yunchan Lim (Decca)Chopin Nicolas van Poucke (Night Dreamer)I’m reviewing these two Chopin discs by a pair of young men together, even though there are lots of differences between their playing, and the way the...

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Sabine Devieilhe, Mathieu Pordoy, Wigmore Hall review - enchantment in Mozart and Strauss

Sabine Devieilhe, as with many other great sopranos, elicits much fan worship, with no less than three encores at her recent Wigmore Hall recital. In her native France, and in the rest of Europe, she has gathered ecstatic reviews for her performance...

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Salome, Irish National Opera review - imaginatively charted journey to the abyss

“Based on the play by Oscar Wilde,” declared publicity on Dublin buses and buildings, reminding opera-cautious citizens that the poet whose text Richard Strauss used for his own Salome grew up only 10 minutes’ walk away from Daniel Libeskind's Bord...

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Elektra, Royal Opera review - moral: don’t wait too long for revenge

Those were happy days back in 2014 when, justifiably flushed with the success of the Royal Opera’s Tristan und Isolde revival, director Christof Loy, music director Antonio Pappano and soprano Nina Stemme mooted possibly the toughest role challenge...

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Daphne, Scottish Opera, Usher Hall, Edinburgh review - Strauss’s translucent hymn to nature

On an Edinburgh afternoon of torrential rain close to the winter solstice, what ecstasy to be transported to an ancient Greek midsummer day, a Claude landscape with shepherds calling across the hills, painted in the most translucent colours by...

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Frang, Bayerisches Staatsorchester, Jurowski, Barbican review - on the summit

These days British orchestras count themselves lucky if they can see, and plan, five years ahead. In Bavaria they do things rather differently. As the ducal court ensemble, and later the house band of the Munich opera, the Bayerisches...

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First Person: the Bayerisches Staatsorchester's Managing Director Guido Gärtner on its 500th anniversary

Nine cities in seven countries; all in all, eleven concerts, on top of that, an appearance at home in Munich. Celebrating its 500th anniversary, the Bayerisches Staatsorchester is currently on an extended journey. We have been looking forward with...

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Classical CDs: Tambourines, multiphonics and hot chocolate

 Rachmaninov: Piano Concertos 1-4, Paganini Rhapsody Lukáš Vondráček, Prague Symphony Orchestra/Tomáš Brauner (Supraphon)Yuja Wang, Los Angeles Philharmonic/Gustavo Dudamel (DG)Yet more Rachmaninov, but I’m not complaining, and comparing...

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Prom 28: Rangwanasha, National Youth Orchestra, Prieto review - playing, and singing, with a swing

Programming works from the same decade – in this case the 1940s – can reveal fascinating contrasts: what an impressive gulf, for instance, between two masterpieces by Hindemith and Strauss in this first half, and what sensitivity to very different...

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