Classical Reviews
Anderson & Roe, RLPO, Tali, Philharmonic Hall, Liverpool review - measured fireSaturday, 06 October 2018
There must be something of a beauty parade going on in Liverpool now that Vasily Petrenko has called time on his tenure at Philharmonic Hall. After all, someone will need to step into his shoes from 2021 after he departs for the Royal Philharmonic Orchestra. It was refreshing, therefore, to welcome Anu Tali to conduct the Royal Liverpool Philharmonic, making her debut with the orchestra. Read more... |
Bach: The Well-Tempered Clavier - Book 2, Hewitt, Wigmore Hall review – high drama in 24 short actsFriday, 05 October 2018
Bach specialists like to explain that the second book of preludes and fugues in The Well-Tempered Clavier, composed around 1740 and thus almost two decades after the first, draws on more of the fancy and daring “modern” music of its time than its more traditional predecessor. Yes, but there’s modern and there’s modern. Read more... |
Katya Apekisheva, Charles Owen, Kings Place review - one plus one equals a hundredThursday, 04 October 2018
We could probably spend all day pondering what makes a great musical partnership. Is it long experience, special sensitivity, a shared sense of humour? We’d get nowhere, though because there is, genuinely, something about it that can't be explained. It’s like a good marriage: it just works, and if you could analyse precisely why, there’d likely be something wrong. Read more... |
Gerald Finley, Julius Drake, Middle Temple Hall review - sublimity in 18 serious songsWednesday, 03 October 2018
Earth stood hard as iron in parts of this awe-inspiring recital from a true song partnership, but theirs was an autumnal odyssey, not a winter journey. Read more... |
Uchida, Connolly, Skelton, LPO, Jurowski, RFH review – songs of farewellMonday, 01 October 2018
Not all composers require the finger of mortality pointing at them to develop what becomes a late style. Charges of detachment and even indifference have been levelled at the B flat major Piano Concerto K595 which Mozart completed early in the year of his death, but Mitsuko Uchida’s playing of it on Saturday night was as refined, as weightless and translucent as her trademark silk tops. Read more... |
Psappha, Kok / Kempf, Northern Chamber Orchestra, Stoller Hall, Manchester review - new and oldSaturday, 29 September 2018
The Stoller Hall, the modest-size auditorium inside Chetham’s School of Music, is really proving itself to be the venue Manchester has long needed this season. Two concerts on successive days, each the first of a series and both making something of a statement, proved that. Read more... |
Lammermuir Festival 2018 review - a bigger buzzMonday, 24 September 2018
There’s always been something of a buzz in the air at East Lothian’s Lammermuir Festival. It’s the feeling that it’s somehow a special privilege to discover its performances – whether they’re from international names or emerging artists, challenging, provocative and illuminating by turns – across the region’s exquisite and little-known churchs, halls, theatres and other venues. Read more... |
Ian Bostridge, Thomas Adès, Wigmore Hall review - haunting, brutal SchubertTuesday, 18 September 2018
Winterreise brings out the best from Ian Bostridge, and the worst. His dedication to understanding and communicating its complex and harrowing text is everywhere apparent, and this was an emotionally draining evening. Read more... |
LSO, Rattle, Barbican Hall review - a mixed bag of British composersMonday, 17 September 2018
A tradition seems to have been invented. First nights of the LSO’s seasons with Sir Simon Rattle as its Music Director start with a concert of music by British composers. The first one last year had Helen Grime, Thomas Adès, Birtwistle, Knussen and Elgar. Read more... |
Elisabeth Leonskaja, Wigmore Hall review - Mozart and Webern, anyone?Saturday, 15 September 2018
“What is it about Mozart?” wondered the legendary pianist Sviatoslav Richter, pointing out the composer's frightening demands of accuracy and lucidity. Even though many pianists today command technique to spare, a Mozart fear factor tends to keep his sonatas off recital programmes. Read more... |
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