Classical Reviews
La Damnation de Faust, LSO, Rattle, Barbican review - infernal dynamiteMonday, 18 September 2017
For his monster concerts in 1840s Paris, Berlioz took pride in assembling and marshalling a "great beast of an orchestra". At the Barbican on Sunday night, the LSO filled the stage and fitted the bill. Read more... |
Grenfell Tower Benefit Concert, Cadogan Hall - stellar line-up for a vital causeMonday, 18 September 2017
“Keep here your watch, and never part.” There was a strong symbolism of standing and singing together in the last moments of the Grenfell Tower Benefit Concert. After singing the Lament of Purcell's Dido, Christine Rice made her way back slowly through the orchestra to join the choir. All 150 participants in the concert, operatic stars, young singers, conductor, a special orchestra assembled from various London orchestras joined in for the final chorus of Dido and Aeneas. Read more... |
Tetzlaff, LSO, Rattle, Barbican review - a triumphant homecoming for the maestroFriday, 15 September 2017
After all the talk and anticipation, at last some music. Simon Rattle took up the reins of the London Symphony Orchestra last night – as its first ever “Music Director” – with a programme dedicated to home-grown composers whose lives span the lifetime of the orchestra. Read more... |
Bridgewater Hall 21st Birthday review - from voice and guitar to four pianosMonday, 11 September 2017
Every 21st birthday deserves a party, and the Bridgewater Hall in Manchester celebrated the anniversary of its opening with a weekend of fun and "access" events, ending with a recital by four pianists on its four Steinway pianos – playing them all at once, in eight-hand arrangements. Read more... |
Last Night of the Proms review: Stemme, BBCSO, Oramo - international array, abundant blue and goldSunday, 10 September 2017
The Last Night of the Proms is always a beautifully choreographed event, and this year’s was no exception. The format changes little, but each year a new selection of works is chosen to fill the slots. Read more... |
Prom 74: Ax, Vienna Philharmonic, Tilson Thomas review - elegance without passionSaturday, 09 September 2017
The Vienna Philharmonic makes a beautiful sound, no question about that: the question is what to do with it. Michael Tilson Thomas has some ideas, but they are mostly low-key. He is currently touring with the orchestra, and seems to have been chosen as a safe pair of hands, offering elegant and lyrical interpretations, but without any extravagance. Read more... |
Prom 72 review: Vienna Philharmonic, Harding - uncertain Mahler Six partly redeemed by brassFriday, 08 September 2017
Outlines of a real face had begun to emerge in Daniel Harding’s conducting personality. His youthful rise to the top initially yielded neutral concerts with the LSO and a glassy, overpraised recording of Mahler’s Tenth in the Deryck Cooke completion with the Vienna Philharmonic. Read more... |
Prom 73 review: The Well-Tempered Clavier - Book 1, Schiff - glorious solo voyage across Bach's universeFriday, 08 September 2017
Amazingly, last night Sir András Schiff scored a Proms first with his performance of Book One of Bach’s The Well-Tempered Clavier. Never before has even half of the sublime and seminal “48” taken the Royal Albert Hall stage in unmutilated form. The WTC could have found no better advocate. Read more... |
Prom 70 review: Denk, BBCSO, Canellakis - high, lucid and brightWednesday, 06 September 2017
It can’t be too long before “women” no longer needs to prefix “conductors” to define what’s still a rare breed. Yet seven at the Proms is certainly an improvement, with many more coming up through the ranks. And American Karina Canellakis turned out to be very much the season’s final trump card. Read more... |
Proms 67 & 68 review: Freiburg Baroque, Heras-Casado / Mariinsky, Gergiev - reformation and revolutionMonday, 04 September 2017
Even tuning up, the multinational musicians of the Freiburg Baroque Orchestra make a lovely sound, well-anchored by the tug of four period-instrument cellos and three basses, yet buoyant and stippled with upper-wind colours, flutes circling and dipping like a cliff-edge bird colony. Ideal, then, for the Hebrides Overture which opened this Mendelssohn matinee (★★★★). Read more... |
Pages
inside classical music
latest in today
'We are bowled over!' Thank you for your messages...
