Classical Reviews
Gomez, Osborne, Britten Sinfonia, Järvi, Milton CourtThursday, 19 November 2015
Don’t blame the players: they did their considerable best. But what could they hope to achieve with a programme in which six of the seven pieces were on a hiding to nowhere, or too short to have much of an impact? A sequence, what's more, in which platform rearrangements took longer than two of the pieces in the first half? Read more... |
BCMG, Knussen, CBSO Centre BirminghamMonday, 16 November 2015
“The first section, following a short introduction, places a rhythmic sequence on its retrograde. The two layers are transposed independently (one going up, the other down) as the music progresses, and points of symmetry are highlighted when they occur”. No, me neither. Apparently Patrick Brennan’s Polly Roe also features a brief rhythmic quotation from Birtwistle’s Carmen Arcadiae Mechanicae Perpetuum. More erudite ears may have been able to detect it. Read more... |
Faust, RLPO, Petrenko, Philharmonic Hall, LiverpoolFriday, 13 November 2015
Four years ago, Vasily Petrenko and the Royal Liverpool Philharmonic embarked on a two-year project to play all the Mahler symphonic works over a couple of seasons. It was an ambitious project but it was one which, then, had hall staff dusting down the House Full signs and the queues for returns forming well before the first note was due to played. Read more... |
Gerhaher, Huber, Wigmore HallMonday, 09 November 2015
Christian Gerhaher is a classy recitalist. His stage manner is debonair, his tailoring immaculate (although his hair can be unruly). His artistry focuses on key vocal virtues: directness of expression and beauty of tone. In this evening’s recital, an adventurous programme that switched between the Classical era and the Modern, that proved as valuable a combination in Schoenberg as it did in Beethoven. Read more... |
RLPO, Koopman, Philharmonic Hall LiverpoolSunday, 08 November 2015
It was rather like a trip home to see long-lost relatives. Ton Koopman took to the stage at the Liverpool Philharmonic with a broad smile. That smile both greeted the audience and, from what the audience could see, told the orchestra that they were on form. Or, on the other hand, it might have been encouraging them to try harder. Read more... |
Benedetti, LSO, Gaffigan, BarbicanSaturday, 07 November 2015
A full house for a premiere performance: Wynton Marsalis bucks the trend in contemporary music. He’s an established name, more for his jazz than his classical work. But in recent years he has produced a substantial body of orchestral music, so the flocking crowds know what to expect. His new Violin Concerto continues the trend. Read more... |
Skride, CBSO, Wellber, Symphony Hall BirminghamFriday, 06 November 2015
If Omer Meir Wellber is making a bid for Andris Nelsons’s old music directorship in Birmingham, he could hardly have signalled his intentions more audaciously. This concert began with Wagner’s Lohengrin Prelude and ended with Brahms’s First Symphony – basically a surgical strike into the heartlands of Nelsons’s repertoire. Read more... |
Freddy Kempf, Cadogan HallWednesday, 04 November 2015
London foists hard choices on concertgoers. Over at St John's Smith Square last night Nikolai Demidenko was giving a high-profile recital of Brahms and Prokofiev. But since the Prokofiev CD which has had the most impact in recent years has been Freddy Kempf’s, of the Second and Third Piano Concertos with the Bergen Philharmonic and Andrew Litton, a half-full Cadogan Hall seemed like the right place to be, even without Prokofiev on the programme. Read more... |
Kovacevich, Argerich, Wigmore HallTuesday, 03 November 2015
“People think when a person becomes old, he has to become serene,” declared that great pianist Claudio Arrau in his mid-seventies. “That’s absurd. Read more... |
LPO, Skrowaczewski, RFHSunday, 01 November 2015
Stanisław Skrowaczewski has become a legend in his own, considerable, lifetime. From the ecstatic ovation as he took the stage, it seemed many were here just to see this iconic figure in the flesh. Fortunately, the performance of Bruckner’s Fifth Symphony that followed fully justified the reception. The interpretation was vibrant and intuitive, with tempo and dynamic decisions seemingly coming from inside the music itself. Read more... |
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