Classical Reviews
Otello, LSO, Sir Colin Davis, BarbicanSunday, 06 December 2009
Let's suppose that off-centre genius among opera directors Richard Jones had been asked to bring his imagination to bear on Sir Colin Davis's latest Verdi-in-concert. I imagine he might have weighed up leading men, chorus and the conductor's unexpected blend of manicure with flash alongside swathes of masterful beauty, and decided to follow up his 1940s Windsor Falstaff at Glyndebourne with a 1970s Otello set in Surbiton. Read more... |
Total Immersion: George Crumb, BarbicanSaturday, 05 December 2009
To summon spirits from the vasty deep is the ambition of too many overloaded contemporary scores. George Crumb is better than most at getting those spirits to come when he calls, yet even he touches the transcendental more surely the fewer instruments he engages. Read more... |
Pictures Reframed: Leif Ove Andsnes & Robin Rhode, QEHFriday, 04 December 2009
We watch and listen simultaneously so much today that it hardly seems blasphemous for a superlative pianist to decide to conceive an evening of piano music plus video installation. Leif Ove Andsnes has doubts about the transmittability of classical music to a general audience today - he calls the status quo into question, and he may be right. Read more... |
Philippe Jaroussky, Concerto Cologne, BarbicanThursday, 03 December 2009
Nesting gay men and posh female totty by the bucketload in the audience last night. Fill any programme with Baroque opera and that’s what you get. Why? Because the Baroque is aspirational pop. It's grounded in the same musical tricks that drive on the chart-topping hits of Kylie or Madonna: pumping ostinati, unshake-offable tunes and harmonic Häagen-Dazs - obvious harmonic loops that you can't get enough of. Though last night the hook was even simpler: a beddable boy.
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Wolfgang Holzmair, Andreas Haefliger, Wigmore HallSunday, 29 November 2009
There’s something beyond detailed and attentive musicianship that’s needed in Schubert’s last, most desolate song-cycle, Winterreise (“Winter’s journey”). It’s a dramatic arc that unites these 24 songs into a journey, the number of breaths in time and miles in distance that elapse from the first poem to the 24th, and bring you a sense of contact with the person undergoing this terrible suffering. Someone who is not Schubert, the composer, or Müller, the poet, but a third person. Read more... |
Leonidas Kavakos, Camerata Salzburg, QEHSaturday, 28 November 2009
There are many ways of being orchestral. About as many ways, in fact, as there are of organising the body politic. At one extreme there are the fascist orchestral states with their Kim Il-sung-emulating conductor-tyrants (Fritz Reiner's Chicago Symphony Orchestra, for example). At the other you have the right-on, conductorless cooperatives of the Orpheus Chamber Orchestra. Read more... |
Schnittke Festival finale, Jurowski, RFHSaturday, 28 November 2009
Eliot's "time future contained in time past" has been conductor Vladimir Jurowski's unofficial motto throughout a festival which has had to take itself very seriously, and managed miraculously to carry a surprisingly large, loyal audience of all ages and persuasions along with it. Such stringent conditions could hardly be otherwise given the focal point of an uncompromising genius. Read more... |
Messiah, ENOFriday, 27 November 2009
There are so many ways a dramatic production of Messiah can go wrong it is almost unbearable to think about it. Certainly, there was a palpable buzz of nervousness in the Coliseum about last night’s audience as they took their seats. Did English National Opera really think it could pull it off? Could it avoid the pitfalls into triteness that surely lurk at every corner? How would the chorus manage it? And please God, let it be better than Glyndebourne’s 2007 St Matthew Passion. Read more... |
William Christie, Les Arts Florissants, BarbicanFriday, 27 November 2009
Thank God for Les Arts Florissants. Without the assiduous efforts of this pretty, chic French ensemble and its expat American conductor William Christie, one of the great periods in musical history, that of the French high baroque, would still be shrouded in darkness.
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London Philharmonic Orchestra, Jurowski, Royal Festival HallThursday, 26 November 2009
J S Bach was very much at the spiritual centre of this cunningly devised programme for the South Bank’s current Alfred Schnittke fest: Between Two Worlds. But by the time we emerged shaken but, in my case, not stirred by Schnittke’s preposterous 3rd Symphony the entire Austro-German symphonic legacy had flashed before our ears. Well, not flashed exactly, rather ground to a halt from a slow rewind of ever diminishing returns. Read more... |
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