Classical Reviews
Monteverdi Vespers, The Sixteen, Christophers, Winchester CathedralFriday, 07 November 2014
It has to be the ultimate cornucopia of choral and early-instrumental invention. So long as the musicians immerse themselves in the beauty of a strange adventure, it doesn’t matter where you hear Monteverdi’s Vespers of 1610: however selective the acoustic, you’ll always get something out of one rare combination of sounds or another. Read more... |
Rachmaninov Vespers, Maryinsky Chorus, Llandaff CathedralFriday, 07 November 2014
Anyone whose affection for Rachmaninov is bounded by the Second Piano Concerto or the Paganini Rhapsody might be surprised to learn that his own favourite work of his was his setting for unaccompanied choir of the Vespers, or All-Night Vigil, of the Russian Orthodox Church. Admittedly he uses the Latin “Dies irae” in the Rhapsody, and the “Blagosloven yesi” from the Vigil does battle with it in his Symphonic Dances. But these are no more than Lisztian self-dramatising pieties. Read more... |
Soumm, LPO, Vänskä, Royal Festival HallThursday, 06 November 2014
Even the cold breeze along the Thames played its part in conjuring the chilly, epic Finnish landscapes of Jean Sibelius last night, though Finnish maestro Osmo Vänskä and the perfectly weighted phrasing of the London Philharmonic Orchestra can take primary credit. Read more... |
Thomas Adès, See the Music, Hear the Dance, Sadler's WellsSaturday, 01 November 2014
The challenge was already in the title for me: as both a dance critic and a strongly visual person, in the normal order of things I see the dance first and hear the music second. Read more... |
Uchida, LSO, Haitink, Barbican HallFriday, 31 October 2014
You know what to expect from a standard programme of masterpieces like this, led by two great performers in careful control of their repertoire, and those expectations are never going to be disappointed. You’re not going to hear the kind of new-sound Brahms side by side with the more recent end of the German musical tradition – Zimmermann, say, or Henze; that’s the provenance of a fresh thinker like Vladimir Jurowski. Read more... |
The Fall of the House of Usher, Sound Affairs, MalvernThursday, 30 October 2014
At least three composers have set about turning The Fall of the House of Usher into operas, including most famously Debussy, whose abortive attempt, completed by Robert Orledge, was brilliantly staged by Welsh National Opera in June. But there is a good argument that Poe’s story – short on incident and character, long on visual image and atmosphere – lends itself better to film than to the stage. Read more... |
Arcadi Volodos, Royal Festival HallWednesday, 29 October 2014
Arcadi Volodos is a relatively rare visitor to London these days. Although the Russian pianist, 42, rose early to fame, his development has perhaps taken him in a direction that startles those who were initially seduced by the astounding virtuoso transcriptions – many of them his own – in which he initially established his reputation. Read more... |
Leonskaja/ Pires, Dumay, Meneses, Wigmore HallWednesday, 29 October 2014
What a day for piano-lovers and Beethoven-lovers – Elisabeth Leonskaja for lunch, Maria João Pires for supper. Beethoven from both, stupendous playing from both, all in all generating a general sense of disbelief in this member of the audience. I mean, really! The Wigmore Hall is the epicure’s choice for music, but even by Wiggie standards this was beyond expectations. Read more... |
Beatson, Scottish Ensemble, Queen's Hall, EdinburghWednesday, 29 October 2014
I declare an interest. In the last 10 years or so the Scottish Ensemble has twice, at my invitation, visited the Borders village where I live, about 30 miles south of Edinburgh. On both occasions the ensemble performed a rich and challenging programme in front of a rural audience awestruck that such uncompromisingly competent music-making could descend on a village hall more accustomed to flower shows and badminton tournaments. Read more... |
Malala/A Child of Our Time, Crouch End Festival Chorus, Temple, BarbicanWednesday, 29 October 2014
James McCarthy’s oratorio Malala is both a heartfelt tribute to the young Nobel Peace laureate, Malala Yousafzai, and political statement in favour of the education of women. In it, as in its companion piece A Child of Our Time, a persecuted individual is turned into a symbol of all mankind. Read more... |
Pages
inside classical music
latest in today
Jerry’s Girls, Menier Chocolate Factory review - just a para...
Catchy even when the lyrics are at their cheesiest, the Jerry Herman Songbook serves up a string of memorable tunes: you’ll probably find that,...
Punt and Dennis, The Marlowe, Canterbury review - satire and...
Ten years after their last tour Steve Punt and High Dennis are back on the road with We Are Not a Robot. It comes after their long-...
Album: Jihye Lee Orchestra - Infinite Connections
Brooklyn-based composer and bandleader Jihye Lee’s story really does take quite some telling. Born 1999, and having been an indie pop singer in...
Furiosa: A Mad Max Saga review - just as mad without Max
In the way of Batman being overshadowed by his villains, in his last outing, Mad Max: Fury Road, the erstwhile hero of George Miller...
The Beach Boys, Disney+ review - heroes and villains and goo...
It was – let’s see – 63 years ago today that Brian Wilson taught the band to play. Fabled for their resplendent harmonies and ecstatic hymning of...
Album: Twenty One Pilots - Clancy
If there is one positive of the past decade, it must be the growing openness with...
Richard III, Shakespeare's Globe review - Michelle Terr...
There’s a fierce, dark energy to the Globe’s new Richard III that I don’t recall at that venue for a fair while. The drilled cast dances...
Kolesnikov, Wigmore Hall review - celestial navigation throu...
Like his baggy white suit, pitched somewhere between Liberace and Colonel Sanders, Pavel Kolesnikov’s playing was spotless at the...
Between Riverside and Crazy, Hampstead Theatre review - race...
It’s often said that contemporary American playwrights are too polite, too afraid of giving offence. But this accusation can’t be levelled at...