tue 21/11/2017

Stravinsky

The Rake's Progress, Wilton's Music Hall review - mercurial Stravinsky made cumbersome

If you're not going to mention the imaginative genius of Stravinsky, Auden and Kallman within the covers of your programme, and the only article, by the director, is titled "Acting Naturally", then the production had better deliver. That remarkable...

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Stravinsky Ballets, LSO, Rattle, Barbican review - the big three burn with focused energy

“Next he’ll be walking on water,” allegedly quipped a distinguished figure at the official opening of Simon Rattle’s new era at the helm of the London Symphony Orchestra. Well, last night, with no celebratory overload around the main event, the...

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Prom 50 review: Josefowicz, Clayton, CBSO, Gražinytė-Tyla - personality in every bar

Everything you may have read about Mirga Gražinytė-Tyla's wonder-working with her City of Birmingham Symphony Orchestra is true. Confined to a Turkish hospital bed when their first Prom together took place last August, I wondered from the radio...

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Jonathan Miles: St Petersburg review - culture and calamity

Talk about survival: St Petersburg, Petrograd, Leningrad, now again St Petersburg, all the same city, has it nailed down. It was founded through the mad enthusiasm, intelligence, determination and just off-the-scale energy of Peter the Great in 1703...

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Classical CDs Weekly: Brian Elias, Stravinsky, Palaeolithic Bone Flutes

Brian Elias: Electra Mourns Psappha/Nicholas Kok, Britten Sinfonia/Clark Rundell (NMC)Bombay-born British composer Brian Elias has been active since the 1960s. A slow and fastidious worker, his 1992 score for the Royal Ballet’s The Judas Tree is...

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Koen Kessels: 'there's a joke in ballet we only have two tempi' - interview

Koen Kessels is on a mission to change the culture around music in ballet. Anyone who has heard the Belgian conduct will know that he is the right person for the job: Kessels makes the classic scores come alive in the pit like nobody else I’ve heard...

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Classical CDs Weekly: Gražyna Bacewicz, Stravinsky, Nathan Williamson

 Gražyna Bacewicz: Chamber Music Diana Ambache and friends (Ambache Recordings)This is an easy disc to love. Gražyna Bacewicz’s music is consistently good, often exceptionally so, and it's gratifying that new recordings on Hyperion and Chandos...

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Balanchine's Jewels, Royal Ballet

Balanchine's Jewels is catnip to dedicated ballet lovers. A homage, faithful and brilliant as only a master could make, to three different styles of choreography and three different national sensibilities, it's as dense, expertly carved and...

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Pina Bausch's Rite of Spring, English National Ballet, Sadler's Wells

Is English National Ballet's current predilection for acquiring European repertoire some kind of anti-Brexit statement, or just smart brand positioning? Last night's performance at Sadler's Wells, a sequel in all but name to the programme called...

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Aimard, Philharmonia, Salonen, RFH

A new work by Igor Stravinsky is always going to be a major event, so Sunday evening’s UK premiere of his rediscovered Funeral Song was hotly anticipated. The score disappeared after its first performance and was thought lost in the Russian...

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Gerhardt, Aurora Orchestra, Collon, Kings Place

What's not to like, or love, would have to be the sensible response to both the opening programme of Kings Place's year-long Cello Unwrapped festival at Kings Place and its life-enhancing execution. Symmetries abounded – between Alban Gerhardt's...

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Zehetmair, LPO, Jurowski, RFH

This is how new and modern music should be done. In the London Philharmonic, we had an orchestra well-prepared to meet technical challenges and resolved to making sense from them. Vladimir Jurowski is a conductor who places faith in composers and...

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