fri 29/03/2024

Classical Reviews

Winterreise, Clayton, Aurora Orchestra, Collon, QEH review - new maps for the great journey

Boyd Tonkin

Like Hamlet or Fidelio, Schubert’s Winterreise can withstand and overcome (almost) any kind of re-imagining. In the case of Hans Zender’s 1993 “composed interpretation” of the work for chamber orchestra – and sundry sound effects – the new model has itself become a near-canonical classic. 

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Esther, London Handel Festival, St George’s Hanover Square review - a lopsided celebratory oratorio

David Nice

“Spring Awakenings” promised as the theme of this year’s London Handel Festival began with a big if messy vernal bouquet of “Alleluia"s and “God Save the King”s. Esther, Handel's first London oratorio, seemed like an appropriately jubilant way to celebrate Laurence Cummings' 25th and final year as festival director.

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Theresienstadt-Terezin 1941-1945, Nash Ensemble, Wigmore Hall review - memorial music of stunning impact

Ed Vulliamy

Towards the end of his book Killers of the Flower Moon, David Grann deploys a cogent expression: “chasing history, before it disappears”.

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Osborne, BBC Philharmonic, Bihlmaier, Bridgewater Hall, Manchester review - an orchestra at the top of its game

Robert Beale

Just a few days after the Hallé’s Bruckner 8, the BBC Philharmonic weighed in with his Seventh Symphony for its Manchester audience. We’re all getting a lot of Bruckner in his 200th anniversary year, and this was a wise choice, being one of his shorter creations in the genre – only about an hour and 10 minutes in playing time – and containing some of his best melodic ideas and rhythmic inventions.

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Scottish Ensemble, Glasgow Royal Concert Hall New Auditorium review - making a move

Miranda Heggie

Continuing the relationship with choreographer Örjan Andersson – who choreographed their landmark project Goldberg Variations Scottish Ensemble gave the first of their latest movement-inspired performance, Impulse: Music in Motion in Glasgow on Friday evening.

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Morison, Big Noise Wester Hailes, RSNO, Søndergård, Usher Hall, Edinburgh - shimmering delicacy and surging swell

Simon Thompson

While it is an incontrovertibly good thing that the classical music world has set about rediscovering the work of neglected female composers, not all rediscoveries are equally worthy of being found. Particularly on a day like International Women’s Day (IWD), concert programmers run the risk of unearthing work that tends towards the mediocre, and which can end up being tokenistic.

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Murray, Vlaams Radiokor, LPO, Gardner, RFH review - visual ‘interpretation’ blunts sonic brilliance in Szymanowski rarity

David Nice

Chances are few enough to catch Polish composer Szymanowski’s densely brilliant 1920s score for a ballet about love in the Tatra mountains. Harnasie (Robbers) is so little known that we need a clear line through action and sung text. That all went out of the window in the projections of renowned choreographer Wayne McGregor and visual artist Ben Cullen Williams.

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The Art of Fugue, Schiff, Nosrati, Wigmore Hall review - rarity and quality in music and performance

Ed Vulliamy

At the start of his 75-minute pre-concert lecture on Sunday, the incomparable András Schiff staked quite a claim for the piece he was about to perform: Bach’s The Art of Fugue was, he said: “the greatest work by the greatest composer who ever lived”.

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Gerstein, LSO, Rattle, Barbican review - American glitter and sinew

David Nice

How lucky those of us were who grew up musically with the young Simon Rattle’s highly original programming in the 1980s. He’s still doing it at a time when diminishing resources can dictate more careful repertoire, and last night’s Americana proved spectacularly original. Four of the five works gave a different perspective on the decade and a half in which Shostakovich’s very different Fourth Symphony, LSO triumph of the earlier part of the week, failed to reach public performance.

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The Creation, Alder, Clayton, Mofidian, LPO, Gardner, RFH review - dancing gay in green meadows

David Nice

Light and grace must flood the concert hall in Haydn’s The Creation, after a striking-for-its time evocation of Chaos, and periwigged creatures skip around the Genesis picture. With Edward Gardner keeping the London Philharmonic Orchestra and Chorus on their dancing toes, as ever, and three fine soloists carrying the creatures’ share of the beauties, it was a good time for happy creativity.

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