tue 22/07/2025

Classical Reviews

Bell, Academy of St Martin in the Fields, Bridgewater Hall, Manchester review - life and imagination

Robert Beale

You can’t help liking Joshua Bell. The Peter Pan violin soloist of the classical world has been in the business for more than 30 years and still has his boyish looks and, more importantly, his enthusiasm and sense of enjoyment in making music.

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Louise Alder, James Baillieu, Wigmore Hall review - sensual heat thaws a winter's evening

alexandra Coghlan

Rapture, ecstasy, ardour, and a few cheeky fumbles in the bushes – Louise Alder and James Baillieu’s Wigmore recital promised “Chants d’amour” and delivered amply, giving us love in all its bewildering, technicolour variety.

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Colin Currie Group, Kings Place review - dynamism and detail in Steve Reich

Gavin Dixon

Colin Currie is increasingly coming to be seen as Steve Reich’s representative on Earth. His Colin Currie Group was founded in 2006 for a Proms performance of Reich’s Drumming and has gone from strength to strength, now touring the world with Reich’s music.

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BBCSO, Pons, Barbican review - love hurts in vivid Spanish double bill

David Nice

This was an evening of Iberian highways re-travelled, but with a difference. At the beginning of 2016, the centenary of Spanish master Enrique Granados's untimely death, two young pianists at the National Gallery shared the two piano suites that make up the original Goyescas; finally last night at the Barbican we got the opera partly modelled on their deepest movements.

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Weilerstein, Platt, Hallé, Elder, Bridgewater Hall, Manchester review - insight and passion

Robert Beale

Alisa Weilerstein is making two visits to Manchester in just over three weeks. Last night it was with the Hallé, next time she’ll be guesting with the Czech Philharmonic. This one was to play the solo in Shostakovich’s First Cello Concerto, with Sir Mark Elder conducting.

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Alexander Melnikov, Wigmore Hall review - three pianos, four monsterworks

David Nice

Living-museum recitals on a variety of historic instruments pose logistical problems. Telling The Arts Desk about his award-nominated CD of mostly 19th-century works for horns and pianos, Alec Frank-Gemmill remarked on the near-impossibility of reproducing the experiment in the concert-hall: playing on four period horns would need several intervals, and colleague Alasdair Beatson would hardly be likely to have the four pianos in the same room.

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Feng, CBSO, Gražinytė-Tyla, Symphony Hall Birmingham review - pulling it out of the hat

Richard Bratby

Say what you like about Mirga Gražinytė-Tyla’s partnership with the City of Birmingham Symphony Orchestra – and plenty has already been written – but sometimes the facts speak for themselves. At the end of this midweek matinee concert, an audience that had presumably been lured by the promise of Haydn and Max Bruch exploded in laughter and cheers at the end of a piece by György Ligeti.

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Lortie, BBC Philharmonic, Gardner, Bridgewater Hall, Manchester review – whipping up a storm

Robert Beale

Edward Gardner was back on familiar ground when he conducted in Manchester last night – his high-profile career began when he was appointed as the Hallé’s first-ever assistant conductor, early in Sir Mark Elder’s era – and his rapport with young audiences and ability to command his players has certainly not diminished.

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Kožená, LSO, Rattle, Barbican Hall review – springing surprises from Schubert and Rameau

Peter Quantrill

Cheers and huzzahs greeted the arrival of Sir Simon Rattle on the Barbican stage last night before the London Symphony Orchestra had even played a note. The 10-day festivities to open his tenure as principal conductor evidently worked a treat. The hall was full for a lengthy and – on the surface of it – unlikely splicing of Austrian Romantic angst with Baroque arias and dance.

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Komsi, BBCSO, Oramo, Barbican Hall review - Sibelius series ends in glory

David Nice

Twelfth Night, Epiphany, call it what you will, is one reminder that there's continuity after the turn of the year.

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