Classical Reviews
Prom 70 review: Denk, BBCSO, Canellakis - high, lucid and brightWednesday, 06 September 2017
It can’t be too long before “women” no longer needs to prefix “conductors” to define what’s still a rare breed. Yet seven at the Proms is certainly an improvement, with many more coming up through the ranks. And American Karina Canellakis turned out to be very much the season’s final trump card. Read more... |
Proms 67 & 68 review: Freiburg Baroque, Heras-Casado / Mariinsky, Gergiev - reformation and revolutionMonday, 04 September 2017
Even tuning up, the multinational musicians of the Freiburg Baroque Orchestra make a lovely sound, well-anchored by the tug of four period-instrument cellos and three basses, yet buoyant and stippled with upper-wind colours, flutes circling and dipping like a cliff-edge bird colony. Ideal, then, for the Hebrides Overture which opened this Mendelssohn matinee (★★★★). Read more... |
Proms 64 & 66 review: Royal Concertgebouw Orchestra, Gatti - halfway to paradise with Bruckner and MahlerSunday, 03 September 2017
How do you get to heaven, especially if you need to reach the pearly gates by way of the earthbound acoustics of the Royal Albert Hall? With Chief Conductor Daniele Gatti as their spirit guide, the sumptuously arrayed pilgrim band of the Royal Concertbegouw Orchestra from Amsterdam sought different routes in the centrepieces of their pair of Proms. Read more... |
Prom 63 review: Gerstein, BBCSO, Bychkov - total mastery of orchestral soundFriday, 01 September 2017
No-one, least of all the players, will forget Semyon Bychkov’s 2009 Proms appearance with the BBC Symphony Orchestra in a poleaxing interpretation of Shostakovich’s Eleventh Symphony. Read more... |
Prom 61 review: Fleming, Royal Stockholm Philharmonic Orchestra, Oramo - heliotropic ecstasiesThursday, 31 August 2017
No sunshine without shadows was one possible theme rippling through this diva sandwich of a Prom. Read more... |
Proms at...Cadogan Hall review: Pavel Kolesnikov - Chopin takes flightTuesday, 29 August 2017
If individual greatness is to be found in the way an artist begins and ends a phrase, or finds magical transitions both within and between pieces, then Pavel Kolesnikov is already up there with the top pianists. Listeners tuning in midway through the peaks of his lunchtime Prom – the great Chopin Fantaisie or the Fourth... Read more... |
Edinburgh Fringe 2017 review: Concerto for Comedian and Orchestra - gentle, old-fashioned humourTuesday, 29 August 2017
It’s a tricky thing to get right, musical comedy. For every Victoria Wood, Tim Minchin or Bill Bailey, there are others – plenty of them at the Edinburgh Fringe, in fact – who find it more of a challenge to meld together the two forms so that they complement each other rather than compete. Read more... |
Proms at... & Prom 56 reviews: Multi-Story Orchestra / BBCSO, Hrůša - the best of all possible worldsMonday, 28 August 2017
There we had it, in one extraordinary Proms day: the brave new world of contemporary classical music for all in a repurposed Peckham car park followed by the consolidation of the old order in all-Czech programming of remarkable originality and daring in the evening. You can't ask much more of an art-form thato many are claming... Read more... |
Prom 54 review: Kavakos, Filarmonica della Scala, Chailly - cool Milanesi mute Roman exuberanceSaturday, 26 August 2017
Last night was one of those rare occasions when I'd rather have heard Respighi's gaudy-brilliant Roman Festivals than Brahms's Violin Concerto. Read more... |
Edinburgh Festival 2017 review: Iestyn Davies, AAM - exquisite and enlighteningFriday, 25 August 2017
“An affectionate look at different nationalities through their horses.” That was the memorably bizarre description by harpsichordist/conductor Richard Egarr of Telemann’s Les nations suite, with which he opened his second Queen’s Hall concert directing the Academy of Ancient Music at the Edinburgh International Festival. Read more... |
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