Classical Reviews

Rysanov, Neary, BBC NOW, Outwater, Hoddinott Hall, Cardiff

stephen Walsh Saturday, 21 May 2016

Apart from festivals like the BBC Proms that do everything, the best festivals have always been the ones that cut a distinctive profile. They might not offer the best music. Those old French festivals of modern music – Royan, La Rochelle, Metz – were a nightmare of clichéd avant-gardism. But you got what was written on the tin, and if you didn’t like it, serve you right for going.

Classical CDs Weekly: Mozart, Vivancos, Rufus Wainwright

graham Rickson Saturday, 21 May 2016

Mozart: Serenade in B flat major, 'Gran Partita', Royal Academy of Music Soloists Ensemble/Trevor Pinnock (Linn)

Van de Wiel, Philharmonia, Järvi, RFH

Sebastian Scotney Friday, 20 May 2016

“Choleric humour, pathos and kindliness are mingled in conflict," wrote Robert Simpson of Nielsen’s 1928 Clarinet Concerto. The work was written for a player with a complex character, full of contradictions. Last night’s soloist, Mark van de Wiel, the Philharmonia's principal clarinettist, gave a fluent performance of the work convincing on its own terms, portraying the protagonist as an introvert and anti-hero.

Lill, Moscow State Symphony Orchestra, Kogan, Symphony Hall Birmingham

Richard Bratby Tuesday, 17 May 2016

Behemoth Dances. Who dances? You know, Behemoth, the huge demonic black cat who cakewalks through Stalin’s Moscow in Bulgakov’s The Master and Margarita spreading mayhem and magic; the spirit – as quoted by Bulgakov, and taken by Stephen Johnson as a sort of motto for his new orchestral work – “that always wills evil, but always does good”. A sardonic fanfare announces his appearance, before the orchestra whizzes away on a bustling, bristling spree.

BBC Young Musician 2016

Jasper Rees Monday, 16 May 2016

What makes a musical performance? The final of Young Musician 2016 presented five judges with this philosophical teaser to ponder. For the previous 90 minutes three contestants with three radically contrasting styles of delivery cleared every bar in front of them, with the help of Mark Wigglesworth and the BBC Symphony Orchestra. Giving the nod to one meant the elbow for the others.

Comment

Stravinsky: Myths & Rituals, Philharmonia, Salonen, RFH

Peter Quantrill Monday, 16 May 2016

Looking past the ballets for Diaghilev, there are still many superb scores by Stravinsky honoured more in scholarship than performance. In Myths and Rituals, the Philharmonia addresses that lack of wider appreciation with five concerts from May to September. The series got off to a promising start last night with the tiny fanfare for three trumpets – Monteverdi with attitude and wrong notes – from 1955, which was one of Stravinsky’s first thoughts for his last ballet, Agon.

theartsdesk at Tectonics Glasgow 2016

David Kettle Saturday, 14 May 2016

For a festival of wild, genre-colliding musical experimentation, Tectonics is almost starting to feel like part of the establishment. Which shows, if nothing else, that it must be getting somewhere with its boundary demolishing. The 2016 weekend over 7-8 May was its fourth outing in Glasgow – conductor Ilan Volkov founded it in Reykjavík in 2012, and since then it’s spread its all-embracing eclecticism worldwide to Tel Aviv, Adelaide, New York and beyond.

Classical CDs Weekly: Maurice Greene, Mahler, Stravinsky

graham Rickson Saturday, 14 May 2016

Maurice Greene: Overtures Baroque Band/Garry Clarke (Cedille)

The Dark Mirror: Zender's Winterreise, Barbican Theatre

alexandra Coghlan Friday, 13 May 2016

Elasticity is a surprisingly reliable test for great art. How far can you stretch, bend, or reshape a work before it loses its essence, its identity? Hamlet, The Well-Tempered Clavier, Antigone, Pride and Prejudice can all take almost anything you can throw at them, but what about Winterreise, Schubert’s song-cycle of lost love?

Andsnes, LSO, Flor, Barbican

Peter Quantrill Monday, 09 May 2016

Laid low by a bug, Daniel Harding had to withdraw at the last minute from conducting the LSO last night. Booked as the soloist, Leif Ove Andsnes stepped into the breach to lead Mozart’s Piano Concerto No 20 from the piano, as the composer would have done. His unruffled keyboard technique and unimpeachably neat phrasing betrayed no sign of hasty preparation.