Classical Reviews
Jerusalem Quartet, Elisabeth Leonskaja, Wigmore HallWednesday, 13 November 2013
A previous visit to the Wigmore Hall saw the Jerusalem Quartet make headlines for all the wrong reasons, after political protestors disrupted the live-broadcast concert. Last night however all was mercifully calm and music-focused for the start of the first three-concert sequence in the quartet’s Shostakovich cycle, though audience members did have to brave the rather incongruous bouncers, lined up in their casual-with-just-a-hint-of-don’t-even-think-about-it chic outside the hall doors. Read more... |
Philip Glass/Steve Reich, Royal Festival HallMonday, 11 November 2013
The Southbank’s artistic director Jude Kelly was out in force at this penultimate weekend of The Rest is Noise festival, delivering little triumphalist, Ryan Air-like fanfares, reminding us how pioneering they had been to programme composers such as Igor Stravinsky, Richard Strauss, Benjamin Britten and Philip Glass - composers who no one had ever heard of before they'd bravely decided to put them on. Read more... |
War Requiem, BBCSO, Bychkov, Royal Albert HallMonday, 11 November 2013
How many reviews of War Requiem do you want to read in Britten centenary year? This is theartsdesk’s fourth, and my second – simply because though I reckon one live performance every five years is enough, Rattle’s much-anticipated Berlin Philharmonic interpretation fell almost entirely flat, and I wanted to hear at least one good enough to move me to tears. Read more... |
Classical CDs Weekly: Dvořák, Xiayin Wang, Simon Thacker's Svara KantiSaturday, 09 November 2013
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Marc-André Hamelin, Wigmore HallTuesday, 05 November 2013
French-Canadian pianist Hamelin has the technique and the stamina to play anything, which is why the note-crazy, obsessive “Night Wind” Sonata of Nikolay Medtner buzzed around at the heart of his recital. But between the proud resonance of its many climaxes and the distant voices he showcased so effectively in his own Barcarolle – three movements rather than one, unexplained in a note which simply ignored it – there’s little delicacy in the middle ground. Read more... |
La Damnation de Faust, LSO, Gergiev, BarbicanMonday, 04 November 2013
Berlioz wanted to make the first arrival of his demon onstage unforgettable, with an extreme sound effect - violins and violas marked sul ponticello, strettissimo, starting fortissimo, with interjections from three trombones snarling in minor seconds. In last night's performance of La Damnation de Faust that moment was glossed over. It flashed past as if it had never happened. Read more... |
Mustonen, Nakariakov, BBCSO, Oramo, BarbicanSunday, 03 November 2013
This was Sakari Oramo's first concert with the BBC Symphony Orchestra since taking over as chief conductor. Of course he knows the orchestra well already, but it was important to make this a good ’un, and so it was. Read more... |
Belcea Quartet, Wigmore HallSaturday, 02 November 2013
Pure, unorthodox genius: the terms apply both to the three works on the Belcea Quartet’s programme – Haydn at his most compressed, Britten unbuttoned and sunny, Shostakovich hitting the tragic heights – and, if the term “genius” can be applied to re-creative artists, to the players themselves. Read more... |
Moser, London Philharmonic Orchestra, Michail Jurowski, Royal Festival HallThursday, 31 October 2013
Imagine how discombobulated the audience must have felt at the 1962 premiere of Shostakovich’s most outlandish monster symphony, the Fourth, 26 years after its withdrawal at the rehearsal stage. Those of us hearing its natural successor, Schnittke’s First Symphony, for the first time live last night didn’t have to (imagine, that is). Read more... |
Frank Zappa's 200 Motels, Royal Festival HallWednesday, 30 October 2013
One of the joys of the Southbank Centre’s year-long The Rest Is Noise series has been the opportunity to hear some unusual period pieces among the more standard repertoire. In the case of 200 Motels it is a concert premiere for a genre-bending work which was pulled from its 1971 Albert Hall slot due to complaints about its obscene content. Read more... |
Dvořák: Cello Concertos Steven Isserlis (cello), Mahler Chamber Orchestra/Daniel Harding (Hyperion)Pages
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