Classical Reviews
Matsuev, London Symphony Orchestra, Gergiev, Barbican HallSunday, 26 September 2010
Shchedrin's best works, in my experience - and his output has been prolific of late - colour and treat the themes of others: chastushki or Russian street songs in the brilliant Naughty Limericks Concerto (to be heard in the second programme of the season), Tchaikovsky in the Anna... Read more... |
The Bach Dynasty, Academy of Ancient Music, Wigmore HallFriday, 24 September 2010
No, not some crazy remake of an Eighties soap featuring various members of the Bach family (though I wouldn’t put it past certain channel programmers to come up with the idea), but the Academy of Ancient Music’s (AAM) new series of concerts, which in a nutshell gives them the chance to perform lots of Johann Sebastian, with two bookend concerts covering the befores and the afters, as it were. Bound to get the crowds in and looks nice on the posters. Read more... |
London Philharmonic Orchestra, Jurowski, Royal Festival HallThursday, 23 September 2010
From primeval baying to a very human song in excelsis, Mahler's Third Symphony cries out for Olympian interpretation. That I've found in recent years with Abbado in Lucerne and the Albert Hall, Bělohlávek at the Barbican and Salonen on the South Bank. Since... Read more... |
Llŷr Williams, Wigmore HallThursday, 23 September 2010
Do paws get any mightier than Llŷr Williams's? When not crashing down onto the Wigmore Hall Steinway like a ton of singing bricks, they were digging deep, like strong, nifty moles, foraging for the contrapuntal melodies that lay beneath the topsoil. Williams was made to tackle the beefy German classics on this programme. Read more... |
The Last Night of the Proms, Fleming, Rysanov, BBCSO, BělohlávekSunday, 12 September 2010
It must have been with a leaden heart that the BBC Proms planning team realised that 2010's Last Night would fall plumb on 9/11. How to reconcile all the traditional Brit triumphalism and singing of Jerusalem with the rather more contemporary need to reconcile all, whether out of Jerusalem or not? Read more... |
The Last Night of the Proms, BBC One: The Twitter ReviewSaturday, 11 September 2010
Part 2 @bbcproms. The madness begins. Ms Derham has not switched gowns in the interval. No sign of Titchmarsh, for which we must give thanks. The "traditional" necklace of laurels for Sir Henry Wood's bust. Wonder if he'd welcome his head being polished by a pink rag. How do they pick these pieces? Apols but the Marche joyeuse did not fill this tweeter with joy. On the other hand, here's Renée plus a mike. Read more... |
Russian afternoon, Rudy, Ivashkin, Kings PlaceSaturday, 11 September 2010
Two years after its first festive spree of 100 events, Kings Place has become the most congenial of all London's concert-hall zones in which to hang loose. On Friday afternoon I could have trotted happily between Russian piano classics, youth jazz and storytellers. Read more... |
Monteverdi Choir, English Baroque Soloists, Gardiner, Royal Albert HallSaturday, 11 September 2010
Monteverdi’s 1610 Vespers are something of a musical enigma. Neither their true pitch nor order of movements, their origins, nor even whether they were intended as a complete sequence is known for certain, prompting scholar Denis Arnold to conclude that, “to perform it is to court disaster”. Such a grim augury however has done little to discourage musicians, and in this, their 400th anniversary year, Monteverdi’s Vespers have been ubiquitous. Read more... |
Röschmann, Collins, BBCPO, Noseda, Royal Albert HallThursday, 09 September 2010
Maybe it's a truism that most instrumental music, at least before World War One, aspires to the condition of song. Few have gone farther in that respect than the composers of the three purely orchestral works in last night's Prom. Read more... |
Orchestre National de France, Gatti, Royal Albert HallWednesday, 08 September 2010
It was one of those moments that every conductor (and orchestra) dreads: “The Procession of the Sage” from Stravinsky’s The Rite of Spring is in rip-roaring full cry, percussion grinding and scratching, high trumpet screeching – but Daniele Gatti, it would seem, loses a bar somewhere and gives his Orchestre National de France a premature cut-off, leaving the entire brass section between a rock and a hard place. Stop or play on? An ignominious collapse ensues – as big a blunder as I’... Read more... |
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