Classical Reviews
LPO, Jurowski, Royal Festival HallThursday, 29 April 2010
For many of us, this was bound to be an emotional evening. Noëlle Mann, doyenne of all things Prokofievian on the editorial, archival, teaching and performing fronts, died peacefully at home last Friday, and it was to her that Vladimir Jurowski dedicated a typically bold programme of Prokofiev's late epic for cello and orchestra, the Symphony-Concerto, and a big but rather less focused symphony by his closest composer-friend Nikolay Myaskovsky. Perhaps it's presumptuous to speak for the... Read more...
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Thomas Adès, Barbican HallTuesday, 27 April 2010
It's still not clear whether his clever, brilliantly orchestrated compositions are here to stay (though they're certainly having a good run at the moment). As a conductor, he's not yet nimble on his feet. Yet after yesterday evening's colossal recital, I doubt if anyone would deny that Thomas Adès is a pianist of the first order, a dramatic master of keyboard colour who pulls you into his edgy but often very beautiful sound world and sometimes casts you adrift from your critical moorings. Read more... |
Varèse 360°, SouthbankSunday, 18 April 2010
For those of you who think that classical music ends with Mahler - or Brahms just to be on the safe side - that the musical experimentation of the past 60 years was some sort of grim continental joke, an extended whoopee cushion of a musical period that seemed to elevate the garden-shed accident into some kind of art form, you have two people to blame: Adolf Hitler and Edgar Varèse. |
BBCSO, Bĕlohlávek, Barbican HallSunday, 18 April 2010
It needs saying yet again, until the message gets through: Bohuslav Martinů is one of the great symphonic masters of the 20th century, and his fellow Czech, chief conductor of the BBC Symphony Orchestra Jiři Bĕlohlávek, once more proves the right man to marshal a golden Martinů revival. It needs saying above all because, for all the beauties and oddities in every bar of the six symphonies, composed at the height of the exiled composer's mastery in America and France between 1942 and 1953, the... Read more... |
Bengt Forsberg, Wigmore HallThursday, 15 April 2010
He may not be the most famous musical Swede - in terms of name-recognition that would be Benny of Abba fame rather than Bengt the long-term recital partner of the divine Anne Sofie von Otter - but everyone in the business seems to adore Forsberg, a true musicians' pianist (and the only one I've ever seen... Read more... |
Philharmonia, Denève, Royal Festival HallFriday, 09 April 2010
Why, a modish reader might ask, did I go to hear a rum-looking cove conducting a classical lollipop at the Festival Hall when I might have tasted the latest fruits of a controversial prodigy over at the Barbican? First, because there's plenty of time to wait and see whether bumptious wunderkind Alex Prior will get beyond the derivative, lurid monsterworks he's currently producing. Second, because the immensely likeable cove, French-born Stéphane Denève, is so busy... Read more... |
Bernstein on Broadway, Queen Elizabeth HallThursday, 08 April 2010
One girl can hit a high C, and how; the other would surely melt the iciest-hearted in Rodgers and Hammerstein torchsongs. That's Roberta Alexander, on the evidence of her "Somewhere" last night. Together with classy lyric-coloratura Claron McFadden, the beaming high Cs girl, and sophisticated pianist-animateuse Reinild Mees, she ran the gamut of Bernstein's song-and-dance cornucopia. Read more... |
Philharmonia Orchestra, Muti, Royal Festival HallTuesday, 30 March 2010
If all orchestras inspire a sense of loyalty to some degree, then the Philharmonia perhaps does it better than most. Mackerras is still performing with them, 54 years after he first conducted the orchestra; so is Maazel, who has clocked up 41 years, on and off. There’s Ashkenazy and Dohnányi. And then of course there’s Riccardo Muti, who appears to have been given the unofficial title of conductor-in-chief of anniversaries. |
London Symphony Orchestra, Ticciati, Barbican HallFriday, 26 March 2010
It’s a very assured - not to say very brave - young conductor who chooses to make his debut with the London Symphony Orchestra in Sibelius’ notoriously challenging Seventh Symphony. Mighty talents have fallen at this particular fence, defeated by the work’s circuitous evolution and elusive logic. Robin Ticciati has no fear, though, and more importantly has been mentored by a man who knows the Sibelian psyche and terrain better than most – Sir Colin Davis. Could this be his heir apparent? |
Martin Fröst, Roland Pöntinen, Wigmore HallWednesday, 24 March 2010
It’s tempting to say that if Martin Fröst didn’t play the clarinet then he’d be an actor or a dancer. But he is an actor and a dancer and at one point during this scintillating recital he even sang, too – whilst playing the clarinet at the same time, of course. That’s a given. It’s an extension of his lissom body, and in his shiny grey silk suit and untucked shirt he looked decidedly feline. Ever heard a clarinet purr? Ever heard it yowl, scamper, hiss, scratch? Read more... |
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