Classical Reviews
Rachvelishvili, ROH Orchestra, Pappano, Royal Opera House review - perfect night and daySaturday, 09 February 2019
There's now something of a gala atmosphere when the Orchestra of the Royal Opera House takes to the Covent Garden stage with its music director Antonio Pappano. Read more...
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Uchida, Mahler Chamber Orchestra, RFH review - togetherness in light and shadeThursday, 07 February 2019
When a pianist directs from the keyboard, the result can be a sedate affair: a matter of minimalist time-keeping while the soloist shows his or her fancy moves. Not so with Dame Mitsuko Uchida and her long-term partners, the Mahler Chamber Orchestra. Clad in a sort of blue magician’s gown over severe black, Uchida – who has just turned 70 – stood to conduct, vigorously, the opening passages of last night’s two Mozart concertos at the Royal Festival Hall. Read more... |
Lupu, Philharmonia, Järvi, RFH review - concerto magical in parts, symphony stupendousMonday, 04 February 2019
Pianists most often cite Radu Lupu alongside Martha Argerich and Grigory Sokolov as the greatest. So it was hardly surprising to see so many top musicians in a packed audience, buzzing with expectation for the 73-year-old Romanian's most recent UK appearance with a conductor he respects, Paavo Järvi. Read more... |
Bach B minor Mass, BBCSO, Butt, Barbican review - large-scale losses and a few gainsMonday, 04 February 2019
Practitioners of musical authenticity and scholarly research, so guarded and protective of their territory in the early days, now like to spread the love around. Read more... |
Kempf, Devin, St Petersburg Philharmonic, Sinaisky, Symphony Hall, Birmingham review - aglow but not alightSaturday, 02 February 2019
In the fourth performance of their UK tour, with Vassily Sinaisky replacing an indisposed Yuri Temirkanov, the St Petersburg Philharmonic gave a warm and rousing performance at Symphony Hall, Birmingham. Read more... |
Hadelich, CBSO, Măcelaru, Symphony Hall Birmingham review - industrial strength Vaughan WilliamsThursday, 31 January 2019
Well, I didn’t expect that – and judging from the way the rest of the audience reacted, nor did anyone else. After Cristian Măcelaru slammed the City of Birmingham Symphony Orchestra full speed into the final chord of Vaughan Williams’s Fourth Symphony, there was a stunned silence, broken by gasps. And then cheers, as a smiling, visibly drained Măcelaru gestured back at the orchestra with both thumbs up. Read more... |
Damrau, BRSO, Jansons, Barbican review - broad and passionate StraussMonday, 28 January 2019
There is no doubting Diana Damrau’s star power. She is not a demonstrative performer, and her voice is small, but the sheer character of her tone, and the passion she invests, make every line special. Read more... |
Hough, Hallé, Elder, Bridgewater Hall, Manchester review - film music flowsFriday, 25 January 2019
No one worried about melting icecaps and homeless penguins when Vaughan Williams wrote his score for the film Scott of the Antarctic around 70 years ago. (They do now, as a new music theatre piece by Laura Bowler to be premiered by Manchester Camerata next week will show). It was the challenge of the frozen continent and a heroic effort to reach its heart that counted. Read more... |
Endellion Quartet, Wigmore Hall review - four decades of excellenceTuesday, 22 January 2019
The Endellion Quartet first rehearsed on 20 January 1979, deep in the throes of Britain’s so-called “Winter of Discontent”. That longevity – with three of the original players still on the team after four decades – makes the acclaimed ensemble roughly as old as Spandau Ballet, and senior to REM. Read more... |
Van Woerkum, BBCPO, Gernon, Bridgewater Hall, Manchester review - a symphony of cinemaMonday, 21 January 2019
In contrast to a classic film soundtrack played live with the film, the idea in "symphonic cinema" is that the music, and its interpretation, come first. So the conductor is literally setting the pace, and to some extent the atmosphere, while the film is controlled in real time by an "image soloist", and the visuals follow the music’s lead rather than the other way round. Read more... |
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