Classical Reviews
Boris Giltburg, Wigmore Hall review - tonal beauty trumps subjective romanticsWednesday, 15 February 2023
What a difference a piano can make. Boris Giltburg, like Angela Hewitt, prefers a very special Fazioli over the Steinways which dominate the concert scene at the Wigmore Hall and elsewhere. While those may yield a greater depth of field, more appropriate for a 2000 seater venue, few pianists have wrought sound magic on them anything like the kind we heard throughout last night’s rich recital. Read more... |
LSO, Pappano, Barbican review - exhilarating, hilarious mock-heroicsMonday, 13 February 2023
So it turns out there isn’t a problem with Richard Strauss’s Ein Heldenleben (A Hero’s Life), a stroppy mock-epic I thought couldn’t ever love again, when constantly singing phrases from Antonio Pappano and the LSO turn it into an hallucinogenic opera for orchestra. Read more... |
Hewitt, BBC Philharmonic, Davis, Bridgewater Hall, Manchester review - the classical styleMonday, 13 February 2023
Two intriguing themes and two great guest artists were offered by the BBC Philharmonic to their Saturday night audience in the Bridgewater Hall: the themes were what “classicism” really is, and the variety of music inspired by (or written for) dance. Read more... |
Dmitri Alexeev, Leighton House review - shadows and light from a master pianistWednesday, 08 February 2023
You can brush aside any problems septuagenarian pianists may have in the toughest repertoire, especially if they give you more than glimpses of why they’re legends in the first place. Those were frequent from the masterly Dmitri Alexeev, long inclined to prefer passing on wisdom to a new generation of pianists as Professor at the Royal College of Music and in his other home in Rieti over the treadmill of recital giving. Read more... |
The Damnation of Faust, LPO, Gardner, RFH review - the devil's in the detailMonday, 06 February 2023
No work gives its listeners such pleasure on the way to hell (and back) as Berlioz’s rule-busting “dramatic legend”, The Damnation of Faust. It delivers not just flamboyant thrills, but low comedy, high drama, pathos, terror, nostalgia, pastoral lyricism and crazy episodes of sheer delirium. Read more... |
Philharmonia, Hrůša, RFH review - total brilliance in Bartók, Dvořák and StraussFriday, 03 February 2023
Salome was not to get her head on a silver platter: Jennifer Davis, due to sing the bloody final scene of Strauss’s opera, had been experiencing abdominal pains during her first pregnancy – mother and child are fine – and had to withdraw at a late stage. Yet Jakub Hrůša, witness to her potential in the Royal Opera revival of Wagner’s Lohengrin which led to his appointment as Pappano’s successor there, took the Philharmonia all the way in a still-dazzling programme. Read more... |
Leonskaja, Staatskapelle Streichquartett, Wigmore Hall / Secret Byrd, St Martin-in-the-Fields review - genuine versus theatricalTuesday, 31 January 2023
It’s dangerous to claim a sense of absolute rightness about a musical performance; that could mean no more than responding to an interpretation which happens to chime with your own subjective expectations. Yet I’m happy to stick my neck out and say that the partnership of septuagenarian pianist Elisabeth Leonskaja with the young Staatskapelle Quartet of Berlin felt absolutely right in works by Brahms that cry out in every bar for authentic musicianship (★★★★★). Read more... |
Ólafsson, LPO, Gardner, RFH review - spirit of delightMonday, 30 January 2023
This concert was advertised as the completion of an Elgar symphony cycle, though in the absence of the reconstructed Third, that meant the second of two. Both were planned with interesting concerto couplings. The First Symphony was presented with the Tippett Piano Concerto earlier in the week, and early publicity for this concert promised a new piano concerto from Mark Simpson, with Icelandic pianist Víkingur Ólafsson. Read more... |
Gerhardt, BBC Philharmonic, Gernon, Bridgewater Hall, Manchester review - calm and clear conductingMonday, 30 January 2023
Ben Gernon’s calm and clear way of conducting an orchestra (something he once told me he’d observed in the work of his mentor, Colin Davis) is good to watch and, I would guess, welcomed by those he directs. Since his time with the BBC Philharmonic as principal guest conductor (2017-2020) he’s been a welcome visitor to them in Manchester and Salford, and this programme pulled a good crowd and was indeed very rewarding. Read more... |
Jansen, LSO, Noseda, Barbican review - hearts of darknessFriday, 27 January 2023
There’s life in the old overture-concerto-symphony format yet – especially if the conductor not only shapes every phrase but takes care over the number of string players needed for each work, the soloist lives every bar of a concerto you thought you knew inside out, and the symphony is a relatively rare neighbour to another regularly on concert programmes. Read more... |
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