Classical music
David Nice
There was I, up to that point, very grateful to be hearing so fresh an approach to a heavyweight, admiring the way the crack Bavarian players sang and danced in every line that so often stays numb until the mechanics of horror let rip, but wondering what the many younger listeners in the audience might be taking from the masterclass. They would sense the shape and urgency of Shostakovich's symphonic argument, but would they feel what the likes of Rostropovich and Svetlanov always told us about the infinite suffering of the late Stalin years, followed by the ambiguous transcendence of 1953, Read more ...
Jasper Rees
The career of Simon Russell Beale (b. 1961) needs little introduction. It took wing with the Royal Shakespeare Company but, give or take the odd foray into other buildings, including work with Sam Mendes at the Donmar Warehouse and more recently with the Bridge Project, he has made the National Theatre his home. Of all the Hamlets seen in the past 20 years, his seems to be the one that more than any remains unforgettable in the collective memory. Meanwhile, anyone who saw him as a camp King Arthur in Spamalot may not have guessed that long before Russell Beale took acting seriously, he took Read more ...
edward.seckerson
If Beethoven’s Third Symphony Eroica was the seismic upheaval, not just for Beethoven but for the entire symphonic movement, then the Second Symphony was most certainly the pre-shock. And we can be precise about the moment that Beethoven blows the Haydn model right out of the water and glimpses the far horizon of his brave new world: it’s the extended coda of the first movement where a devious harmonic shift sets collision course for the rip-roaring climax in which the trumpets turn wilful dissonance into exultancy. Ivan Fischer and the Orchestra of the Age of Enlightenment nailed it like Read more ...
igor.toronyilalic
Shuffling about the podium like a cha-cha-chaing Jack Lemmon, slam-dunking his first beats, kicking out his heels for second beats, épéeing the trombone entries like a toy toreador, it wasn't hard to see why Lorin Maazel gets such a regular critical roasting. During The Rite of Spring he was almost playing up the vulgarian tag. "You want vulgar? I'll give you vulgar. Take that ridiculously elongated glissando! And that totally out-of-place ritardando! And that gob-smackingly inappropriate sforzando!" That Maazel is a showman has never been in question. What is more problematic is discerning Read more ...
edward.seckerson
Opera North's Howard Assembly Room (above) is no longer a well-kept secret. Lovingly restored to its former Victorian glory, this one-time annexe to the Grand Theatre, Leeds, has had a chequered history - even briefly servicing the furtive mackintosh brigade as a picture palace of the bluest persuasion. Now, though, it's been born again as a vibrant performance space. A new season of events under the umbrella title of VOICES is about to launch featuring acts as diverse as The Tallis Scholars, Jackie Oates and Chumbawamba. General manager of the space Richard Ashton and artistic director Read more ...
Ismene Brown
In every partnership there is a leader, and it’s not always the featured name. While the hall was packed with Ma followers for this rare cello-and-piano recital, what emerged was a richly sensitising foretaste of what the Emanuel Ax residency is going to offer over the next fortnight. This is one marvellous pianist.But then Yo-Yo Ma is an excellent cellist too, and their programme of Schumann and Chopin either side of a new commission for them by Peter Lieberson displayed Ma's very amiable personality and light touch, and indeed what appears to be an uncommonly warm and smiling relationship Read more ...
jonathan.wikeley
Was it Chopin’s birthday or wasn’t it? To be honest, no one at last night’s Royal Festival Hall concert probably gave a damn, so wrapped up were they in Maurizio Pollini’s playing. And what playing it was too. The man just sits down and gets on with it – there’s none of that airy-fairy flamboyance and arm waving that certain younger pianists seem unable to perform without. This was an unapologetically old-school concert. Pollini shuffled on in his tails (who wears those any more?), plonked himself at the piano, and had finished the first of Chopin’s 24 Preludes before most of the audience had Read more ...
David Nice
A fervent believer, James MacMillan has no time for what he's called the "instant spiritual highs" of composer-gurus like Glass, Gorecki or John Tavener. His own attempts to grapple with the depth and breadth of his convictions have given us several ambitious works which smack, to me at any rate, of forced rhetoric - the Third Symphony and the childbirth cantata Quickening - but others, too, like the Calvary procession of The World's Ransoming and his violent operatic masterpiece The Sacrifice, which hit home with poleaxing force. That his St John Passion, premiered nearly two years ago by Read more ...
igor.toronyilalic
It has always been a cornerstone of my personal philosophy that beauty and insight can be found in the very lowest of common denominators. That Big Brother, Friends, Love It magazine or Paris Hilton provide revelations about life that are of as much consequence, of as much wonder, as any offered up by the classic pantheon. That that which the people respond to must and usually does have plenty of merit lurking within it. And so I have always held out hope that Philip Glass, the most popular of living classical composers, is actually quite good, somehow, somewhere. But, actually, he really isn Read more ...
Ismene Brown
This is the fifth time on theartsdesk that a review has been headed as above - so you must be thinking it had better be justified or bribery will be suspected. But it's not just the phosphorescent fascination that flickers around the charismatic young LPO principal conductor Vladimir Jurowski that draws the crowds, it is his inquiring programming. Last night it was another of those games that one couldn’t resist, if a game, in the end, of two halves.An all-Shostakovich evening, a young, vibrant prodigy on show, with his first symphony sandwiched by two satirical operatic confections - that Read more ...
David Nice
Beware of Zimermania - or, for that matter, of idolising any pianist as the Greatest Living Interpreter of Chopin. Our birthday boy, 200 years old last night (and not on 1 March), as a crucial baptismal register now seems to prove, is too big for any one artist to dominate. He looks to his French heritage for sensuality, to the Polish maternal line for Slavic weight and thoughtfulness. If a sometimes impatient Krystian Zimerman inclined more to the former in yesterday's big celebration, that's not to deny he was a worthy choice of golden-toned celebrant. It was just a pity that it all had to Read more ...
David Nice
Asrael, angel of death, rarely glides up to the concert platform; I've only heard Josef Suk's painful and protracted symphony of the same name once before in the Festival Hall, championed by Rattle. In the past, all Suk's great Czech compatriots, including Ančerl, Kubelik and Neumann, paid their respects. Now Vladimir Jurowski joins the distinguished line for a work he clearly loves. It was no fault of his rainbow-hued interpretation if, in a week where I've sat dry-eyed through the film of A Single Man, another artistic take on bereavement left me intrigued but detached at the end of a Read more ...