LPO
alexandra.coghlan
Despite the best attempts of Stephen Johnson’s programme notes to create synthesis from last night’s London Philharmonic Orchestra concert, there was something rather smash and grab about the programming. It was as though Jurowski, suddenly inspired to play classical Supermarket Sweep, had emerged with a disparate trolley-load of Zemlinsky, Mozart and Szymanowski – oh, and the Brahms Violin Concerto. With a full crowd lured by big-name soloist Joshua Bell, the question was not only what the LPO would make of this disparate collections of curiosities, but also the audience.The Brahms concerto Read more ...
igor.toronyilalic
Poor old Stephen Hough. The Liszt double. Again! Was he not at all Liszted out after last year's epic bicentenary? Were we not Liszted out by last year's epic bicentenary? Hough has been living, breathing and eating these two pieces for the past year and a half. The familiarity might have bred contempt. Amazingly it hasn't. In fact, all the prep work of last year appeared to make this performance of the first two piano concertos one of the most satisfying I've heard.The works are well known to us today. The rhetorical gestures, the reveries, the roulades are pure Liszt, the epitome of Read more ...
geoff brown
At last, a bag of sweets! In earlier concerts from Vladimir Jurowski’s LPO series Prokofiev: Man of the People? much time was spent consuming the composer’s flat soufflés, experimental rock cakes, or the fancy dish that was really haddock. Interesting for the brain, maybe, but the diet on occasion has been hard on the stomach. Not that any of this impinged on audience numbers: the season has definitely proved Jurowski’s happy lock on the London Philharmonic’s audiences. They will follow their artistic guru and Principal Conductor almost anywhere.But for this last concert of all, the Read more ...
alexandra.coghlan
The London Philharmonic’s current festival – Prokofiev: Man of the People? – is all about the question mark. While the festival’s concerts, lectures and even its classical club-night each make their own statement, the overarching spirit here is one of exploration, of questioning. Jurowski and his orchestra are peeling back the composer’s grinning modernist mask and attempting to expose the human face (or possibly faces) behind it. It’s a provocative process, and one that calls Prokofiev’s lesser-known works to testify against the evidence of such popular, high-gloss favourites as Romeo and Read more ...
graham.rickson
Honegger: Une cantate de Noël, Pastorale d’été, Symphony No 4 London Philharmonic Orchestra and Choir, New London Childrens’ Choir/Jurowski (LPO)Arthur Honegger’s best-known work is his short, mechanistic portrayal of a steam engine, Pacific 231. It’s a brash, brilliant study of rhythm and tempo; the speed of the musical pulse actually slowing as the train gets faster. Alas, it’s not included on this LPO disc, but we do get the unexpectedly delightful Pastorale d’été, a seven-minute bluesy haze of a piece which suggests an unlikely meeting between Gershwin and Vaughan Williams. Honegger Read more ...
geoff brown
Noticed that nip in the air recently? The reason now is obvious: conductor Osmo Vänskä, the brisk wind from Minnesota, has blown into town, challenging London’s orchestral musicians to give beyond their best and uncover new layers in repertory works they previously assumed they knew backwards. Last year, the London Philharmonic sweated blood with the Minnesota Orchestra’s rigorous conductor over Sibelius’s symphonies; last night, in a one-off, orchestra and conductor faced up to Bruckner and his Fourth Symphony, the Romantic. The result wasn’t universally liked. An aggrieved gent, Read more ...
David Nice
How odd that Musorgsky, a composer sanctified beyond his very individual deserts for making social statements in his art, should be feted by an orchestra, or rather an orchestral management, which says music and politics don't mix. They clearly have in recent events which led to the suspension of four London Philharmonic players, but you wouldn't have known it either from an audience riveted into silence - in-house protests fortunately failed to materialise - or from no hint of a leaflet outside the hall (not so good; don't those players have any colleagues willing to advertise their plight Read more ...
Ismene Brown
The world tour that the Proms offer this year touches down in no more fascinating musical country than Hungary, with three of its great composers, Liszt, Bartók and Kodály brought into the Albert Hall last night by the ever-stimulating Vladimir Jurowski with his hot gypsy band, the London Philharmonic Orchestra.This acoustic is not a happy place for the syncopations and sharp rhythms of Hungarians, who are never afraid of a silence or a missed heartbeat, never rush to end a note when they can increase the suspense by holding it. As a result, Kodaly’s Dances of Galánta had a rougher ride than Read more ...
David Nice
Robin the boy wonder, as he was somewhat patronisingly dubbed during his prodigious rise to conducting stardom, will make a bracing Batman for Glyndebourne Festival Opera when he takes over from current music director Vladimir Jurowski in January 2014.There's no doubt, I think, in anyone's mind down there in Sussex or indeed in the music world at large that he's the right man for the job. He learnt his craft with Glyndebourne on Tour (GOT) starting as assistant conductor on Mozart's Die Zauberflöte in 2004 and going on to be its music director from 2007-9 - an era culminating in a Read more ...
graham.rickson
A 20th-century Austrian symphony receives a memorable first recording, coupled with a witty, rarely played slice of Schubert. Mahler’s Resurrection Symphony is heard in a powerful reading recorded in the Royal Festival Hall. And we’ve an intelligent, logical coupling of two ballets commissioned by Diaghilev.Mahler: Symphony No 2 Resurrection LPO and Choir/ Jurowski, with Adriana Kučerova (soprano) and Christianne Stotijn (mezzo soprano) (LPO)
The LPO’s own label have already released a staggering performance of this work under the late Klaus Tennstedt, so you do wonder nervously how this Read more ...
igor.toronyilalic
Donizetti's L'elisir d'amore must be the only opera from whose central lesson one can actually learn something. Its message - drink, chill out, back off and the girl will be yours - is as good a moral guide to life as any. But it was still surprising to leave Glyndebourne last night satisfied. Beforehand, I couldn't imagine a way in which last year's brashly inventive Americana production of the opera by Jonathan Miller for the ENO could be bettered. But it almost was.Not by the visuals, mind. Lez Brotherston's sets and Annabel Arden's direction followed a tried, tested and yawn-inducing Read more ...
David Nice
Anyone who's attended an Aurora Orchestra concert at Kings Place will know that twentysomething conductor Nicholas Collon - oddly, the birth date seems elusive - is a force to be reckoned with. When he speaks, he looks as if butter wouldn't melt, but in action his technique is disciplined as well as sufficiently free to get the flexibility he needs. So the London Philharmonic Orchestra has made an excellent choice in appointing him as assistant conductor to Vladimir Jurowski from the beginning of the 2011-12 season.Collon says of Jurowski that he's "already been a huge support to me", and Read more ...