thu 21/06/2018

Berlioz

Hallenberg, LSO, Gardiner, Barbican review - palpitating Schumann and Berlioz

Violins, violas, wind and brass all standing for Schumann: gimmick or gain? As John Eliot Gardiner told the audience with his usual eloquence while chairs were being brought on for the Berlioz in the first half of last night's concert, Mendelssohn...

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Lortie, BBC Philharmonic, Gardner, Bridgewater Hall, Manchester review – whipping up a storm

Edward Gardner was back on familiar ground when he conducted in Manchester last night – his high-profile career began when he was appointed as the Hallé’s first-ever assistant conductor, early in Sir Mark Elder’s era – and his rapport with young...

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Uchida, SCO, Ticciati, Usher Hall, Edinburgh review - Berlioz steals the show

"Mitsuko Uchida plays Mozart" might have been the marketing tag to sell out this first concert in the Scottish Chamber Orchestra's 2017-18 season (despite student and free under-18s take-up, the Usher Hall still wasn't full). "Dvořák Symphony No. 8...

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La Damnation de Faust, LSO, Rattle, Barbican review - infernal dynamite

For his monster concerts in 1840s Paris, Berlioz took pride in assembling and marshalling a "great beast of an orchestra". At the Barbican on Sunday night, the LSO filled the stage and fitted the bill. Their thoroughbred tradition of Berlioz...

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Prom 31 review: La Damnation de Faust, Gardiner - Berlioz tumbles out in rainbow colours

The road to hell is paved with brilliant ideas in Berlioz's idiosyncratic take on the Faust legend. John Eliot Gardiner proved better than anyone in last night's Prom that this splendidly lopsided "dramatic legend" can only be weakened by its many...

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Prom 7 review: Weilerstein, BBCSO, Weilerstein - new cello concerto enthrals

It’s at times like this that I give thanks for the Proms. Who else would (or could) have put together a programme pairing Berlioz’s Symphonie Fantastique with an 18th-century sonic fantasy, or topped it off with a substantial UK premiere? A bit...

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Kim, Hallé, Elder, Bridgewater Hall, Manchester

The world premiere of a symphony by a British composer – Huw Watkins – was the chief attraction in the latest Hallé programme with Sir Mark Elder at the Bridgewater Hall. The other music on the programme, however, held interest and indeed created a...

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Ma, New York Philharmonic, Gilbert, Barbican

John Adams, greatest communicator among living front-rank composers, zoomed into the follow-spot for the second and third concerts of the New York Philharmonic's Barbican mini-residency. Harmonielehre, his first epic symphony in all but name, and...

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Grande Messe des Morts, BBCSO, Roth, RAH

Lest we forget. On Flanders’ Fields. For the Fallen. No one does stiff-upper-lip, buttoned-up remembrance quite like the English. Since its composition only a little over half a century ago, the War Requiem has become our national anthem for the...

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Beethoven Ninth, RLPO, Petrenko, Philharmonic Hall, Liverpool

The new season at the Royal Liverpool Philharmonic is focusing on revolutionaries. Bach, Beethoven and Berlioz all feature strongly over the next few months, as will Stravinsky and – where else but Liverpool? – The Beatles.The RLPO has another...

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Prom 20: Roméo et Juliette, Monteverdi Choir, NYCoS, ORR, Gardiner

Like Prokofiev in his full-length ballet a century later, Berlioz seems to have been inspired by Shakespeare's Romeo and Juliet to bring forth his most compendious score. John Eliot Gardiner, who knows and loves every bar of light and shade in this...

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Béatrice et Bénédict, Glyndebourne

Locations count for little in most of Shakespeare's comedies. Only a literal-minded director would, for instance, insist on Messina, Sicily as the setting for Much Ado About Nothing. In Béatrice et Bénédict, on the other hand, Berlioz injects his...

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