Southbank Centre
Boyd Tonkin
Concert programmes that set out to tell us a story can prove a mixed blessing. Yes, it’s valuable and stimulating to find ideas, and narratives, embodied in the musical flow. But great pieces, well-performed, have a habit of cutting loose from the frame of concepts someone has devised for them. At the Royal Festival Hall, Esa-Pekka Salonen and the Philharmonia gathered three singular, idiosyncratic works under the rubric of “Voices of 1945”. No ordinary year, of course: immediately, the title primed us to listen for after-echoes – direct or oblique – of the conflict that had lately shattered Read more ...
David Nice
Horns fanfared, coasted and chorused through yet another Philharmonia winner of a concert to match the impressive planning of its Weimar season last year and no doubt a plan close to the heart of principal conductor Esa-Pekka Salonen, who started his musical life as a horn-player. Between the dark-woods harmonies of Weber's Overture to Der Freischütz and the scampery of Strauss's Till Eulenspiegel, the orchestra's former first horn Richard Watkins perfected his way – or, to paraphrase the simile of horn-playing by another top exponent, Barry Tuckwell, drove his car sleekly on black ice – Read more ...
David Nice
Admirable as it was of the London Philharmonic Orchestra to launch its concerts in 2020 with a performance celebrating the Ravi Shankar centenary, the hard fact remains that this lively spectacle might have worked better without two-thirds of its players. The often thick scoring of Sukanya, fine for the Kathak dance sequences vibrantly choreographed by Gauri Diwakar, meant that the operatic voices needed amplifying, and that often resulted in hard edges where the music suggested a luminous or vibrant spirituality.Still, Sukanya should be here to stay, and would reach larger audiences around Read more ...
Susanna Hurrell
In 2010, my best friend and I made a whimsical decision to go backpacking in India over the Easter break. I had developed an interest in Eastern philosophy through exposure to the teachings of the ancient Vedas, and through the practice of Transcendental Meditation, so I jumped on the opportunity to experience the culture that gave birth to so much wisdom and ancient knowledge.I went with stars in my eyes and was shocked to discover it was nothing like the romantic India of my imagination. It was louder, more aggressive, more heavily polluted and far more chaotic. On our first night, in a run Read more ...
Liz Thomson
It’s 10 years this month since Kate McGarrigle gave her last concert, the annual Christmas concert that meant so much to her, at the Royal Albert Hall. Next month, 18 January, marks the first decade since her passing at the tragically early age of 63. So this year’s seasonal celebration was always going to be poignant and extra-special, as Rufus Wainwright, the elder of her two children with Loudon Wainwright III, noted at the outset.The concert was billed as "Rufus and Martha Wainwright – A Not So Silent Night", and the siblings ran the show with musical director Dan Gillespie Sells, Read more ...
David Nice
Music and visual art, at least at the highest level, should go their own separate ways; put them together, and one form will always be subordinate to the other. A composer being inspired by an artist's work, or vice versa, is something else altogether. Last night at the Southbank Centre gave the perfect context to appreciate the exchange – charged up from the Bridget Riley exhibition at the Hayward Gallery, reviewed on theartsdesk with appropriate wonderment by Florence Hallett, you could walk the shortest of distances to the Queen Elizabeth Hall to hear what the equally astonishing Austrian Read more ...
David Nice
"Sadler's Wells! Any more for Peter Grimes, the sadistic fisherman?," a cheery bus conductor is alleged to have called out around the time of this towering masterpiece's premiere in 1945. The side of a "Grimes bus" today would probably proclaim over Britten and the work itself the "brand" of two stalwart perfomers - conductor Edward Gardner and leading protagonist Stuart Skelton, dominant forces of the opera over the last ten years.With English National Opera and more recently presenting his Bergen Philharmonic as one of the finest orchestras in the world - last night's concert performance Read more ...
Jessica Duchen
Given the number of audience members playing air-piano along with parts of Pictures at an Exhibition, Behzod Abduraimov should perhaps be described as a pianist’s pianist. He is nevertheless a great deal more than that. Ten years ago this young musician from Uzbekistan, via Kansas City, emerged victorious from the last-ever London International Piano Competition; he was 18 then and if his artistic growth thus far is anything to go by, we are dealing here with a rare and enchanting musician.Having chosen what appeared to be a programme of miniatures, he made each set of pieces a cohesive Read more ...
peter.quinn
Whether performing with the ground-breaking Jazz Warriors big band (which he co-founded in the 1980s) or Marque Gilmore and DJ Le Rouge in Project 23, taking the lead roles in Julian Joseph’s jazz operas Bridgetower and Shadowball, or emceeing one of the legendary Metalheadz nights at Blue Note, Hoxton Square, Cleveland Watkiss has been one of the most unfailingly creative, daringly protean artists on the UK jazz scene. For his 60th birthday celebration as part of this year’s EFG London Jazz Festival, the award-winning vocalist, actor, composer, broadcaster and educator performed Read more ...
Liz Thomson
Leonard Bernstein talked about “the infinite variety of music” and the late maestro would have been thrilled by the variety on display at the Royal Festival Hall where Rhiannon Giddens and Francesco Turrisi were as exciting and exhilarating as anything I’ve heard.Their performance, part of the EFG London Jazz Festival, lasted two hours but could have gone on for 22, a display of brilliant musicianship and total engagement that was breathtaking, two classically trained performers absolutely in command of their material and sharing their love and knowledge of it. The prior evening Giddens and Read more ...
peter.quinn
Jazz Voice unfailingly supplies a gigantic sugar-rush of auditory pleasure, and this year’s edition was no exception. Arranged, scored and conducted by the brilliant Guy Barker, the evening’s opener saw rising US vocalist Judi Jackson and the EFG London Jazz Festival Orchestra transform Nirvana’s brooding “Come As You Are” into a swaggering, Vegas-style workout.With a sound firmly rooted in classic Motown and Stax, the US-born, Liverpool-based singer-songwriter Jalen N’Gonda gave the world premiere of his self-penned “Angel Doll”, displaying a marble-smooth tone and pitch-perfect falsetto, Read more ...
Boyd Tonkin
For better or worse, because of Visconti’s classic film the Adagietto of Mahler’s Fifth Symphony now inevitably means Venice in its gloomiest moods. So there turned out to be a grim timeliness in a performance on an evening that coincided with the most devastating “acqua alta” to flood the city in half a century. Yet, in keeping with everything he does with the London Philharmonia Orchestra, Vladimir Jurowski’s reading at the Royal Festival Hall made us think afresh about an iconic work and dispel its more hackneyed, reach-me-down associations.Not for Jurowski the languid late-Romantic swoon Read more ...