Classical Reviews
Dmitri Alexeev, St John's Smith Square review - a Titan at 70Friday, 03 November 2017
You won't have seen much of magisterial Russian pianist Dmitri Alexeev recently, unless you happen to be a student at the Royal College of Music, where he is Professor of Advanced Piano Studies (they were out in force last night, cheering enough to elicit five encores). Read more... |
Hugo Ticciati, Manchester Camerata, Manchester Cathedral review - spirituality, no spooksThursday, 02 November 2017
Manchester Camerata chose All Hallows’ Eve for a concert of (in some part) "holy" minimalism. Arvo Pärt’s Silouan’s Song began it, and his Cantus in Memoriam Benjamin Britten ended it. They headlined it "Spiritualism and Minimalism", but I think what they really had in mind was spirituality. No "one knock for yes" or anything like that, anyway. Read more... |
Leif Ove Andsnes, RFH review - interior magic from a master colouristWednesday, 01 November 2017
Such introspective subtlety might be mistaken for reticence. But from the rare instances when the Norwegian pianist Leif Ove Andsnes lets rip - and they're never forced - you know he's wielding his palette with both skill and intuition, waiting for the big moment to make its proper mark. Read more... |
Soltani, West-Eastern Divan Orchestra, Barenboim, RFH review - passionate pilgrimagesMonday, 30 October 2017
A legendary name and the chance to change the face of a cruel condition set the stakes high for what Prince Charles, in his programme preface for this Southbank spectacular, told us was called the Stop MS Jacqueline du Pré Tribute Concert. Read more... |
Bavouzet, BBCSO, Oramo, Barbican review - playing the long game in SibeliusSaturday, 28 October 2017
Perhaps Sibelius did the right thing, signing off Tapiola in 1926 and then all but closing his account, spending the next three decades sitting and drinking. Read more... |
Orpheus Caledonius, Brighton Early Music Festival review - a thrilling meeting of musical clansSaturday, 28 October 2017
In 1725 a collection of some 50 songs was published by one William Thomson. You might not know his name, or even the names of the songs, but given the first bar of most I’m betting you could hum them from beginning to end. The work? Read more... |
October, LSO, Strobel, Barbican review - Eisenstein with steel scoreFriday, 27 October 2017
Forget the ersatz experience of Sergey Eisenstein's mighty silent films accompanied by slabs of Shostakovich symphonies composed years later. This collaboration between the London Symphony Orchestra and Kino Klassika is as close as we can ever come to hearing the massive score composed by Austrian-born Edmund Meisel for the greatest of the master's 1920s films. Read more... |
Crowe, The English Concert, Bicket, Milton Court review - Mozartian prima-donna perfectionThursday, 26 October 2017
Singing students from the Guildhall School should have been issued with a three-line whip to fill the inexplicably half-empty Milton Court concert hall for last night's charmer. After all, every musician, and not just sopranos, should know that this is how it ought to be done. True, an effervescent personality like Lucy Crowe's can't be simulated. But every other respect of her stunningly sung and varied Mozart... Read more... |
Total Immersion: Julian Anderson, Barbican review - BBC ensembles showcase leading British composerMonday, 23 October 2017
Julian Anderson’s 50th birthday this year was the prompt for the latest of the BBC’s Total Immersion days, devoted to the work of a single contemporary composer. Read more... |
Angela Hewitt, Wigmore Hall review – Bach Partitas shine and singThursday, 19 October 2017
On paper this was a fairly austere piece of programming. No variety in composer, genre or style, just four Bach Partitas in a row, works of similar approach, length and technique. And yet in performance, in the hands of Angela Hewitt, there was sufficient variety, not to mention poetry, humanity and wit, to make for a completely satisfying recital. Read more... |
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