Classical Reviews

Gerstein, LPO, Petrenko, RFH

Edward Seckerson Saturday, 22 February 2014

Vasily Petrenko used his baton like a piratical rapier to galvanise the London Philharmonic violins in their flourishes of derring-do at the start of Berlioz’s Overture Le Corsaire. And the brilliance was in the quicksilver contrasts, the lightness and wit of inflection which lent a piquancy to the panache of this great concert opener.

Classical CDs Weekly: Beethoven, Poulenc, Les Vents Français

graham Rickson Saturday, 22 February 2014

Beethoven: The Symphonies (And Reflections by Kancheli, Mochizuki, Šerkšnytė, Shchedrin, Staud, Widmann) Bavarian Radio Symphony Orchestra/Mariss Jansons (BR Klassik)

Royal Northern Sinfonia, Bloch, The Sage Gateshead

graham Rickson Friday, 21 February 2014

"The Sage Gateshead is in the top five best concert halls in the world." So thinks Lorin Maazel, and he should know. Attending concerts here is a real pleasure. The audiences are unfailingly friendly. The architecture is inspiring, and the views over the adjacent River Tyne spectacular. The main hall's acoustics are better than anything you'll find in London. Credit is due to a far-sighted Gateshead Council who paid for the building's construction.

Cabell, RPO, Dutoit, Royal Festival Hall

Sebastian Scotney Thursday, 13 February 2014

This was the first of three Royal Festival Hall concerts during the first half of 2014 from the Royal Philharmonic Orchestra and its principal conductor Charles Dutoit, all three programmes consisting entirely of French music. The other two will be in May. In between the Swiss-born conductor, a sprightly 77-year-old, will have picked up a Lifetime Achievement gong at the International Classical Music Awards in Warsaw.

Theodora, The English Concert, Bicket, Barbican Hall

alexandra Coghlan Sunday, 09 February 2014

The Barbican’s ongoing season of baroque operas and oratorios has been a mixed bag. Most recently The Sixteen’s Jephtha was a rather lacklustre affair, leaving me nervous of committing to the many hours of Handel’s beautiful (but protracted) Theodora. But I needn’t have worried.

Pires, Scottish Chamber Orchestra, Ticciati, Usher Hall, Edinburgh

David Nice Friday, 07 February 2014

This is more an excuse for celebration than a review. Six years after the Scottish Chamber Orchestra was founded in 1974 – the birth year we were marking last night – I rolled up in a foggy Edinburgh one February day and chose it as my alma mater on the strength especially of one concert which showed what musical life in the city might be like: trumpeter John Wilbraham playing Bach and Handel with the SCO under Roderick Brydon.

Comment

Schwanewilms, Hallé, Stenz, Bridgewater Hall, Manchester

philip Radcliffe Thursday, 06 February 2014

“How tired we are of travelling,” the soprano sings, underscored by a solo horn. The end is near: “Is this perhaps death?” No fuss, no drama, but weariness and a calm acceptance. Since Strauss and his wife Pauline were in their eighties and living quietly in Switzerland when he wrote Four Last Songs, it is clear that they had come to terms with their inevitable demise.

Petite Messe Solennelle, BBC Singers, Brough, Milton Court

David Nice Wednesday, 05 February 2014

“A little skill, a little heart, that’s all,” wrote the 70-year-old Rossini as epigraph to his late, not so small and not always solemn mass. It’s not all, of course. This last major self-styled “sin of old age” (péché de vieillesse) stands in a similar relation to his final, epic opera Guillaume Tell as Verdi’s Falstaff does to his Don Carlos.

Vengerov, LSO, Pappano, Barbican

Kimon Daltas Monday, 03 February 2014

An all-British programme – with plenty of Italian flavours – opened to a sold-out Barbican Hall with the overture In the South (Alassio), composed by Elgar during a stay on the Italian Riviera. It isn’t one of his most memorable scores, but it still provides plenty of interest with typical Elgarian exuberance, an unexpected martial episode (imagining the Roman army), and a muted viola solo.

Scholl, Academy Of Ancient Music, Barbican

Peter Culshaw Saturday, 01 February 2014

As a generalist (or dilettante) who writes about world, jazz, pop and classical music, I have no doubt that 10 years ago Andreas Scholl was one of the great voices of the planet alongside names like Abida Parveen from Pakistan and Caetano Veloso from Brazil, a vocal Sun King. From an early age he had had success upon success, audiences gave him huge standing ovations, women swooned over him (OK – slightly older women like my mum, who followed him around Europe).