Classical Reviews

Marc-André Hamelin, Wigmore Hall

David Nice Tuesday, 05 November 2013

French-Canadian pianist Hamelin has the technique and the stamina to play anything, which is why the note-crazy, obsessive “Night Wind” Sonata of Nikolay Medtner buzzed around at the heart of his recital. But between the proud resonance of its many climaxes and the distant voices he showcased so effectively in his own Barcarolle – three movements rather than one, unexplained in a note which simply ignored it – there’s little delicacy in the middle ground.

La Damnation de Faust, LSO, Gergiev, Barbican

Sebastian Scotney Monday, 04 November 2013

Berlioz wanted to make the first arrival of his demon onstage unforgettable, with an extreme sound effect - violins and violas marked sul ponticello, strettissimo, starting fortissimo, with interjections from three trombones snarling in minor seconds. In last night's performance of La Damnation de Faust that moment was glossed over. It flashed past as if it had never happened.

Comment

Mustonen, Nakariakov, BBCSO, Oramo, Barbican

Kimon Daltas Sunday, 03 November 2013

This was Sakari Oramo's first concert with the BBC Symphony Orchestra since taking over as chief conductor. Of course he knows the orchestra well already, but it was important to make this a good ’un, and so it was.

Belcea Quartet, Wigmore Hall

David Nice Saturday, 02 November 2013

Pure, unorthodox genius: the terms apply both to the three works on the Belcea Quartet’s programme – Haydn at his most compressed, Britten unbuttoned and sunny, Shostakovich hitting the tragic heights – and, if the term “genius” can be applied to re-creative artists, to the players themselves.

Moser, London Philharmonic Orchestra, Michail Jurowski, Royal Festival Hall

David Nice Thursday, 31 October 2013

Imagine how discombobulated the audience must have felt at the 1962 premiere of Shostakovich’s most outlandish monster symphony, the Fourth, 26 years after its withdrawal at the rehearsal stage. Those of us hearing its natural successor, Schnittke’s First Symphony, for the first time live last night didn’t have to (imagine, that is).

Comment

Frank Zappa's 200 Motels, Royal Festival Hall

Kimon Daltas Wednesday, 30 October 2013

One of the joys of the Southbank Centre’s year-long The Rest Is Noise series has been the opportunity to hear some unusual period pieces among the more standard repertoire. In the case of 200 Motels it is a concert premiere for a genre-bending work which was pulled from its 1971 Albert Hall slot due to complaints about its obscene content.

Kadouch, Vincent, BBC Singers, BBCSO, Minkowski, Barbican

David Nice Sunday, 27 October 2013

Back at the Barbican for a new season after a Far Eastern tour, the BBC Symphony Orchestra returned to pull off a characteristic stunt, a generous four-work programme featuring at least one piece surely no-one in the audience woud have heard live before. This time, the first quarter belonged exclusively to the unaccompanied BBC Singers in one of the most demanding sets of the choral repertoire.

The Swingle Singers, São Paulo Symphony Orchestra, Alsop, Royal Festival Hall

David Nice Saturday, 26 October 2013

Anyone who saw or attended this year’s Last Night of the Proms will know that Marin Alsop is a born communicator with a wry sense of humour. Another of those youthful crowds The Rest is Noise festival keeps attracting gave her a hero’s welcome last night, and she responded with easy compering.

Classical CDs Weekly, Bach, Bartók, Piano Phantoms

graham Rickson Saturday, 26 October 2013

Tharaud, London Philharmonic Orchestra and Chorus, Nézet-Séguin, Royal Festival Hall

David Nice Thursday, 24 October 2013

If ever there were a week for London to celebrate Poulenc in the lamentably under-commemorated 50^th anniversary year of his death, this is it. Two major choral works and two fun concertos at last join the party. But if Figure Humaine and the Concerto for Two Pianos look like being well positioned in the BBC Symphony Orchestra’s Barbican programme on Saturday, Yannick Nézet-Séguin’s chosen two were the victims of his own success in Prokofiev interpretation.