Classical Reviews
Chiejina, BBC Philharmonic, Collon, Bridgewater Hall, Manchester review - something scenic, and something elseMonday, 03 April 2023
An evening of “scenic orchestral works”, according to the programme booklet, was on offer from the BBC Philharmonic on Saturday. Scenic was certainly true of the Seven Early Songs of Alban Berg and Richard Strauss’s Alpine Symphony. But Tom Coult’s Three Pieces That Disappear was something else. Read more...
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Williams, Dunedin Consort, Truscott, Wigmore Hall review - star soprano, total teamworkFriday, 31 March 2023
When your special guest is a young soprano with all the world before her, the total artist already, your programme might seem to run itself. Read more... |
Things to Come, LSO, Strobel, Barbican review - blissful visions of the futureMonday, 27 March 2023
Last night at the Barbican was my first experience of a film with live orchestra, which has become a big thing in the last few years. The film in question was Alexander Korda’s extraordinary HG Wells adaptation Things to Come, from 1936, imagining a century of the future. Read more... |
Bavouzet, Manchester Camerata, Takács-Nagy, Stoller Hall, Manchester review - spirit of the 1780sMonday, 27 March 2023
It was very much the formula as before, as Jean-Efflam Bavouzet and Gábor Takács-Nagy moved their edition of the Mozart piano concertos a step closer to completion with Nos. 11, 12 and 13. Read more... |
Fröst, Philharmonia, Lazarova, Kuusisto, Southbank Centre review - congenial new works complemented by live-wire classicsFriday, 24 March 2023
Anna Clyne’s engaging First Person here led me to two of her works in a Philharmonia rainbow. She curated a woodwind-based gem of a 6pm programme of works by four women composers, herself included, and her Clarinet Concerto could only gain from two other live wires, soloist Martin Fröst and conductor Pekka Kuusisto, the first time I've encountered the violinist in that role. Ultimately it was his way with two masterpieces by Tchaikovsky and Bernstein that stole the show. Read more... |
The Chevalier, St Martin-in-the-Fields review - virtuoso journey into a shamefully neglected pastWednesday, 22 March 2023
Shimmeringly urbane, shifting effortlessly from intricate agility to muscular intensity, the music of the 18th century composer Joseph Bologne is remarkable not least in the fact that it has remained an obscure part of the repertoire for so long. This hybrid theatre concert, created by Bill Barclay, former director of music at Shakespeare’s Globe, is part of a growing swell of initiatives to recognise the dynamism of a composer who has been overlooked because he was black. Read more... |
Osborne, RSNO, Chan, Usher Hall, Edinburgh - cinematic sweep and surging dramaTuesday, 21 March 2023
Two women featured prominently in this programme; the one a composer and the other a conductor. Read more... |
Amidon, Clayton, SCO, Kuusisto, Queen's Hall, Edinburgh review - profuse and outstanding musicianshipSaturday, 18 March 2023
On paper, the formula shouldn’t be that special. Really good music played by really good people is hardly a groundbreaking concept; but in actuality it’s seldom found with such honesty and diversity as in Pekka Kuusisto’s recent residency with the Scottish Chamber Orchestra. Read more... |
Mahler’s Third Symphony, Philharmonia, Paavo Järvi, RFH review - phosphorescent glow, depths only glimpsedFriday, 17 March 2023
This longest, wackiest and most riskily diverse of Third Symphonies became Esa-Pekka Salonen’s personal property during his years as the Philharmonia's Principal Conductor. His successor, Santtu-Matias Rouvali, has (in)famously said he’s not interested in Mahler. Two of the orchestra’s most distinguished visitors, Jakub Hrůša and Paavo Järvi, certainly are, so after Hrůša’s blazing Second, hopes were high for Järvi’s Third. Read more... |
Bernstein's Mass, RNCM, Bridgewater Hall, Manchester review - a happening, a demo, an achievementTuesday, 14 March 2023
Leonard Bernstein’s Mass has something of the nature of what might have been called a “happening” at the time he wrote it. It was 1971, and it was created for and premiered at the opening of the Kennedy Center in Washington. Read more... |
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