LPO
El Niño, London Philharmonic Orchestra and Choir, Jurowski, Royal Festival HallSunday, 15 December 2013
John Adams’ millennial conflagration of musical poems about childbirth, destruction and the divine made manifest not only served as a seasonal farewell and a transcendent epilogue to the Southbank’s year of 20th-century music The Rest is Noise; it... Read more... |
Classical CDs Weekly: Beethoven, Mahler, Piaf, PoulencSaturday, 30 November 2013
Beethoven: Diabelli Variations, Sonata no 32, Bagatelles András Schiff (piano and fortepiano) (ECM)Invest in a copy of Jeremy Denk's zingy new Goldberg Variations and you'll hopefully be prompted to purchase this rather special András Schiff... Read more... |
Classical CDs Weekly: Bach, Prokofiev, Stravinsky, Refuge in MusicSaturday, 23 November 2013
Bach: Goldberg Variations Jeremy Denk (piano) (Nonesuch)There's a lovely online article by pianist Jeremy Denk entitled Why I Hate the Goldberg Variations, to which one answer is that they're too popular, “like a trendy bar that (infuriatingly)... Read more... |
Moser, London Philharmonic Orchestra, Michail Jurowski, Royal Festival HallThursday, 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... Read more... |
Tharaud, London Philharmonic Orchestra and Chorus, Nézet-Séguin, Royal Festival HallThursday, 24 October 2013
If ever there were a week for London to celebrate Poulenc in the lamentably under-commemorated 50th 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... Read more... |
War Requiem, LPO and Choir, Jurowski, Royal Festival HallSunday, 13 October 2013
Britten’s innate theatricality shines through every single bar of his War Requiem. Atmosphere, drama, suspense, and high emotionalism are to a greater or lesser degree written into the piece (something which the naysayers always latch on to). And... Read more... |
Mørk, Padmore, LPO, Jurowski, Royal Festival HallThursday, 03 October 2013
Interviewed live just before his Proms performance of Britten’s Serenade, Ben Johnson was asked the usual question as to whether the composer wrote especially well for the tenor voice. “He writes amazingly for every instrument,” came the reply. If... Read more... |
Peter Grimes, LPO, Jurowski, Royal Festival HallSunday, 29 September 2013
For Londoners unable to travel up to Aldeburgh – or, now, to Leeds for the revival of Phyllida Lloyd’s Opera North production – this was the only chance in Britten centenary year to be blitzed by his seminal masterpiece. After the phenomenal success... Read more... |
Prom 64: Vavic, London Philharmonic Orchestra, JurowskiSaturday, 31 August 2013
Legends, myths, and Nietzsche’s Superman - which for the purposes of this London Philharmonic Prom was none other than Vladimir Jurowski himself. His extraordinary ear, his nurturing and layering of texture, was a constant source of intrigue and... Read more... |
Prom 60: Billy Budd, Glyndebourne Festival Opera, DavisWednesday, 28 August 2013
You may well ask whether theartsdesk hasn’t already exhausted all there is to say about Glyndebourne’s most celebrated Britten production of recent years. I gave it a more cautious welcome than most on its first airing, troubled a little by the... Read more... |
Don Pasquale, Glyndebourne Festival OperaFriday, 19 July 2013
Her tongue firmly planted in her cheek, Mariame Clément grumbles in the Glyndebourne programme that Don Pasquale “poses no specific ‘conceptual’ challenge” to the opera director. Sighs of relief all round. Donizetti’s final comic masterpiece turns... Read more... |
The Rest is Noise: LPO, Jurowski, Royal Festival HallSunday, 28 April 2013
Vladimir Jurowski deemed this the most challenging of any programme in the Southbank’s year-long The Rest is Noise festival and proceeded to tell us precisely why. That his little preamble lasted almost twice as long as the first piece - Webern’s... Read more... |
