thu 28/11/2024

Classical Reviews

Kolesnikov, Hallé, Elts, Bridgewater Hall, Manchester review - the dude who dazzles

Robert Beale

Pavel Kolesnikov returned to the Hallé last night with a bobby-dazzler of a concerto. He’s a laid-back dude in appearance, with no tie, flapping jacket and cool appearance – quite a contrast with the full evening dress worn by the orchestra members – but the music says it all for him.

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Fauré Centenary Concert 5, Wigmore Hall review - a final flight

David Nice

As Steven Isserlis announced just before the final work, in more senses than one, of a five-day revelation, the 79 year old Fauré’s last letter told his wife that “at the moment I am well, very well, despite the little bout of fatigue which is caused by the end of the Quartet. I am happy with everything, and I should like everyone to be happy all around me, and everywhere”.

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Ohlsson, BBC Philharmonic, Storgårds, Bridgewater Hall, Manchester review - grace and power in Brahms

Robert Beale

The BBC Philharmonic were right to bill Garrick Ohlsson, soloist in Brahms’ Piano Concerto No. 1, as the main attraction in Saturday’s concert.

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Fauré Centenary Concert 1, Wigmore Hall review - Isserlis and friends soar

David Nice

Earlier this year, Steven Isserlis curated a revelatory Sheffield Chamber Music Festival spotlighting Saint-Saëns, with plentiful Fauré towards the end. Now it’s the younger composer’s turn, marking his death 100 years ago on 4 November 1924, but his mentor has more than a look-in over five concerts featuring six bright stars, "Team Fauré".

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Aci, Galatea e Polifemo, La Nuova Musica, Bates, Wigmore Hall review - thrilling Handel at full throttle

Rachel Halliburton

Last time I saw the lovelorn Cyclops from Handel’s richly turbulent cantata, Aci, Galatea e Polifemo, he was in a warehouse at Trinity Buoy Wharf earlier this year, posturing moodily as an Italian film director. The London Handel Festival’s specially commissioned Aci by the River seemed to have found the ideal form in which to explore this tale of thwarted desire for modern audiences; a dark tale of #MeToo woe in an alienated urban setting.

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Hallé, Wong, Bridgewater Hall, Manchester review - Bruckner’s Ninth completed

Robert Beale

Kahchun Wong’s third Bridgewater Hall concert with the Hallé in his inaugural season as principal conductor consisted of just one work: Bruckner’s Symphony no. 9 – but not in the incomplete three-movement version that until quite recently has been the norm in Manchester (and elsewhere).

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The Orchestral Forest, Smith Square Hall review - living the orchestra from the inside

Bernard Hughes

What’s it like to be in the middle of an orchestra, hugger-mugger with the violas, looking directly over the flautist’s shoulder? Last night’s immersive concert by Sinfonia Smith Square gave the us the chance to find out, the players spread around Smith Square Hall on podiums, with the audience encouraged to wander round as the performance unfolded. It was at once a revealing but also somewhat frustrating experience.

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Aurora Orchestra, Collon, Drumsheds review - surround-sound magic in the super-club

Boyd Tonkin

Every lover of folk-tales knows that the seeker has to endure dangers and setbacks before they finally win the prize. Last night, the ever-enterprising Aurora Orchestra played The Firebird – Stravinsky’s own musical vision of the intrepid hero who outwits the forces of darkness – on a unique site that presents an audience with its own kind of ordeals. Once the Tottenham IKEA, Drumsheds has undergone a metamorphosis from super-store to super-club.

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Kaleidoscope Chamber Collective, Wigmore Hall review - warm and colourful Bartók and Brahms

Bernard Hughes

Last Monday my colleague Boyd Tonkin was delighted by the Kaleidoscope Chamber Collective’s playing at Hatfield House – and on Thursday it was my turn to be impressed by their colourful Wigmore Hall recital, which featured the marvellous clarinettist Carlos Ferreira in Bartók and Brahms.

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Christian Gerhaher, Gerold Huber, Sheldonian Theatre, Oxford review - an unforgettable recital

Sebastian Scotney

Christian Gerhaher, the most compelling and complete interpreter of German Lieder of our time, makes no secret of the fact that – unlike his devotion to, say, Schumann – his relationship with the songs of Brahms has never been comfortable.

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