Classical Reviews
Bach Brandenburg Concertos, OAE, Bridgewater Hall, ManchesterFriday, 12 May 2017
Enlightenment is a wonderful idea, and the members of the Orchestra of the Age of Enlightenment who played Bach’s six Brandenburg Concertos in Manchester’s Bridgewater Hall last night brought the wisdom of today’s period instrument movement to bear on music that most would see as belonging to the age of the pre-Enlightenment. Read more... |
CBSO, Wilson, Symphony Hall BirminghamThursday, 11 May 2017
It’s been said – and with some justification – that John Wilson’s own Orchestra has the finest-sounding string section in the world today. What’s certain is that when Wilson guests with other orchestras, he transforms their string sound. It’s not merely the unselfconscious touches of period style – those perfectly gauged expressive slides – and nor is it just the unforced luminosity: how the surface sheen seems to be lit from within. Read more... |
Lise Davidsen, James Baillieu, Wigmore HallWednesday, 10 May 2017
Few young singers make a UK recital debut like Lise Davidsen’s. But then, few singers come to that debut with such a weight of reputation and expectation. Taking not only the First Prize but also the Audience Prize and Birgit Nilsson Awards at 2015’s Operalia competition, established the then 28-year-old Norwegian soprano as one to watch. Read more... |
theartsdesk at Tectonics Glasgow 2017Tuesday, 09 May 2017
Has Glasgow’s Tectonics weekend turned away from its wilder excess? Has it, in its fifth outing, even – well, grown up and got serious? Read more... |
Total Immersion: Edgard Varèse, BarbicanMonday, 08 May 2017
Made from girders, say the brewers of an infamous Scottish fizzy drink. If you could siphon the music of Edgard Varèse into a can, that’s what it would taste like. Blunt, acrid, inimitable, fizzing with closely guarded, possibly unpleasant ingredients. The danger was that exposure to his entire output in one day would prove no more palatable than chugging through a two-litre bottle of Irn-Bru. Read more... |
Chineke! Orchestra, Brighton Festival / Saleem Ashkar, Wigmore HallMonday, 08 May 2017
Anyone who missed the opening Southbank concerts of the Chinike! Orchestra, figurehead of a foundation which aims to give much-needed help to young Black and Minority Ethnic (BME) classical musicians, could and now can (on YouTube) catch snippets of the players in action on the splendid documentary about young cellist Sheku Kanneh-Mason. Read more... |
Wosner, Aurora Orchestra, Collon, Kings PlaceSaturday, 06 May 2017
For most pianists, playing the Ligeti Piano Concerto would be enough exertion for one night, to be followed by a stiff drink and some down time. Not for the tireless Shai Wosner at Kings Place last night. By the time the Ligeti came along, not only had he already played a Mozart concerto, he then went on to appear in every remaining item in the programme. Read more... |
Sughayer, Manchester Camerata Soloists, Manchester CathedralWednesday, 03 May 2017
Two works whose whole significance depends on (unspoken) sacred texts made a stimulating combination for a concert in Manchester Cathedral’s sacred space. Haydn’s The Seven Last Words of our Saviour on the Cross – usually heard in its string quartet version – is an instrumental version of Christ's words from the Gospels’ descriptions of the Passion. Read more... |
Hagen Quartet, Wigmore HallMonday, 01 May 2017
The Hagen Quartet has been playing together for decades, and it shows. The group, which includes three siblings, performs with a deep and intuitive sense of unity: of timbre, technique, articulation and intent. Where most quartets are clearly led by the first violin, the Hagens move as one, the motivation coming simultaneously from each player. They put this finely honed ensemble to the service of emotive performances, but also retain a sense of intimacy and proportion. Read more... |
in vain, London Sinfonietta, Lubman, Royal Festival HallFriday, 28 April 2017
If Georg Friedrich Haas’s in vain was a work of political protest when it premiered in 2000, in 2017 it’s a piece that reads more like a commentary – a disturbing musical documentary that captures nearly 20 years of escalating European tensions, suspicions and right-wing extremism. As harmonic consensus gave way last night to chattering confusion, musical certainty to a distorted multiplicity of possibilities, abstraction has rarely felt more pointed, more horribly specific. Read more... |
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