Classical Reviews
Alceste, Early Opera Company, Curnyn, Wigmore HallThursday, 30 March 2017
A wife dies to save her husband; a hero goes to hell and back to retrieve her from the underworld. Read more... |
Jonathan Biss, Milton CourtTuesday, 28 March 2017
"Late Style", the theme and title of pianist Jonathan Biss's three-concert miniseries, need not be synonymous with terminal thoughts of death. Read more... |
Buchbinder, Philharmonia, Hrůša, RFHFriday, 24 March 2017
It's a rare concert when nothing need be questioned about the orchestral playing. The usual nagging doubts – about whether any of the London orchestras has a recognisable sound-identity, or whether Rattle's swipe agains the two main London concert halls as merely "adequate" means players can't make a proper mark here – simply vanished. Read more... |
Bryars and Reich, London Philharmonic Orchestra, RFHFriday, 17 March 2017
In 1970, documentary maker Alan Power interviewed homeless people in the Elephant and Castle area of London. Rejected footage found its way to composer Gavin Bryars, including a short clip of an old man singing a snatch of a religious song. This became the basis of the minimalist classic Jesus’ Blood Never Failed Me Yet, performed by members of the London Philharmonic Orchestra at the Royal Festival Hall on Wednesday. Read more... |
Andreas Scholl, Accademia Bizantina, BarbicanThursday, 16 March 2017
Marian devotions have given us some of sacred music’s most striking works, from graceful Ave Marias to anguished settings of the Stabat Mater. Andreas Scholl and musicologist Bernardo Ticci have recently gone in search of some less familiar ones – companion pieces for Vivaldi’s theatrical Stabat Mater, which has long been part of Scholl’s concert repertoire. Read more... |
Maurizio Pollini, RFHWednesday, 15 March 2017
Age is finally catching up with Maurizio Pollini. This recital was one of a series to mark the pianist’s 75th birthday, presenting Beethoven piano sonatas, music at the core of his repertoire. His legendary status was justified by these readings, his usual combination of rich, robust voicing and elegant, craggy lyricism. Read more... |
theartsdesk in Bergen: Questions upon questions at Borealis FestivalTuesday, 14 March 2017
There comes a point in any experimental music festival when you have to accept the silliness and go with it. And at Borealis, that point comes very early. Read more... |
BBC Symphony Orchestra, Young, BarbicanSaturday, 11 March 2017
A new opera from Peter Eötvös is a major event. More than any other composer today, he has the ability to create sophisticated contemporary music that supports and enriches sung drama. Read more... |
Dego, CBSO, Rustioni, Symphony Hall, BirminghamThursday, 09 March 2017
Ermanno Wolf-Ferrari has never quite been a one-work composer. No points for knowing the fizzy overture to his delightful 1909 pro-smoking comedy Il segreto di Susanna; quite a few more if you know the whole opera. Read more... |
Tara Erraught, Ulrich Pluta, James Baillieu, Wigmore HallWednesday, 08 March 2017
As a scan through the 17-year list of Rosenblatt Recitals quickly reveals, sopranos and tenors come and (often as not) go. Much rarer is the opportunity to enjoy the gifts of a mezzo-soprano near the start of what should, all things being equal, be a long and illustrious career. Read more... |
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