Classical Reviews
Esther, London Handel Festival, St George’s Hanover Square review - a lopsided celebratory oratorioFriday, 15 March 2024
“Spring Awakenings” promised as the theme of this year’s London Handel Festival began with a big if messy vernal bouquet of “Alleluia"s and “God Save the King”s. Esther, Handel's first London oratorio, seemed like an appropriately jubilant way to celebrate Laurence Cummings' 25th and final year as festival director. Read more... |
Theresienstadt-Terezin 1941-1945, Nash Ensemble, Wigmore Hall review - memorial music of stunning impactTuesday, 12 March 2024
Towards the end of his book Killers of the Flower Moon, David Grann deploys a cogent expression: “chasing history, before it disappears”. Read more... |
Osborne, BBC Philharmonic, Bihlmaier, Bridgewater Hall, Manchester review - an orchestra at the top of its gameMonday, 11 March 2024
Just a few days after the Hallé’s Bruckner 8, the BBC Philharmonic weighed in with his Seventh Symphony for its Manchester audience. We’re all getting a lot of Bruckner in his 200th anniversary year, and this was a wise choice, being one of his shorter creations in the genre – only about an hour and 10 minutes in playing time – and containing some of his best melodic ideas and rhythmic inventions. Read more... |
Scottish Ensemble, Glasgow Royal Concert Hall New Auditorium review - making a moveMonday, 11 March 2024
Continuing the relationship with choreographer Örjan Andersson – who choreographed their landmark project Goldberg Variations – Scottish Ensemble gave the first of their latest movement-inspired performance, Impulse: Music in Motion in Glasgow on Friday evening. Read more... |
Morison, Big Noise Wester Hailes, RSNO, Søndergård, Usher Hall, Edinburgh - shimmering delicacy and surging swellSaturday, 09 March 2024
While it is an incontrovertibly good thing that the classical music world has set about rediscovering the work of neglected female composers, not all rediscoveries are equally worthy of being found. Particularly on a day like International Women’s Day (IWD), concert programmers run the risk of unearthing work that tends towards the mediocre, and which can end up being tokenistic. Read more... |
Murray, Vlaams Radiokor, LPO, Gardner, RFH review - visual ‘interpretation’ blunts sonic brilliance in Szymanowski rarityThursday, 07 March 2024
Chances are few enough to catch Polish composer Szymanowski’s densely brilliant 1920s score for a ballet about love in the Tatra mountains. Harnasie (Robbers) is so little known that we need a clear line through action and sung text. That all went out of the window in the projections of renowned choreographer Wayne McGregor and visual artist Ben Cullen Williams. Read more... |
The Art of Fugue, Schiff, Nosrati, Wigmore Hall review - rarity and quality in music and performanceWednesday, 06 March 2024
At the start of his 75-minute pre-concert lecture on Sunday, the incomparable András Schiff staked quite a claim for the piece he was about to perform: Bach’s The Art of Fugue was, he said: “the greatest work by the greatest composer who ever lived”. Read more... |
Gerstein, LSO, Rattle, Barbican review - American glitter and sinewMonday, 04 March 2024
How lucky those of us were who grew up musically with the young Simon Rattle’s highly original programming in the 1980s. He’s still doing it at a time when diminishing resources can dictate more careful repertoire, and last night’s Americana proved spectacularly original. Four of the five works gave a different perspective on the decade and a half in which Shostakovich’s very different Fourth Symphony, LSO triumph of the earlier part of the week, failed to reach public performance. Read more... |
The Creation, Alder, Clayton, Mofidian, LPO, Gardner, RFH review - dancing gay in green meadowsSunday, 03 March 2024
Light and grace must flood the concert hall in Haydn’s The Creation, after a striking-for-its time evocation of Chaos, and periwigged creatures skip around the Genesis picture. With Edward Gardner keeping the London Philharmonic Orchestra and Chorus on their dancing toes, as ever, and three fine soloists carrying the creatures’ share of the beauties, it was a good time for happy creativity. Read more... |
Faust, LSO, Rattle, Barbican review - violence and wit in Shostakovich, luminosity in BrahmsSunday, 03 March 2024
The LSO’s apéritif hour “Half-Six Fixes” have an informality that usually works and sometimes doesn’t. But the first of this two-night run of Dmitri Shostakovich’s monstrous and terrifying Fourth Symphony was unforgettable. Panels on the auditorium walls greeted the audience with a portrait of the composer and his famous note: “The authorities tried everything they knew to get me to repent… But I refused. Instead of repenting, I wrote my Fourth Symphony”. Read more... |
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