Classical Reviews
Leiferkus, LPO, Jurowski, Royal Festival HallThursday, 22 September 2011
How odd that Musorgsky, a composer sanctified beyond his very individual deserts for making social statements in his art, should be feted by an orchestra, or rather an orchestral management, which says music and politics don't mix. Read more... |
Christian Gerhaher, Gerold Huber, Wigmore HallWednesday, 21 September 2011
The queues weren't quite Proms-sized but they were long enough for the little old Wigmore Hall to seem more than a little overwhelmed. Expectations were immense. The past year has seen baritone Christian Gerhaher cast a singular spell over London audience, through his introduction of a touch of intense Lieder-style intimacy to the orchestral and operatic stages. |
St Matthew Passion, National TheatreTuesday, 20 September 2011
It’s not like we’re short of operas. Thousands of works spanning over 400 years make up the western operatic repertoire. Of these maybe 100 get a regular airing in contemporary opera houses, with only about 20 making it into the popular consciousness. For the rest, a trip outside the archives is rare indeed, with many scores still vainly awaiting their “modern premiere”. Read more... |
The Last Night of the Proms, Bullock, Lang Lang, BBCSO, GardnerSunday, 11 September 2011
Stately females sailed the corridors like grand multicoloured liners. Grown men in boaters and Union Jack waistcoats raced balloons to the Royal Albert Hall ceiling. Beachballs. Streamers. Flags. Fancy dress. One St George's Cross read "Votes for Women!" My first thoughts were: how lovely, in a way, that the mentally ill are allowed a day out like this. Read more... |
Classical CDs Weekly: Bridge, Mahler, Ksenija SidorovaFriday, 09 September 2011
This week there's another new Mahler symphony recording, along with some disquieting British piano music and an enjoyable disc of originals and transcriptions played by a young Baltic accordionist. Read more... |
BBC Proms: Jansen, Philadelphia Orchestra, DutoitFriday, 09 September 2011
After filing for bankruptcy earlier this year, the Philadelphia Orchestra seemed poised to be the flagship cultural casualty of the financial crisis. Five months on and the bills continue to rise, but in the best Titanic tradition the band are determinedly playing on. It’s been five years since we last heard them at the Proms and their return last night under Chief Conductor Charles Dutoit saw a capacity crowd turn out to show their support and to hear the glossy music-making for which this... Read more... |
BBC Proms: Tetzlaff, BBCSO, RobertsonWednesday, 07 September 2011
I’ve noted before the lingering John Wilson effect on the BBC Symphony Orchestra, whereby that pioneer of Hollywood-style authenticity always leaves the strings... Read more... |
BBC Proms: Mutter, Pittsburgh Symphony Orchestra, HoneckWednesday, 07 September 2011
Earlier this year, conductor Manfred Honeck revealed to me his love of old vinyl: the crackle, the fizz, the lost musical traditions. His performances are marinated in this obsession. The idiosyncrasies of his interpretations hark back to a time when the rules were fewer and the colours brighter. Last night was no different. His Mahler Five steered clear of the sleep-inducing modern fixations with orchestral homogeneity and tastefulness and instead jumped right off the deep end. Read more... |
BBC Proms: Grimaud, Pittsburgh Symphony Orchestra, HoneckMonday, 05 September 2011
In a week that sees Proms visits from two major American orchestras, it fell to Manfred Honeck and the Pittsburgh Symphony Orchestra to raise the curtain for their blue-blooded “Big Five” colleagues the Philadelphia Orchestra. With Tchaikovsky featuring large in both programmes comparisons are only natural, and it will be interesting to see what response Thursday night offers to an energetic but at times rather unsubtle evening of music from Pennsylvania’s “other” orchestra. Read more... |
BBC Proms: Missa Solemnis, London Symphony Orchestra, DavisSunday, 04 September 2011
While revered and respected, Beethoven’s Missa Solemnis has never inspired audiences with the same affection as Bach’s B minor Mass, Haydn’s Nelson Mass, or even Mozart’s Coronation or C minor settings. Perhaps it’s the austerity, the monumentality of the work Beethoven knew to be his greatest that rejects the easy assimilation into secular concert life, perhaps it’s more simply the lack of big tunes to wash down all that liturgy. Furtwängler famously drew back from the work’s sacred... Read more... |
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