Classical Reviews
Elektra, Gergiev, LSO, Barbican HallThursday, 14 January 2010
Richard Strauss’s 1909 opera Elektra is a diabolical piece of work - less an opera than an event determined to cut its mark. A vast orchestra of 112 players unleashes a two-hour tsunami of sound across the stage, on which female voices are buffeted like pieces of driftwood, shrieking of mothers who murder husbands, daughters who want to murder mothers, rivers of blood, flayed horses, dogs, bodies. Subtle it isn’t. Loud it is. In the hands of Valery Gergiev and London Symphony Orchestra... Read more...
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Razumovsky Ensemble, Wigmore HallWednesday, 13 January 2010
Just to contemplate the shifting talent pool of this chamber co-operative can be giddying. Last night 10 great ensemble players, from top violin soloist Alexander Sitkovetsky to three London orchestral principals who must have jumped at the chance to be part of the Razumovsky experience, had their work cut out. Schoenberg and Schubert ask each musician to run the full gamut of Viennese angst and joy. The result was an unrepeatable experience in the spiritual as well as the literal sense. Read more... |
Borodin Quartet, Wigmore HallSunday, 10 January 2010
They're still bringing Beethoven and Shostakovich to London, enriching the mix a little with the cross-referencing of Alfred Schnittke, but the personnel of the Borodin Quartet have changed again. Patriarch cellist Valentin Berlinsky, there at the start over 60 years ago, passed on his bow to Vladimir Balshin before he died. Balshin is a worthy successor, especially since Berlinsky's tone had become translucent to the point of dematerialising and his successor'... Read more... |
The Seckerson Tapes: Edward and Igor look back at 2009Saturday, 02 January 2010
Since before Christmas theartsdesk has been reviewing the past decade and previewing the year to come in the arts. As an extra we offer this special edition of The Seckerson Tapes, in which Edward Seckerson and Igor Toronyi-Lalic discuss the year in music, which, in the concert hall, saw the triumph of the new romantics in conductors Riccardo Chailly and Yannick Nezet-Seguin and, operatically, saw the arrival of three penetrating new productions of operatic classics: the... Read more... |
Daniel Grimwood, Miroslav Kultyshev, Wigmore HallWednesday, 30 December 2009
It seemed as if the usually sober Wigmore Hall was trying to shower us with as many pianistic notes as possible before the midnight bell rings in the New Year. More could hardly have been accommodated In two recitals on Monday and Wednesday evenings, when modest British virtuoso Daniel Grimwood was followed by 2007 Tchaikovsky Competition winner Miroslav Kultyshev in tackling a gaggle of densely-packed baggy monsters. It wasn't just the name of Felix Blumenfeld which was unfamiliar; I suspect... Read more... |
Peter and the Wolf, RFHMonday, 28 December 2009
Even for a narratorless animation of Prokofiev's Peter and the Wolf like Suzie Templeton's obsessively detailed gem of a film, you probably only need 14 words before you can get on with the business of screening and playing. Peter: strings; bird: flute; duck: oboe; cat: clarinet; grandfather: bassoon; wolf: horns; hunters: timps. The savvy middle-class children gathered with their parents in the Royal Festival Hall yesterday afternoon had only two for actor/presenter Burn Gorman's... Read more... |
Classical and Opera 2000-9: The Highs and LowsSunday, 27 December 2009
No great new movements or radically transformational figures emerged to dominate classical music in the Noughties (not even him up there). Just one small nagging question bedevilled us: will the art form survive? Well, it has. What appeared to be a late 20th-century decline in audience interest in the classical tradition was in fact a consumer weariness with the choices on offer. |
Julius Drake Birthday Gala, Wigmore HallWednesday, 23 December 2009
The term “accompanist” is no longer acceptable, no longer “politically correct” in musical circles, not least Lieder. It’s hard to imagine now that the relationship between a singer and his or her pianist was ever regarded as anything other than an equal partnership. But 26 years ago, when Julius Drake first stepped out on to the Wigmore Hall platform to play Poulenc with “friends”, the rarefied world of chamber music and song was a very different place. Even Gerald Moore, the most venerated... Read more... |
Joanna MacGregor, Howard Assembly Room, LeedsSunday, 20 December 2009
Joanna MacGregor walks on stage purposefully, clutching a manuscript of paving-slab dimensions, promptly sits down and starts to play, smiling. The opening measures of Messiaen’s Regard du Père steal in gently, and for the next 120 minutes we are transfixed. Until this evening, listening to Olivier Messiaen’s Vingt regards sur l’enfant-Jésus on disc has always been an unappealing prospect - something I’ve done more in duty than pleasure. Read more... |
Ingrid Fliter, Wigmore HallWednesday, 16 December 2009
Will she? Won't she? Ooh? Ah? No to the Mazurka? Yes to the Barcarolle? We were an audience on tenterhooks last night as flu-ridden Ingrid Fliter coughed and spluttered her way through her Chopin recital at the Wigmore Hall, chopping and changing her programme every five minutes as her fever came and went. The amassed audience willed her on enthusiastically. London was falling in love with Fliter. |
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