Classical Reviews
Klieser, Driver, Bournemouth SO Soloists, Lighthouse, Poole review - a celebration of E flatFriday, 25 February 2022
Although the large auditorium of Lighthouse, Poole may not offer the most favourable scale and intimacy for a chamber recital, the high quality of communicative chemistry and performance readily reached out to engage and hold the audience spellbound for the whole evening. |
Rachlin, Oslo PO, Mäkelä, Oslo Konserthus/Perianes, LPO, Berman, RFH review - the best-laid plans…Thursday, 24 February 2022
The headline was never going to be snappy, but “Klaus Mäkelä conducts…” as a start would have pulled it all together. A trip to Oslo last week was not wasted: he did indeed take charge of one of his two main orchestras, in a typically offbeat programme, a total sensation (*****). Read more... |
Kanneh-Mason, LPO, Bloxham, Congress Theatre, Eastbourne review - stark Russian contrastsWednesday, 23 February 2022
With a predictable Sheku sell-out in the hall, the context of post-Eunice clean-up and current teetering on the brink with Russia lent a strangely unsettling and salutary resonance to the programme of Shostakovich’s Second Cello Concerto framed by Mussorgsky and Borodin. Read more... |
Gidon Kremer 75th Birthday Concert, Wigmore Hall review - poignant moments focused on UkraineMonday, 21 February 2022
There are moments when nothing can – or should – stand in the way of the sheer expressive and communicative power of music. Only a few days ago, Gidon Kremer had changed the programme for his 75th birthday concert at Wigmore Hall, to include a short section of pieces by two Ukrainian composers. Read more... |
Kopatchinskaja, Namoradze, Budapest Festival Orchestra, Fischer, RFH review – a Stravinsky feastSaturday, 19 February 2022
It might seem odd to start with the encore, but I’ve never seen one like it. At the end of its two-night residency at the Festival Hall, having just romped through the rigours of The Rite of Spring, the players of the Budapest Festival Orchestra put their instruments down, shuffled to their feet and sang for us. Read more... |
Colli, Bournemouth SO, Scaglione, Lighthouse, Poole review - drama and romanceSaturday, 12 February 2022
The Drama and Romance of the Bournemouth Symphony Orchestra’s promotional hook for this concert signalled a heady musical mix. Appropriate for the stark contrasts of mood central to Wagner’s Tannhäuser Overture and Beethoven’s Piano Concerto No. 4, but potentially less so for Dvorák’s Symphony No. 8 that casts barely a cloud to compromise its predominantly sunny G major disposition shared with the outer movements of the Beethoven. Read more... |
Grosvenor, SCO, Emelyanychev / Osborne, RSNO, Usher Hall, Edinburgh review - two orchestras in pursuit of innovationTuesday, 08 February 2022
Two pianists; two concertos; two orchestras. It is not often that Edinburgh’s most venerable concert hall plays host, on consecutive nights, to two of our national orchestras offering strikingly similar programmes. Read more... |
Kantorow, Philharmonia, Rouvali, RFH review – a new brilliance on the London concert sceneMonday, 07 February 2022
Boléro and Scheherazade may be popular Sunday afternoon fare, but both are masterpieces and need the most sophisticated handling. High hopes that the new principal conductor the Philharmonia players seem to love so much, Santtu-Matias Rouvali, would do Ravel and Rimsky-Korsakov justice were exceeded in a dream of a concert. Read more... |
Path of Miracles, Elysian Singers, St Pancras Church review – an ambitious musical pilgrimageMonday, 07 February 2022
Path of Miracles is a serious, hefty 65-minute choral work about the traditional Catholic pilgrimage to Santiago de Compostela by – and there is a slight cognitive dissonance here – Joby Talbot, the composer of, among other things, The Hitchhiker’s Guide to the Galaxy film. Read more... |
Stikhina, Kowaljow, LSO, Noseda, Barbican review - dramatic songs of death, electrifying dances of lifeFriday, 04 February 2022
“This symphony comprises 11 songs about death and lasts about one hour,” the conductor Mark Wigglesworth declared before a second New York performance of Shostakovich’s Fourteenth – people had left in droves during the first – only to see a swathe of his audience look anxiously at their watches. Read more... |
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