Classical Reviews
Classical Music/Opera direct to home 7 - Jeremy Denk's well-tempered Bach revelationsFriday, 17 April 2020
One person playing one instrument from home to the edification and delight of thousands: it's been a constant in these confining days, and well meant even if the sound isn't always up to it, a necessary substitute for live communication on both sides. But this is something else: an education, a detailed sharing of love and consolation which makes me wonder why other musicians haven't taken up the challenge (maybe some have, but I haven't heard about it). Read more... |
St John Passion, Bachfest Leipzig livestream review - pocket quarantine gospelSaturday, 11 April 2020
Bach, being The Greatest, can take any amount of adaptation. I'm especially addicted, for instance, to CDs on which the Japanese percussionist Kuniko plays cello suites and violin sonatas on the marimba. Read more... |
Berlin Philharmoniker, Karajan, Digital Concert Hall review - a captivating musical time capsuleThursday, 09 April 2020
When I saw that the Berlin Philharmonic had thrown open the doors to its virtual concert hall the thing that most interested me was to see some Karajan. When I was a child in the mid-1980s I lived for a while in Berlin and my father took me to the Philharmonie several times. I remember seeing Karajan, then in the final years of his long Berlin reign. Read more... |
Classical Music/Opera direct to home 5 - orchestral manoeuvres in the lightMonday, 06 April 2020
Necessity has certainly been the mother of invention over the past three weeks, and orchestras especially, left in the dark with no means of coming together other than virtually, have had to adapt double-quick. The players, of course, are artists, and in league with good technical teams they've yielded some winners which may bring more people to the real thing when life as we knew it resumes. Read more... |
Czech Philharmonic Benefit Concert online review – profound musicianship in sombre masked fundraiserWednesday, 01 April 2020
Less than six months ago Prague’s most prestigious concert hall, the neo-Renaissance Rudolfinum, was all glittering lights and packed, smartly dressed audience for the Czech Philharmonic’s hot ticket first performance there for 49 years of its national epic, Smetana’s Má vlast (My Homeland) – a grand one indeed... Read more... |
Beethoven: 1808 Reconstructed, Aimard, Philharmonia, Salonen, RFH review - a feast in fading lightTuesday, 17 March 2020
Like it or not, we live – as Beethoven did – in interesting times. In place of the revolutions, wars and occupations that convulsed the cities he knew, we now confront a silent, invisible foe that breeds an equal terror. Read more... |
Frang, LSO, Pappano, Barbican review - hearing the silenceMonday, 16 March 2020
Three deep-veined masterpieces by two of the 20th century's greatest composers who just happened to be British, all fading at the end to nothing: beyond interpretations of such stunning focus as those offered by violinist Vilde Frang, conductor Antonio Pappano and the London Symphony Orchestra, these works could ask for nothing more than intense silence from the third point of what Britten called the magic triangle... Read more... |
Skelton, Rice, BBCSO, Gardner, Barbican review – romanticism’s last standSaturday, 14 March 2020
Only a modest audience turned up for this BBC Symphony Orchestra concert, though it was unclear if this was caused by the threat of airborne disease or the inclusion of Schoenberg on the programme. The result was a paradoxical intimacy, with the huge orchestra expressing complex but private emotions from a group of fin de siècle Viennese composers. Read more... |
Daniel Sepec, Tabea Zimmermann, Jean-Guihen Queyras, Wigmore Hall review - the viola is a starThursday, 12 March 2020
Six weeks ago, the Ernst von Siemens Music Foundation announced that it the winner of its prestigious and extremely valuable main annual prize for 2020 "to a composer, performer, or scholar who has made outstanding contributions to the world of music" will be the viola player Tabea Zimmermann. Read more... |
Bach St John Passion, Bach Collegium Japan, Suzuki, Barbican review - intense pain and dancing consolationWednesday, 11 March 2020
Eyes watering, heart thumping, hands clenched: no, not The Thing, but a spontaneous reaction to the opening of Bach's St John Passion in the urgent hands of Masaaki Suzuki. How his Bach Collegium oboes seared with their semitonal clashes while bass lines throbbed with pain, before the chorus added a different, supernatural turn of the screw. Read more... |
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