Classical music
Richard Bratby
Is there anything on a concert programme more guaranteed to make the heart lift – or to prove that a conductor has their musical priorities straight – than a Haydn symphony? If you're tired of Haydn, you're tired of life: there’s no music more joyous, more inventive or more resistant to vanity. Mirga Gražinytė-Tyla chose his Symphony No 6 of 1761, called Le Matin for its opening sunrise and the freshness of its ideas, and it was a delight.The six wind players stood up to play, and the CBSO strings were slimmed down a little, but not a lot. There was no serious attempt here to fake a period Read more ...
Peter Quantrill
Lest we forget. On Flanders’ Fields. For the Fallen. No one does stiff-upper-lip, buttoned-up remembrance quite like the English. Since its composition only a little over half a century ago, the War Requiem has become our national anthem for the departed. When Britten’s hastily greasepainted collage of Wilfrid Owen and the best bits of Mozart and Verdi (not to mention Berlioz) is retired every so often, something more muted is generally preferred for chilly November evenings: Fauré, or at a stretch Duruflé, Requiems as sympathetic to sing as they are to listen to, with melodies as sweet as a Read more ...
David Nice
What's a world-renowned mezzo-soprano in her middle years to do? Slimline of voice, tall and handsome in person with piercing and slightly intimidating blue eyes, Stockholm-born Anne Sofie von Otter isn't likely to sing what is known in the operatic world as "all those old bag parts", though she's a good enough actress to have carried off a few.Yet this is one of the widest-ranging and most recorded voices of the past 25 years (over 100 CDs to date). From Mozart's Idamante and Sesto in ground-breaking 1990 concert performances to a grande dame in meltdown as part of Thomas Adès's superb Read more ...
graham.rickson
Jonathan Dove: For an Unknown Soldier, An Airmail Letter from Mozart Nicky Spence (tenor), Melvyn Tan (piano), London Mozart Players/Nicholas Cleobury (Signum)Jonathan Dove originally wanted to use soldiers’ letters and diaries in his "cantata of remembrance" For an Unknown Soldier, changing his mind on realising how hard such texts are to sing well. Instead, the work sets poems by First World War poets, many of which do read like letters home. Dove’s fluent choral writing serves the texts brilliantly, the music sardonic, angry and bittersweet by turns. Mechanical clunks and hisses Read more ...
Robert Beale
Two things to note in Thursday’s Hallé performance at the Bridgewater Hall: the debut in the Manchester main series of their highly talented new assistant conductor, Jonathon Heyward, and another stride along the road towards the Hallé/Elder complete edition of the Vaughan Williams symphonies. Oh, and there was a very fine piece of virtuoso violin playing from James Ehnes, whose performance of Bruch's Second Violin Concerto would probably have been the headliner in any other circumstances … and the revelation of an unusual piece by Janáček.So, to begin at the beginning. Heyward is a young Read more ...
Christopher Lambton
Mahler said of the last movement of his Fourth Symphony that it should be pure, like the “undifferentiated blue of the sky”. Writing the symphony in his lakeside retreat at Maiernigg in the summer of 1900, he probably had a different sort of blue in mind to that which streaked the Edinburgh sky on an icy Sunday afternoon in November. For Donald Runnicles, returning to conduct the BBC Scottish Symphony Orchestra, there was clearly something of the onset of winter in what is normally the sunniest of Mahler symphonies.It began soft and slow, the sleigh bells a stately procession leading through Read more ...
Helen Wallace
I could have sworn there was a spontaneous outbreak of phased coughing in the Barbican Hall on Saturday night, rapidly dissolving into laughter; such was the festive atmosphere at Steve Reich’s 80th birthday gig. This three-part epic attracted a full house, spanning the generations – from Michael Nyman, behind me mischievously proclaiming Reich’s debt to him, to students catching a glimpse of a legend.The man himself, on duty at the sound-desk, cast a colder eye on proceedings, at one point shouting angrily to stop a mis-synched start. We shouldn’t, of course, expect anything less: without Read more ...
Gavin Dixon
The Borodin Quartet has been playing for over 70 years, and in the early days collaborated closely with Dmitri Shostakovich. None of the players from then are in the line-up now, of course, but the group has worked hard to maintain its distinctive identity and performance traditions, even as the players change. And they have a good claim to continuity: Valentin Berlinsky, the legendary cellist who was with the quartet almost from the start, was still playing with them up until 2007.Shostakovich and Beethoven are the Quartet’s specialities, and this concert was part of a cycle of the two Read more ...
graham.rickson
Shostakovich: Violin Concerto No.1, Glazunov: Violin Concerto Nicola Benedetti (violin), Bournemouth Symphony Orchestra/Kirill Karabits (Decca)So many decent recordings of Shostakovich’s Violin Concerto No.1 have appeared in recent years, and here’s another. James Ehnes was given superb support from Kirill Karabits and the Bournemouth Symphony Orchestra, and the same team accompany Nicola Benedetti on this disc. Lower strings are superb in the Nocturne’s shadier corners, Benedetti’s tone suitably parched. The scherzo’s rhythms are brilliantly sprung, but it’s the haunting, deeply-felt " Read more ...
alexandra.coghlan
And so it comes to an end. Six months, 33 concerts, and many miles of travelling later, The Sixteen’s annual Choral Pilgrimage is now finished for another year. With so many concerts it’s inevitable that the singers’ relationship to the repertoire evolves and develops; the performances we heard last night will not have been those the audience at St John’s College, Cambridge experienced back in April. So what is the effect of living so intimately with this small handful of works?The 2016 Pilgrimage pairs music by William Byrd with that of Arvo Pärt – two composers separated by over four Read more ...
David Nice
It felt oddly disrespectful showing up in time for Schumann's wake on the fifteenth and final day of this year's Oxford Lieder Festival. Having started with the early piano music and many of the chamber works before moving on to Schumann's annus mirabilis of song, 1840, with frequent leaps backwards to influences and forwards to the influenced, pianist Sholto Kynoch’s labour of love reached the troubled final years dogged by whatever that insanity for which Schumann was institutionalised might have been – bipolarity, syphilis, poisoning for the mercury used in its treatment. Fortunately the Read more ...
Odaline de la Martinez
This year is the sixth London Festival of American Music, and I could not be more excited about it. From the first festival in 2006 – 10 years ago now – I had a very specific idea about what I wanted the London Festival of American Music to be like. At its heart the festival is designed to celebrate the contemporary American musical landscape, and to bring the best America has to offer to UK audiences.The American music scene has never been stronger – there is an amazing range of styles and works being produced all across the states. UK audiences, however, tend to be solely familiar with Read more ...