Classical music
jonathan.wikeley
It is probably fair to say that the concert hall at the Barbican Centre isn’t one of London’s most intimate spaces. It’s not the sort of place that would put one immediately in mind of, say, a drawing room – in fact, to do so requires a particular willingness to suspend one’s disbelief. Tonight, Thomas Quasthoff and friends endeavoured to make us do just that, and got within a hair’s breadth of pulling it off.This is the last in a series of five concerts that Quasthoff has programmed at the Barbican. Entitled Die Stimme (also the title of his autobiography), the series has included music by Read more ...
igor.toronyilalic
We Brucknerians aren't easy to please. Few musical partnerships get the official seal of approval. Horenstein and the BBC Symphony Orchestra, Wand and the Cologne Radio Symphony Orchestra, Böhm and the Vienna Philharmonic, Knappertsbusch and the Vienna Philharmonic. These are among the handful of collaborations that have gained a place in my Brucknerian pantheon. Last night’s performance of Bruckner’s Eighth Symphony, however, saw the London Philharmonic Orchestra and their French-Canadian guest conductor Yannick Nézet-Séguin catapult themselves into these exalted ranks.Nézet-Séguin is Read more ...
igor.toronyilalic
At 84 years of age, Sir Charles Mackerras is one of the best-respected and best-loved operatic conductors working in the world today. He conducts Benjamin Britten's The Turn of the Screw for the English National Opera tonight and, despite bouts of ill health, found time to talk about his friendship - and falling out - with Britten, his time conducting the opera under Britten's watchful eye, his experiences in Prague in 1948 as a witness to the Communist takeover of Czechoslovakia, his pioneering performances of Mozart from the 1960s and his run-ins with Richard Jones and Christopher Alden Read more ...
jonathan.wikeley
Much like Beethoven’s Piano Sonata in G, Op 79, with which he started the programme, I’ll get straight to the point. Till Fellner is a very good pianist. To demonstrate this, I’d like to jump to the last sonata of five we heard in this all-Beethoven programme last night: the Piano Sonata in E flat, Op 7. When you look at this music on the page, you could easily see this piece becoming a bumptious triplet-fest of mind-numbing proportions. When it is in the capable and stylish hands of someone like Fellner, it turns into an artful musical argument, with unexpected turns at every corner and Read more ...
Peter Culshaw
"It's mostly very clipped and formal, but parts of it have been getting wonderfully wilder and wilder in the last few years." William Christie, whom I’ve met several times in the last decade, is describing his famous French garden in La Vendée, which has featured in many a glossy magazine. But he could also be describing himself.American-born Christie initially made an enviable reputation as a rather high-minded, even severe, director of Les Arts Florissants, one of the leading early music groups. They have been showered with international awards, particularly for their revivals of early Read more ...
igor.toronyilalic
Will UK Gold now be permanently available at the Royal Opera House? Or was Italian TV being beamed into the auditorium last night by mistake? The 1970s scene before us actually just meant the return of Richard Jones’s inspired sitcom treatment of Ravel’s L’Heure Espagnole and Puccini’s Gianni Schicchi to Covent Garden. Even before the curtain had lifted we were raising a 1970s titter, being prepped for a return to that decade of naughty slap and tickle with an enormous front cloth image of a Viz-like pair of breasts, bursting from their polka-dotted bust darts. In L’Heure Espagnole, we Read more ...
Jasper Rees
Go on, admit it. You’ve done it too. Someone is talking in your vicinity and you’ve turned round to give them evils. It’s a manoeuvre I’ve been perfecting for years. The classic rebuke is in the speedy twist of the neck, a withering glance in the perpetrator’s general direction (but not, crucially, into their eyeballs: too confrontational) followed by the slow, affronted turn back to face the front. For one night only, the gesture says, you are singlehandedly ruining my life. I didn't pay more than I can afford to listen to you whisper through Beethoven/Shakespeare/”The Great Gig in the Sky Read more ...
edward.seckerson
theartsdesk.com presents The Seckerson Tapes, a series of live and uncut audio interviews from acclaimed broadcaster Edward Seckerson. We start with Jamie Bernstein - Leonard Bernstein's eldest daughter - who has been in London launching the year-long Bernstein Project at the South Bank. Seckerson, a long-standing Bernstein devotee and disciple, sat down for a frank and open discussion about exactly who her "dad" was.This is the uncut interview.
igor.toronyilalic
Over the past few years, Haitink’s London performances - and last night's was no different - have slowly but consistently chipped away at the conventional wisdom that conductors mature with age and reach an apex of musical understanding some two hours before they die. Some conductors, obviously, just go mouldy, like milk.
But Haitink goads not only one's understanding of conventional wisdom but also one’s moral fibre. It's hard to go against one's instinctive deference to one’s elders and betters. If any other 80-year-old had jumped on stage last night and provided the performance of Read more ...
Jasper Rees
I Found My Horn is both an autobiography of sorts and a biography of sorts. It tells the story of those phases of my life, as a schoolboy and then again aged 40, when I happened to have a French horn in my hands. But it is also an account of the instrument's long and extremely colourful history. In the 20th century that history is inextricably connected to the name of Dennis Brain, probably the greatest soloist the instrument has ever known.Although he died in a car crash more than 50 years ago, since publication many people have written to me to say that Read more ...
Peter Culshaw
I have a certain resistance to the Second Viennese School (a pretentious title in itself) of Schoenberg and his pupils Webern and Berg. Not that I'm averse to a spot of avant-gardening. I have sat through the squeakiest of squeaky-gate music with the best of them. But, apart from anything else, there's something chilling with their bullying rhetoric about purification and decadence.Here’s Schoenberg at the beginning of the First World War laying into Bizet, Stravinsky and Ravel: “Now comes the reckoning! Now we will throw these mediocre kitschmongers into slavery, and teach them to venerate Read more ...
Ismene Brown
It’s a let-down when a new production of an opera that spends two acts feeling dazzlingly invigorating and clever collapses in a careless mess in the third. My guess is that a key scene for the concept of English National Opera’s Turandot is when Ping, Pang and Pong - three very grand court officials - turn out to be Chinese cooks sneaking smokes up the fire escape at the Emperor Palace restaurant. It's a sharp idea, generating a sensationally visual production, but that fire escape's got to lead somewhere, and in the end it's nowhere.The production is a debutants’ ball, with first-time ENO Read more ...