Austria
Boyd Tonkin
This Prom began in sombre and melancholic shades of grey. Then, as her encore, the superb Georgian pianist Mariam Batsashvili launched into Liszt’s Paganini étude, “La Campanella”, and bells of long-awaited joy rang around the Royal Albert Hall. Under those leaping acrobatic fingers, musical sunshine drove away the clouds.Planned or not, these drastic contrasts prepared the ground for the volatile monster to come: Bruckner’s Seventh Symphony, with its huge lurches and topples from darkness to light, and back again.Ryan Wigglesworth conducted the BBC Scottish Symphony Orchestra. He began with Read more ...
David Nice
Wonders never ceased in Elisabeth Leonskaja’s return to the Wigmore Hall. Not only did she play Schubert’s last three sonatas with all repeats and the full range of a unique power undiminished in a 78-year old alongside a never too overstated pathos, radiance and delicacy; just before receiving the Wigmore Hall Medal (presentation by John Gilhooly pictured below), she also gave us more revelations in the compressed world of Schoenberg’s Six Little Pieces, Op. 19.Only this pianist could possibly follow Pavel Kolesnikov's revelatory take on Schubert's crowning glory, the B flat Sonata D960 the Read more ...
Boyd Tonkin
Hot on the glittering heels of the Berlin Philharmonic and Kirill Petrenko, Sir Simon Rattle brought another stellar German outfit to the Proms, bearing the gift of a Bruckner symphony in the composer’s 200th birthday year. With his (relatively) new team at the Bavarian Radio Symphony Orchestra, Rattle served a polished, sophisticated and superbly played Fourth.This was not quite the mystical and monumental Bruckner that hard-core devotees may crave. Still, its wonderfully blended and balanced sound did prove that Rattle’s BRSO now can compete with its starry counterparts in depth and finesse Read more ...
Boyd Tonkin
This looked like a classic Prom in the grand old BBC tradition: two big but lesser-known pieces by pivotal figures (Schoenberg and Zemlinsky) played by a major non-metropolitan ensemble, the BBC National Orchestra of Wales. And so it proved, with powerful, refined and meatily satisfying versions of Arnold Schoenberg’s Pelleas and Melisande and Alexander von Zemlinsky’s The Mermaid conducted by the NOW’s chief, Ryan Bancroft.Here, surely, where entertainment meets enlightenment, the Proms heartland used to lie. But, on a perfect July evening, the house was much sparser than it should have been Read more ...
stephen.walsh
Why would anyone want to stage a work like The Merry Widow in this day and age? Silly question. It’s the music, stupid. Of course, it’s an entertaining story and there are some good jokes. But I'd bet that if Heuberger had composed the music to this libretto, as he started doing, instead of Franz Lehár, who took it on afterwards, I wouldn't now be writing about Cal McCrystal’s new Glyndebourne production, or anyone else’s for that matter.I realise this might not be quite McCrystal’s opinion. To judge from his approach in Sussex, he sees the work as a comedy with musical attachments. Or from a Read more ...
Boyd Tonkin
Better (much better, indeed) late than never. The Orchestre Révolutionnaire et Romantique should have given their cycle of Beethoven symphonies at St Martin-in-the-Fields in May 2020, after touring to Spain and the US. A lot has happened since. The pandemic scuppered the original timetable, while his own alleged actions – after he reportedly attacked a singer during rehearsals in France last year – have kept the ORR’s founder John Eliot Gardiner off the podium.So last week the period-instrument ensemble arrived at St Martin’s under the baton of Portuguese wunderkind Dinis Sousa. I caught the Read more ...
Boyd Tonkin
Programme notes for Mahler’s monumental symphonies will often blithely chat about the works’ epic struggle between life and death, creation and destruction, joy and dread. In a comfy hall with a slick orchestra and a polished maestro, all of that can feel abstract and remote. Not last night at the Barbican. In 2021, Michael Tilson Thomas – conductor laureate of the London Symphony Orchestra – was diagnosed with glioblastoma, an aggressive form of brain tumour. Recent outings for the San Francisco Symphony have been greeted almost as farewell performances. Yet, despite his obvious frailty Read more ...
Boyd Tonkin
At first glance, this looked like an odd coupling: Stravinsky’s Violin Concerto from 1931, all spiky neo-classicism and short-winded expressionist sparkle, as a tributary opening before the mighty rolling stream of Bruckner’s Seventh Symphony.Yet in the accomplished hands of Paavo Järvi and the London Philharmonic Orchestra, with Leila Josefowicz as the soloist, these strange bedfellows turned out to make perfectly perfectly good sense. Stravinsky’s analytic relish in breaking the grammar of the classical concerto down into glittering, even competing, blocks of sound prepared us for the Read more ...
Ed Vulliamy
“Death doesn’t scare me at all,” said my friend Christopher Hitchens during our last telephone conversation. “After all, it’s the only certainty in life. Dying, however, scares me shitless”.However hard one tries to remove these three final sonatas from the narrative of Franz Schubert’s life and imminent death from syphilis when he wrote them, this is inescapably what they are about: fear not of one’s own obliteration, but the process of getting there. But also insolent defiance of obliteration, and validation of life lived.Paul Lewis’s recordings of these sonatas, and live renderings during Read more ...
Boyd Tonkin
Like Hamlet or Fidelio, Schubert’s Winterreise can withstand and overcome (almost) any kind of re-imagining. In the case of Hans Zender’s 1993 “composed interpretation” of the work for chamber orchestra – and sundry sound effects – the new model has itself become a near-canonical classic. Allan Clayton first brought his large, lustrous but vulnerable and involving tenor to the re-orchestrated song cycle in 2015. At the Queen Elizabeth Hall last night, Jane Mitchell’s production (with Clayton billed as co-director) confirmed that Zender’s music, and the panoply of stage effects that Read more ...
Sebastian Scotney
As a cultural destination, Salzburg really is hard to beat. Each year, a million and a half tourists descend on this compact city with its baroque architectural delights, and a population of just 150,000. The city of Mozart and of the Salzburger Festspiele was also once home to Paracelsus, Heinrich Biber, Stefan Zweig, Georg Trakl, and more recently – of course – The Sound of Music and Red Bull.The city’s setting and its skyline are breathtaking. One can marvel at the way buildings more than three centuries old were hewn into the sides of the rocky outcrops. There are churches everywhere; I Read more ...
Boyd Tonkin
Bruckner's behemoth has always had its fervent champions – and its muttering sceptics. The 85-odd minutes of his Eighth Symphony, finally performed after major revisions in 1892, build into a titanic testament. Advocates read into it enough apocalyptic doom and gloom to make Wagner sound like Offenbach.Thank the gods, therefore, that the always-impressive Semyon Bychkov guided the BBC Symphony Orchestra through across these craggy Alpine peaks at the Proms with a listener-friendly finesse, even geniality. With its explosive timpani, tank-division horns and earth-trembling low strings, the Read more ...