BBCSO
Kimon Daltas
Part of the Birtwistle at 80 series at the Barbican, this not-quite-semi-staged Gawain ended up being held back a little by its shoestring production, where a straight concert performance might have transcended its limitations.The music, however, in all its dark, unremitting intensity, was extremely well served by an extended BBCSO, conducted by Martyn Brabbins, and outstanding solists, including John Tomlinson returning magnificently to the role he first created over 20 years ago. Leigh Melrose (Gawain), Jeffrey Lloyd Roberts (King Arthur), Laura Aikin (Morgan Le Fay), and Jennifer Johnston Read more ...
edward.seckerson
Sir Adrian Boult laid the foundations for its revival, more recently Sir Mark Elder found astonishing illumination within it, and now a third knight of the realm - Sir Andrew Davis (the latest recipient of the Elgar Medal) - chivalrously stamps his authority on it and brings it in from the cold.Elgar’s The Apostles is both typical and startlingly untypical of the composer. So much about its retelling of the gospels is spare and concentrated, so much is understated with that peculiarly English air of dispassion that until you grow accepting of its stately pace you crave the urgency and Read more ...
David Nice
Depth, height, breadth, a sense of the new and strange in three brilliantly-programmed works spanning just over a century: all these and a clarity in impassioned execution told us why the BBC Symphony Orchestra was inspired in choosing Finn Sakari Oramo as its principal conductor. Their anniversary journey through Nielsen’s symphonies next Barbican season – itself a heady mix announced amid the palms of the singular conservatory before a vintage assembly of performances around the Centre – is more fascinating in prospect, for me at any rate, than the promised visits of the New York and Berlin Read more ...
simon.broughton
“This is not so much a total immersion, more of a quick shower,” said Simon Wright, biographer of Villa Lobos at the start of the day-long exploration of his music. With up to 1,500 works in existence – the exact number is unconfirmed – he promised we’d be “hacking our way through a tiny part of this immense jungle”, to use another metaphor that seems alarmingly appropriate with this composer.Heitor Villa Lobos (1887-1959) was Brazil’s greatest "classical" composer and yet less than a handful of works are commonly played in Europe. Best-known is his luxuriant Bachianas Brasileiras No 5, in Read more ...
Kimon Daltas
The first half of this concert was quite the family affair: Martinů’s Concerto for Two Pianos featuring the eternally youthful Katia and Marielle Labèque, with the latter’s husband Semyon Bychkov conducting.Any natural rapport took a while to manifest itself, though much of that should be laid at the composer’s door – the first movement of this curious piece favours constant and rather directionless motion over more traditionally concerto-like interplay. The result is a thick texture, with lots going on in the middle but the whole somehow failing to sound lush. The second Read more ...
David Nice
Now this is what I call an orchestra showing off: you unleash four of your horns on the most insanely difficult yet joyous of sinfoniettas for accompanied horn quartet, Schumann’s Konzertstück, and later let the other four light the brightest of candles on the enormous, rainbow-dyed cake of Beethoven’s Eroica Symphony. How they battled it out between them for who did what I can't imagine, but both groups covered themselves with glory.It’s also extremely good concert planning when horn-drenched early romantic extroversion, guided with unflagging energy and focus by the BBC Symphony Orchestra’s Read more ...
Mark Valencia
Although worlds away from festive mangers and mince pies, the BBC Symphony Orchestra’s pre-Christmas offering spread good cheer aplenty thanks to an absorbing programme of Austro-German repertoire that explored the outer reaches of Romanticism without ever quite leaving its orbit. The about-to-be-born Second Viennese School would circle a different sun from the one at the centre of Edward Gardner’s sumptuous programme – a lure that would soon draw in both Berg and Webern (though never Richard Strauss), but not quite yet.Gardner’s decision to present Wagner as the father of modernism was Read more ...
David Nice
For seasonal fare that’s also profound, few pre-Christmas weekends in London can ever have been richer than this one. Hearts battered by John Adams’ nativity oratorio El Niño last night, one hoped for more soothing medicine this afternoon in the naïve and sentimental music of Berlioz’s sacred trilogy, first performed some 145 years earlier. With similarly perfect casting of soloists, an even more remarkable chorus and a guiding hand that was both firm and tender from the versatile François-Xavier Roth, superlative standards continued – making me wonder what on earth’s the point of compiling a Read more ...
David Nice
Three cheers for good old Albert, natural laugh-out-loud heir of Verdi’s Falstaff and Puccini’s Gianni Schicchi, and the best possible way to mark creator Britten’s being one hundred years and one day old. Youth has its day in both those earlier masterpieces, but the lovers are subordinate to the middle-aged comic protagonists. Here they're the equals of a hero who is no scamster but a shy grocer’s boy who busts out drinking and worse to loosen the apron strings of a prim community. He may have had his funniest incarnation yet last night in young Andrew Staples' characterisation, very much at Read more ...
David Nice
How many reviews of War Requiem do you want to read in Britten centenary year? This is theartsdesk’s fourth, and my second – simply because though I reckon one live performance every five years is enough, Rattle’s much-anticipated Berlin Philharmonic interpretation fell almost entirely flat, and I wanted to hear at least one good enough to move me to tears.Last night’s under the special circumstances of Remembrance Sunday wasn’t just good; it hit the heights and plumbed the depths, with no weak link in any of the soloists, choirs, orchestra or instrumental soloists. So much so that the tears Read more ...
Kimon Daltas
This was Sakari Oramo's first concert with the BBC Symphony Orchestra since taking over as chief conductor. Of course he knows the orchestra well already, but it was important to make this a good ’un, and so it was.It opened with the world premiere of a 20-minute work by French composer Tristan Murail, with the double title Reflections/Reflets. As the title perhaps suggests it offered an evocative, colouristic sound world. The first half, "Spleen", dealt in bells, swells and waves rising out of a murky brass and low string background. The second, "High Voltage", featured slow glissandi, Read more ...
David Nice
Back at the Barbican for a new season after a Far Eastern tour, the BBC Symphony Orchestra returned to pull off a characteristic stunt, a generous four-work programme featuring at least one piece surely no-one in the audience woud have heard live before. This time, the first quarter belonged exclusively to the unaccompanied BBC Singers in one of the most demanding sets of the choral repertoire. After which the seemingly humble but dogged and vivacious Marc Minkowski helped create orchestral magic of three very different kinds, defining French composers’ infinite capacity for play.Serious Read more ...