classical music reviews
graham.rickson
alexandra.coghlan
A music broadcaster commented after last night’s concert by the Australian Chamber Orchestra that all the hype, all the talk about the surf-obsessed, free-spirited leader Richard Tognetti, had left her half expecting them to surf onto the stage of the Queen Elizabeth Hall. As they walked on however (decorously, and rather more smartly dressed than most English groups) we were reminded that there’s nothing gimmicky about this ensemble.
David Nice
Praise be, or slava if you prefer, to Valery Gergiev for honouring new Russian music alongside his hallmark interpretations - ever evolving or dangerously volatile according to taste – of Prokofiev, Shostakovich and Stravinsky. Last LSO season featured some of the less than inspired recent works Rodion Shchedrin has been dredging by the yard. Yet few would begrudge the palm of deep and original musical thought to this past week’s heroine, Sofia Gubaidulina.
graham.rickson
Bach: Complete Keyboard Works Ivo Janssen (Void Classics)
judith.flanders
When the subject of funding for the arts arises, the phrase “allowed to fail” is frequently heard: artists must be enabled to try new things, press against the outer edges of what they know. Enter Anne Teresa De Keersmaeker and Jérôme Bel, two of contemporary dance’s thinkers. They have tried, and failed, to choreograph the final section of Mahler’s Das Lied von der Erde, and in that attempt, they have produced an extraordinary evening: the anatomy of a failure.
graham.rickson
geoff brown
Noticed that nip in the air recently? The reason now is obvious: conductor Osmo Vänskä, the brisk wind from Minnesota, has blown into town, challenging London’s orchestral musicians to give beyond their best and uncover new layers in repertory works they previously assumed they knew backwards. Last year, the London Philharmonic sweated blood with the Minnesota Orchestra’s rigorous conductor over Sibelius’s symphonies; last night, in a one-off, orchestra and conductor faced up to Bruckner and his Fourth Symphony, the Romantic.
David Nice
When telling a complex musical story, handle with care. Interpreters need have no fear of composers who find selective, tone-friendly angles in their literary sources, like Janáček with Gogol’s Taras Bulba in last night’s searing finale, or Zemlinsky with Andersen’s The Little Mermaid, the saturated climax of the previous evening. But what about Dvořák in oddball, potentially enriching mode, setting every jot and tittle of a folk ballad without actually using words or voices?
alexandra.coghlan
We all know the question at issue last night at the Young Vic where Hamlet was opening, but down the road in the Queen Elizabeth Hall it was one of applause. Clapping between movements is a well-worn topic; we’ve had editorial, essays, even an RPS lecture devoted to the subject with no resolution in sight. Every year the Proms reminds us of the natural release a good clap can provide after a monumental first movement, and every year we return to our hands-clenched ways afterwards.
David Nice
Highly finished literary tales of doomed nixies, like Hans Christian Andersen's The Little Mermaid, seem to have prompted reams of bad art but plenty of mellifluous music. Not even all of that is on the same level. Viennese late-Romantic Zemlinsky's loose-limbed three-part Andersen homage has long floated in a limbo somewhere below the more curvaceous forms of Dvořák's Rusalka and Sibelius's The Oceanides, and not just because of unfavourable historical circumstances (the composer withdrew the work after its 1905 premiere, and it did not resurface until 1984).