Strauss
David Nice
Mozart and Wagner were the opposite compass points of Richard Strauss’s classical-romantic adventuring, and Amadeus has often made an airy companion to the rangy orchestral tone poems in the concert hall. By choosing Haydn instead as the clean limbed first-halfer in two London Philharmonic programmes, Yannick Nézet-Séguin came armed with period instrument experience of the master’s symphonies in his dazzling debut concert with the Orchestra of the Age of Enlightenment. Last night’s feast also offered the wondrous spectacle of cellist Truls Mørk making light of the difficulties in Haydn’s Read more ...
edward.seckerson
The Vienna Philharmonic Orchestra can play Haydn’s last symphony - No 104 “London” - in its sleep but that is not, I hasten to add, the impression one wants to take away from any performance of it and especially not in the city that inspired it. The music tells us that Haydn had a rather better time in our capital than Bernard Haitink would have us believe but this rather dogged account on the penultimate night of the Prom season seemed to suppress the work’s genial good humour and pre-empt most of its surprises with a one-size-fits-all approach. Haydn was many things - dull was not one of Read more ...
alexandra.coghlan
In a festival season as long as the BBC Proms there are always going to be some longueurs, weeks where the orchestral playing is more adequate than astonishing. Get stuck in one of these and it’s easy to start doubting your ears, to wonder whether six weeks of orchestral assault have dulled them. Then you hear an ensemble like the Gustav Mahler Jugendorchester. A youth orchestra in name alone, there is nothing callow about this elite group of young musicians, who last night under Daniele Gatti coaxed and wrung the Royal Albert Hall audience into ecstasy upon ecstasy.A great concert grows out Read more ...
philip radcliffe
No sooner had the Olympic torch been run out of town than in rushed the cavalcade of opera singers, musicians, actors, dancers and literary talkers for the start of the 34th Buxton Festival. Leading them, so to speak, was Stephen Barlow, the new Artistic Director. Nothing daunted, he decided to take up the baton for the opening night.The tradition here is to surprise us with works from opera’s old curiosity shop. Even if we’ve heard of them, we may well not have seen them, sometimes prompting the ironical “I wonder why?” Not the case with Intermezzo, but we have the double bill of Sibelius’s Read more ...
igor.toronyilalic
Standing ovations. Spontaneous genuflections. A we-can-change-the-world lecture. This must be what's it like to live in a Communist state. Funnily enough, the Simón Bolívar Youth Orchestra, who we were saying goodbye to last night in the final concert of their four-day Southbank residency, already do. I'm not a supporter of El Sistema, the body which gave birth to this youth orchestra. I'm amazed anyone thinks that an educational organisation set up to impose the Western classical canon on street kids in Venezuela (and now Scotland) because it's somehow supposed to miraculously make Read more ...
alexandra.coghlan
According to Oscar Wilde’s Salome (and faithfully preserved in Hedwig Lachmann’s libretto), the mystery of love is greater than the mystery of death. That may be so, but neither comes close to equalling the baffling mystery that is still David McVicar’s production. Not trusting the simple reds, moons and veils of Wilde’s stylised original to conjure sufficient horror, McVicar takes his abused heroine to Nazi Germany by way of Pasolini and a backstory of physical and psychological trauma. Then he throws in an abattoir and plenty of blood.To take such abstraction, the allusive possibility Read more ...
geoff brown
I half expected to hear someone on the platform call out “Is there a doctor in the house?” For Mariss Jansons, principal conductor of the Royal Concertgebouw Orchestra, and esteemed beyond measure, didn’t look well during this concert, the second in the orchestra’s current Barbican residency. Drained from his exertions during Strauss’s Also sprach Zarathustra, he left the platform weary and grey. The following interval was seriously extended. The next piece, Strauss’s Metamorphosen, he didn’t conduct at all, leaving the 23 string players to wing it alone with a wink, a nod, and as many waves Read more ...
geoff brown
If Dr Frankenstein wanted to manufacture the perfect violinist, he’d require a long list of ingredients. Perfect, unfussy technique, of course; but also seriousness of purpose, a sense of humour, a clear head, a passionate heart, a generous tone, plus access to a Stradivarius. On the other hand, the good doctor could simply go out and find Julia Fischer, the 28-year-old German violinist who ticks almost all of the above boxes, except perhaps “sense of humour”. There’s not a flashy or egotistical bone in her body, nor an itchy one: even six years ago she’d vaulted way past the promising stage Read more ...
graham.rickson
De Falla: Nights in the Gardens of Spain, The Three-Cornered Hat, Homenajes Jean-Efflaum Bavouzet (piano), Raquel Lojendio (soprano), BBC Philharmonic/Juanjo Mena (Chandos)Spanish conductor Juanjo Mena has recently succeeded Gianandra Noseda as the BBC Philharmonic’s principal conductor. You trust that the choice of repertoire on this release was driven by Mena himself, and this disc has loads to commend it – playing of real verve, and the more-than-decent acoustic of the BBC’s much-maligned Media City in Salford. The Three-Cornered Hat isn’t heard enough in its complete form; Mena’s Read more ...
David Benedict
As in sex, so it is in music: there’s a lot riding on the climax. The celebrated third act trio of Der Rosenkavalier is arguably the most famous orgasm in music – dear reader, can you name a better one? – but time it wrongly and you’ll regret it. There is, however, absolutely nothing regrettable about this A-list cast in the hands of director David McVicar and conductor Edward Gardner. Theirs is the most assured, most riveting Rosenkavalier in this country for years.Lush, plush and dangerous to know though Strauss’s score is, many directors shy away from the opera for the simple reason that Read more ...
ash.smyth
A legend on the operatic stage, Sir John Tomlinson (CBE) has sung with all the major British opera companies, made countless recordings, and for sixteen years was a fixture at Bayreuth, where he performed leading roles in each of Wagner's epic works. Throughout his career he has worked regularly with English National Opera and with The Royal Opera, Covent Garden, where in 2008 he created the title role in Harrison Birtwistle's The Minotaur.At his home in Sussex, Sir John talks to theartsdesk - in booming Lancashire tones - about getting into Wagner, the importance of a good beard, Read more ...
alexandra.coghlan
It may have taken her until 2005 to get her Wigmore Hall debut, until 2006 to break onto the stage of the Royal Opera House, but at 53 Susan Bullock has finally arrived, claiming the crown of soloist for this year’s Last Night of the Proms, a firm foothold at Covent Garden and her rightful place as Britain’s finest dramatic soprano. For a singer who “started singing by mistake”, whose musical training began in a council house in Cheshire on a piano rescued from the local rubbish dump, it’s no small achievement.Chance and luck have played their role in the careers of many performing artists ( Read more ...