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Orchestra of the Accademia Nationale Di Santa Cecilia, Pappano, Anvil Basingstoke

The Orchestra of the Academia Nazionale Di Santa Cecilia, Rome, brought a little something home grown on this their fleeting UK tour. While their counterparts at the Royal Opera in London were tracing out the ethereal opening measures of the Prelude to Verdi’s Aida, over at the Anvil in Basingstoke the self same music … [Read More]

Posted on 18/03/2011
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Orchestra of the Royal Opera House, Pappano, Cadogan Hall

Exactly one week after the Berlin Philharmonic Orchestra memorably presented key players in a chamber setting, Antonio Pappano has done likewise with his Royal Opera House Orchestra – and what’s more found a common denominator. You go years without hearing the single surviving movement of Mahler’s early Piano Quartet and then, like buses, two arrive … [Read More]

Posted on 28/02/2011
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Berlin Philharmonic Orchestra, Rattle, Barbican Hall

They’ve called this unprecedented five-day residency “The London Concerts” and having already shown off the youthful core of players at the heart of this venerable and venerated orchestra, the Berlin Philharmonic Orchestra duly expanded from chamber to symphonic proportions and crossed the river from the Southbank to the Barbican for what was by any standards … [Read More]

Posted on 22/02/2011
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London Philharmonic Orchestra, Nézet-Séguin, Royal Festival Hall

Two perfect works in perfect equilibrium; Mozart and Mahler well met indeed. But even as the violin and viola soloists separated from the opening tutti of Mozart’s Sinfonia Concertante in E-flat in perfectly symmetrical octaves it was evident that the conductor for the evening – the gifted Yannick Nézet-Séguin – might have a slightly different … [Read More]

Posted on 20/02/2011
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LSO, Alsop, Barbican Hall

It was extraordinary but not especially surprising how Gustav Mahler’s presence could loom so large in a concert containing not one single note of his music. His pointless “retouching” of the Beethoven symphonies and wholesale repression of his wife Alma’s compositional talent were both marked by the same motives: a willful self-interest.

So there was, … [Read More]

Posted on 06/12/2010
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