London Philharmonic Orchestra, Mattila, Hampson, Jurowski, Royal Festival Hall (Review)
A single bottom C sunk deeper than even the deepest underground trains running so audibly below the Royal Festival Hall was the auspicious start to the South Bank Centre’s much anticipated festival “The Rest is Noise”. Forget…
London Symphony Orchestra, Upshaw, Adams, Barbican Hall (Review)
You learn a lot about a composer from the pieces they revere – and for John Adams what might have seemed like an unlikely opening gambit to kick-start this short stack of three concerts with the London…
Wagner “Der fliegende Holländer”, Zurich Opera, Royal Festival Hall
Why anyone these days would want to perform Wagner’s Der fliegende Holländer with an interval when even the three act version was so plainly fashioned to be performed without one is beyond me. There is that tell-tale…
Renée Fleming, Barbican Hall (Review)
Building a memorable solo recital is an art in itself – that we know – but personalising it so precisely to your vocal character that it’s hard to imagine other voices even contemplating such a programme, now…
Lehar “The Merry Widow”, Philharmonia Orchestra, Wilson, Royal Festival Hall (Review)
Lehar’s Merry Widow has been been spreading enchantment across the globe for well over a century. She’s the vintage champagne of operettas and the prospect of John Wilson popping her cork was more than a little enticing.…
London Symphony Orchestra, Gardiner, Barbican Hall (Review)
Any young composer who finds himself at the opposite end of a programme from Walton’s First Symphony had better be good. Edward Nesbit – whose piece Parallels was commissioned by the LSO Panufnik Young Composer’s Scheme –…
Britten Sinfonia, Alice Coote, Wigmore Hall
The Britten Centenary began here, on his 99th birthday, on Saint Cecilia Day, at Wigmore Hall, and it seemed only fitting that the composer who gave him so much inspiration should have the first word – or…
London Philharmonic Orchestra, Tetzlaff, Vänskä, Royal Festival Hall (Review)
Some symphonies are natural curtain-raisers: Sibelius’ Third is one. Music began with rhythm and in this piece the cellos are the distant drummers who bring us back to basics with their curt opening measures. Osmo Vänskä clipped…
London Symphony Orchestra, Petrenko, Barbican Hall (Review)
It should have been Sir Colin Davis, of course (and the news filtering through on Sir Colin is sadly not encouraging), but the very first chord of Beethoven’s “Emperor” Concerto was a startling demonstration of what makes…
London Philharmonic/ Russian National Orchestras, Jurowski, Royal Festival Hall **** (Review)
The heady symbolism of the London Philharmonic and Russian National orchestras sitting cheek by jowl for the climax of Vladimir Jurowski’s War and Peace series was a powerful one and if, on occasions, the melding of these…