June 2019 Concert Reviews

May 2019 Concert Reviews
LSO – Gianandrea Noseda conducts Egmont Overture, Shostakovich, Harold in Italy – Daniil Trifonov, Philip Cobb, Antoine Tamestit
Sunday, June 16, 2019 |  A standard Overture-Concerto-Symphony programme, on the cusp between comfort and challenge? That idea quickly unravelled with Shostakovich clowning around with piano, trumpet and strings, followed by a Berlioz Symphony with a serious identity crisis acted out by a concertante soloist, the evening bookended by two literature giants, Goethe and Byron, and presided over by Gianandrea Noseda at his energising best. ... The élan with which Daniil Trifonov (completing his LSO Artist Portrait) and Philip Cobb (LSO principal) delivered the Concerto’s opening gambit said it all in anticipating the silent-film-accompaniment brilliance of the Finale... ... Berlioz fans may remember Harold in Italy from last year’s Proms, when Antoine Tamestit immeasurably raised the viola role’s profile with plotted wanderings through the orchestra. 
Berliner Philharmoniker – Constantinos Carydis conducts Mozart 34/38 & Shostakovich Opuses 11/110 [live webcast]
Saturday, June 15, 2019 |  This week Constantinos Carydis (Athens-born in 1974 and the recipient of Bavarian State Opera’s Carlos Kleiber Prize in 2011) makes his debut with the Berliner Philharmoniker. ... Shostakovich’s Eighth String Quartet (1960) is a grim and eruptive piece dedicated "to the victims of fascism and the war", written in Dresden when the composer was there scoring the film Five Days, Five Nights, documenting the bombing of that city during World War Two, an act that at the time also inspired Richard Strauss’s Metamorphosen. Rudolf Barshai’s string-orchestra version works well... ... Then the big one, Mozart’s ‘Prague’ Symphony: big because Carydis observed every repeat (including both halves of the first movement). Like them or not, Carydis brought many distinctive touches to this wonderful score... 
Gerald Finley & Julius Drake at Wigmore Hall
Saturday, June 15, 2019 |  Julius Drake and Gerald Finley presented a selection of song at Wigmore Hall, designed to reveal the dark side of Finley’s expressive and dramatic gifts. ... The poetry of Goethe was highlighted at the beginning with eleven Schubert settings. ... Mark-Anthony Turnage’s Animal Songs followed. ‘The Singing Cat’, a setting of Stevie Smith, was exquisitely delivered with humour and precision. ‘Mourned’ (Thomas Hardy) was spellbinding, full of pathos, and ‘Last Words’ (Walt Whitman) is a jazzy hymn in praise of animals. 
Netherlands Radio Philharmonic Orchestra – Bernard Haitink’s farewell concert to Amsterdam – Bruckner 7 & Camilla Tilling singing Richard Strauss Lieder [NPO Radio 4 relay]
Saturday, June 15, 2019 |  With the recent announcement of his retirement, sixty-five years at the helm, a force who's never not been with us, inspiring destinies and shaping values, Bernard Haitink takes distinguished leave of a long career. ... One doesn't review farewell concerts. One is simply grateful for the pearls of a life journey illuminating the hour. For this broadcast – Dutch Tonmeister-ing at its best – Haitink reunited with the Netherlands Radio Philharmonic, of which, following a period of study under Ferdinand Leitner, he was principal conductor from 1957 to 1961... ... With Camilla Tilling in radiant, un-operatic voice (she was Haitink's Himmlische Leben in his Mahler Four at the 2014 Proms), the five Richard Strauss songs cast a smoky spell. ... Bruckner's Seventh Symphony, dedicated to Ludwig II of Bavaria, pursued its rugged way, hewn out of a mountain... 
Garsington Opera 2019 – Offenbach’s Fantasio
Friday, June 14, 2019 |  An opportunity to reappraise a potential lost gem is always an enticing prospect and here Garsington mounts the first fully-staged production in the UK of Offenbach’s appealingly and intriguingly named Fantasio. 
Chineke! Orchestra at The Anvil Basingstoke – Wayne Marshall conducts Peer Gynt & Dvořák 7 – Stewart Goodyear plays his Callaloo
Friday, June 14, 2019 |  In the first of Grieg’s Peer Gynt Suites (from his incidental music for Ibsen’s play) Eric Lamb’s flute captivated from the start and thereafter ‘Morning Mood’ unfolded with natural ease... ... Stewart Goodyear is principally a pianist, whose career in recent years has begun to include composition. Goodyear describes Callaloo as a “dish from the Caribbean composed of spices from different cultures deliciously blended together.” 
The Grange Festival 2019 – Mozart’s The Marriage of Figaro – Toby Girling, Simona Mihai, Ellie Laugharne, Roberto Lorenzi; directed by Martin Lloyd-Evans; conducted by Richard Egarr
Friday, June 14, 2019 |  Sir Isaiah Berlin’s comment: “The best opera ever written by a human being” is quoted as part of the publicity for this production. As always it comes down to a matter of opinion as to whether or not The Marriage of Figaro is the best or even greatest opera. If you are impervious to Mozart (and there are some who are) then nothing will change your mind but if you are prepared to listen and follow the story of this masterpiece then it is difficult to resist the notion. The challenge for a producer is not to betray what makes this extraordinary creation great. Clarity is a key... 
Collegium Vocale Gent at Barbican Centre – Philippe Herreweghe conducts Johann Sebastian Bach’s Mass in B-minor
Friday, June 14, 2019 |  What an eleemosynary treat J. S. Bach bequeathed humanity with his B-minor Mass, which in these trying times particularly offers balm to hearts and minds. With three recordings of the Mass to his credit, so far, Philippe Herreweghe is a veteran of the piece. ... Collegium Vocale Gent comprised... 
The MET Orchestra at Carnegie Hall – Yannick Nézet-Séguin conducts Bruckner 7 – Elīna Garanča sings Mahler’s Rückert-Lieder
Friday, June 14, 2019 |  This concert, the last of three Carnegie Hall appearances by the MET Orchestra this Spring, marked the ensemble’s first-ever performance of a Bruckner Symphony. Yannick Nézet-Séguin recorded a Bruckner cycle between 2007 and 2017... ... Elīna Garanča delivered a consistently solid performance of Mahler’s Rückert-Lieder... 
Weimar Berlin – Philharmonia Orchestra – Fritz Lang’s Metropolis Live Screening with music by Gottfried Huppertz & New Music for Old Movies by Martin Smolka
Thursday, June 13, 2019 |  The soundtrack of Fritz Lang’s Metropolis has frequently been the source of controversy, not least in 1988 when Giorgio Moroder supplied his own electro version with the help of Adam Ant, Pat Benatar and others. The Philharmonia Orchestra and Frank Strobel here sought to set matters right by going back to the original version by Gottfried Huppertz used at the film’s premiere in 1927. ... ...hugely influential on the following generation of film composers such as Erich Wolfgang Korngold, Max Steiner, and Franz Waxman. ... There is a clear line from Metropolis to Blade Runner (1982) and even Alita: Battle Angel (2019). ... Prior to Metropolis, the Philharmonia in its free/informal Music for Today series played two short works by the Czech composer Martin Smolka. The first was Hats in the Sky to Hans Richter’s classic experimental collage film Ghosts before Breakfast... 
Opera Holland Park 2019 – Verdi’s Un ballo in maschera – Adriano Graziani, Anne Sophie Duprels, George von Bergen, Alison Langer; directed by Rodula Gaitanou; conducted by Matthew Kofi Waldren
Wednesday, June 12, 2019 |  Verdi’s Masked Ball is not an easy opera to pull off anyway with its curious mix of black humour and serious drama, and both aspects need to be treated with gravity... ... Ballo needs committed theatricality and Rodula Gaitanou’s staging in takis’s effective and flexible designs certainly provides this. ... Anne Sophie Duprels’s Amelia is a really complex assumption and she sings with great poise as well as flexibility. She’s a stage natural, too, bringing pathos, fatalism and abandon as Verdi requires, and George von Bergen’s ingratiating and fluid tone for Anckarström, not without the necessary sense of latent fieriness, is a great asset as well. 
Royal Philharmonic Orchestra @ Royal Festival Hall – Vasily Petrenko conducts Ein Heldenleben – Denis Kozhukhin plays Brahms
Tuesday, June 11, 2019 |  This was Vasily Petrenko’s first appearance with the Royal Philharmonic Orchestra following the announcement that he becomes music director from the 21-22 season. ... The standout item was Ein Heldenleben. The propulsive start, ‘The Hero’ (i.e. Richard Strauss himself) – boasting passionate playing from violins – was thoroughly arresting... ... Earlier Petrenko had launched Brahms’s D-minor Piano Concerto strikingly, and Denis Kozhukhin’s first entry was direct and unfussy... 
Detroit Symphony Orchestra – Leonard Slatkin conducts Juliet Palmer’s Oil & Water and Bartók’s Concerto for Orchestra – Makoto Ozone plays Paganini Rhapsody [live webcast]
Sunday, June 09, 2019 |  It is said that oil and water do not mix. Introduce an upper-case O and W, and an ampersand, and you get Juliet Palmer’s Oil & Water. ... Makoto Ozone is best-known in the jazz world, although he plays the classical stuff too – including several Mozart Concertos as well as Leonard Bernstein’s Age of Anxiety... ... ...I understood in advance that he is prone to adding bits of his own, which is what he did during Paganini Rhapsody. ... Well, in league with Leonard Slatkin, who of course had to know in advance where Ozone’s diversions would occur, such additions proved inoffensive and, in some respects, integral – but why interfere with a masterpiece... ... Bartók wrote Concerto for Orchestra in 1943 (the year Rachmaninov died) for Koussevitzky and the Boston Symphony. The premiere occurred late the following year (and the piece reached Detroit in 1953 conducted by Antal Dorati). The conclusion in Boston had been rather brusque, pithy, whereas Bartók’s revision is much grander... 
English Symphony Orchestra at Cadogan Hall – Kenneth Woods conducts the Fifth Symphonies of Beethoven & Matthew Taylor – Pavel Šporcl plays Mendelssohn’s E-minor Violin Concerto
Sunday, June 09, 2019 |  Some may consider that things have come to a pretty pass when it takes an American Music Director of a regional English orchestra to conceive of, and bring to fruition, what he has termed the 21st Century Symphony Project, an inspiration of artistry and programme-planning by commissioning, performing and recording no fewer than nine new Symphonies by living composers... ... Matthew Taylor’s Fifth Symphony is the composer’s first in four movements... ... The soloist in Mendelssohn’s (second) Violin Concerto, the young Pavel Šporcl, with his fifteen-year-old blue violin, is relatively unknown to British audiences, but on this showing he more than deserves to become a household name. 
Weimar Berlin: The Sounds of Change – Esa-Pekka Salonen conducts the Philharmonia Orchestra in Wozzeck Fragments (with Angela Denoke), Hindemith’s Concerto for Orchestra, Kleine Dreigroschenmusik, and The Age of Gold
Sunday, June 09, 2019 |  The Philharmonia has links with the music of the Weimar Republic. Otto Klemperer, one of the Orchestra’s first conductors, commissioned Kurt Weill to create a Suite from The Threepenny Opera, Kleine Dreigroschenmusik, and conducted it in 1929; his 1962 Philharmonia recording is hard to beat with its mordant wit, and Paul Hindemith recorded with the Philharmonia during the 1950s and conducted Beethoven’s ‘Choral’ Symphony in the Festival Hall, which older concertgoers recall fondly. ... Esa-Pekka Salonen was brisk and smart in the ‘Overture’ but ‘Mack the Knife’ sounded more of a lounge-lizard crooner rather than genuinely dangerous. ... Shostakovich visited Berlin from the Soviet Union in 1927 and set his football-inspired ballet The Age of Gold in the Weimar Republic. 
Aldeburgh Festival 2019 – Thomas Larcher and Friends @ Britten Studio – Mark Padmore, Paul Lewis, Andrew West
Sunday, June 09, 2019 |  The Aldeburgh Festival’s opening weekend was built largely around one of this year’s three artists-in residence, Thomas Larcher (the other two are Mark Padmore and Barbara Hannigan), in his opera The Hunter’s Gun and then, more briefly, in Paul Lewis’s piano recital. ... György Kurtág’s transcriptions for piano duet of J. S. Bach Chorales set the scene... ... ...and he doesn’t hold back in A Padmore Cycle, performed by the named singer and Andrew West. ... Schubert completed the recital – blithe readings of two Johann Seidl settings, ‘Im Freien’ (D880), and his final song, ‘Die Taubenpost’ (D965a)... 
Berliner Philharmoniker – Daniel Barenboim conducts Symphonies by Haydn & Schumann – Maria João Pires plays Beethoven [live webcast]
Saturday, June 08, 2019 |  This performance wasn’t initially included in the Digital Concert Hall’s broadcast schedule, I guess because Radu Lupu was engaged and I believe he now vetoes every form of relay. Well, he withdrew, reason not given, and the now-retired (if in and out of that status) Maria João Pires stepped forward to save the three evenings... ... It is fifty years more or less to the date since Daniel Barenboim first-conducted the Berliner Philharmoniker and this current programme replicated his debut concert; back then the Beethoven featured Clifford Curzon. 
Opera Rara & Britten Sinfonia at Barbican Hall – Mark Elder conducts Donizetti’s Il Paria
Saturday, June 08, 2019 |  Just over 190 years after its first and only run at Naples’s Teatro San Carlo, Donizetti’s Il Paria has become the latest lucky recipient of Opera Rara’s focus, with a recording made over this week resulting in this concert performance at the Barbican, which marks the first collaboration between OR and Britten Sinfonia. The common denominator is Mark Elder. 
Glyndebourne Festival Opera 2019 – Fiona Shaw’s production of Massenet’s Cendrillon – Danielle de Niese, Lionel Lhote, Agnes Zwierko, Kate Lindsey; conducted by John Wilson
Saturday, June 08, 2019 |  The essential premise in this production is that Cinderella is not a simple fairy-tale but a cauldron of adult neurosis... ... This Glyndebourne staging toured last year and is re-directed for the 2019 Festival by Fiona Dunn. It is universally well-sung. Danielle de Niese is a sweet Cendrillon... ... De Niese is in her element following the interval, both in her monologue upon her return from the ball and in the love-duet under the oak tree with Kate Lindsey as Prince Charming, and Massenet’s music breaks our hearts. ... ...with John Wilson eliciting the most sensitive playing from the LPO. 
Aldeburgh Festival 2019 – Paul Lewis plays Haydn Sonata 34, Thomas Larcher Movement, Beethoven Diabelli Variations
Saturday, June 08, 2019 |  On the face of it, this Aldeburgh Festival recital from Paul Lewis was in the traditional mould of the true and tested either side of a little something to challenge expectations... ... ...this leapt off the page in his immensely engaging performance of Haydn’s E-minor Sonata. ... In his elusive programme note to his ten-minute Movement for Piano, Thomas Larcher asks “What is an idea? Where does it come from?”. ... Lewis has a formidable reputation in Beethoven, which he enhanced hugely in this account of the Diabelli Variations. 
Grange Park Opera – The Gershwins’ Porgy and Bess – Musa Ngqungwana & Laquita Mitchell; directed by Jean-Pierre van der Spuy; conducted by Stephen Barlow
Saturday, June 08, 2019 |  Now into the third season at its relocation, Grange Park Opera has already set the bar high for repertoire and production; as is evident in its new staging of Porgy and Bess, which, if it brings few revelations, wholly reinforces the work’s status within the modern operatic canon. 
Aldeburgh Festival 2019 – UK premiere of Thomas Larcher’s The Hunting Gun conducted by Ryan Wigglesworth
Friday, June 07, 2019 |  Thomas Larcher’s music is gathering ever-bigger audiences, with a directness of expression and perception in its way as acute as, for example, Britten’s. This is apt, because the fifty-six-year-old Austrian composer, perhaps more used to Alpine peaks than East Anglian flat-lands, is this year’s artist-in-residence at the Aldeburgh Festival. Das Jagdgewehr, Larcher’s first opera, had its premiere at the Bregenz Festival last year... 
The Grange Festival 2019 – Verdi’s Falstaff – Robert Hayward, Susan Bickley, Nicholas Lester; directed by Christopher Luscombe; conducted by Francesco Cilluffo
Friday, June 07, 2019 |  Christopher Luscombe’s debut as opera-director unveils Verdi’s comic masterpiece as an up-to-the-minute, fast-paced romp. It’s a glossy, uproarious spectacle that maximises our perceptions of Shakespeare’s loveable yet lecherous rogue (whose attempts to seduce two of Windsor’s Merry Wives end in disaster) and minimises reflections on honour and regret. ... Robert Hayward as Falstaff commands the stage with bags of personality and inhabits the role as if born to it... ... Of the women, Susan Bickley is a superb Mistress Quickly, singing with a range of timbres... ... Francesco Cilluffo and the Bournemouth Symphony Orchestra respond to the score with energy... 
Philadelphia Orchestra at Carnegie Hall – Yannick Nézet-Séguin conducts Stravinsky's Funeral Song & Rachmaninov 1 – Beatrice Rana plays Prokofiev 3
Friday, June 07, 2019 |  Prokofiev’s most popular Piano Concerto came between two ‘lost’ works from other celebrated composers. Stravinsky’s Funeral Song – composed in 1908 in honor of Rimsky-Korsakov – disappeared after a single performance. ... Yannick Nézet-Séguin conducted this emotionally powerful piece with exuberance and elegance, and the Philadelphia musicians played with extraordinary beauty and clarity. ... Following intermission, Rachmaninov’s First Symphony... ... As centerpiece, in Prokofiev’s Third Piano Concerto, from her exuberant entrance onwards Beatrice Rana made her vitality plain, outstanding in every way... 
San Francisco Ballet at Sadler's Wells – Programme D – Bound To | Your Flesh Shall Be a Great Poem | Anima, Animus
Thursday, June 06, 2019 |  Male/female, male/male, female/female dancing was very much in offer in Christopher Wheeldon’s Bound To, the strongest offering in San Francisco Ballet’s Programme D. This was Wheeldon at his best, far from the somewhat over-produced, ‘shiny’ choreography he often creates for London, in a thoughtful, thought-provoking work exploring the nature of human relationships and existence in the modern world. […] Trey McIntyre brought a much needed lighter side with his quirky, weird Your Flesh Shall Be a Great Poem, inspired by a solar eclipse… 
Vienna Philharmonic at Hamburg’s Elbphilharmonie – Mariss Jansons conducts Schumann’s Spring Symphony & Berlioz’s Fantastic Symphony [live webcast]
Wednesday, June 05, 2019 |  Watching Mariss Jansons at the helm of the Wiener Philharmoniker is to be aware of a man born of another age and place, a musician with different values from the modern breed. ... One has heard more theatrical, filmic 'Fantastics', fiercer in emotional temperature. Jansons's measured approach – fifty-nine minutes, without first-movement or ‘March’ repeats, compared with his Concertgebouw and Bavarian versions at around fifty-one – was akin to scenic painting... ... Opting for marginally reduced forces (six basses), Jansons fashioned a reading of Schumann's 'Spring' Symphony as Elysian as Beethoven's Fourth, the structural and tonal model of which was rarely that far away. 
The Diary of One Who Disappeared at Linbury Theatre
Wednesday, June 05, 2019 |  Janáček’s song-cycle isn’t exactly regular fare in recital, perhaps as it requires forces additional to the singer/pianist norm. This is a shame as the music and text have an emotional directness and immediacy that are both arresting and affecting. ... Here at the Linbury, Ivo Van Hove, has recently been attracting much critical attention with his forays into opera. This is a thoughtful, layered and complex appraisal of the work that makes for a stimulating sixty-five minutes. ... Ed Lyon brings vocal intensity, raw lyricism and a strong theatrical presence to the young man... 
Longborough Festival Opera 2019 – Wagner’s Das Rheingold (Der Ring des Nibelungen 1/4) – Mark Stone, Darren Jeffery, Mark Le Brocq, Madeleine Shaw, Adrian Dwyer; directed by Amy Lane; conducted by Anthony Negus
Wednesday, June 05, 2019 |  It is worth recapping what Martin and Lizzie Graham have accomplished at Longborough with their Festival and especially their Wagner productions, which have put them and their opera-house (a converted barn in the Cotswolds) firmly on the international map... ... With their daughter Polly now on board as Artistic Director, Longborough has set out on a new Ring cycle, an instalment each year, taking the Festival to 2023 for runs of all four together. ... Amy Lane’s production is broadly traditional (that is, nineteenth-century) in look, with aspects of Emma Ryott’s well-observed costumes deferring to the look of Bayreuth’s original staging. 
San Francisco Ballet at Sadler's Wells – Programme C – Bespoke | Hummingbird | Hurry Up, We’re Dreaming
Wednesday, June 05, 2019 |  It is always a question how much local culture defines or at least affects art; the question is no less pertinent for the art of ballet, although the ‘schools’ of dance and identifiable national styles have faded somewhat with the advance of filming and the internet, and the readiness of dancers to move abroad to work. San Francisco is an identifiably American company in terms of the nationality of the majority of dancers, but one which possesses, in the upper ranks at least, a high proportion of non-American artists. […] Thus, in Programme C, the company presents work from the Australian Stanton Welch, the British Liam Scarlett and the American Justin Peck. 
Opera Holland Park 2019 – Puccini's Manon Lescaut – Elizabeth Llewellyn, Peter Auty, Paul Carey Jones; directed by Karolina Sofulak; conducted by Peter Robinson
Tuesday, June 04, 2019 |  Puccini’s breakthrough opera was last staged by Opera Holland Park in 2006, a brave endeavour... ... This new OHP show, the first in its new season, falls somewhere between these extremes while further weakening the narrative thrust intended by the composer, It is the work, and the reward, of director Karolina Sofulak and designer George Johnson-Leigh... ... The characterisation of Manon’s lovers goes against expectation. As the tenor ‘hero’, Peter Auty gives a creditable performance... ... On the night Elizabeth Llewellyn disappointed just a little, for all that her big aria, ‘Sola, perduta, abbandonata’, proved very moving as well as vocally strong... 
The Royal Ballet – Triple Bill – The Firebird | A Month in the Country | Symphony in C
Tuesday, June 04, 2019 |  For anyone with a love of The Royal Ballet’s ‘old’ repertoire, this final programme of the season is like several Christmases occurring together. No sign of the modish and the extreme, and in their place glorious music, choreography and design – all a little too much in all honesty, but then balanced triple bills have not exactly been in fashion here of late. […] As Bizet’s final chords gave way to rapturous applause, the company could be satisfied that it had delivered a vintage evening, one which not only paid tribute to their magnificent heritage but which also showcased their own impressive talent. 
Guildhall School double-bill at Milton Court Theatre – Blow’s Venus and Adonis | Handel’s Aminta e Fillide
Monday, June 03, 2019 |  Neither work here is, strictly speaking, a fully-fledged opera, but they form a neatly contrasting pair exploring the psychology and politics of romantic love. ... John Blow's Venus and Adonis (1683), the principal composition in this double bill, is usually regarded as the first English opera, though it is really a masque or semi-opera in scale (like Dido and Aeneas by the composer's most famous pupil, Henry Purcell) as compared with the greater dramatic scope of the contemporaneous stage-works by Lully which inspired them. ... Aminta e Fillide is one of the Cantatas which the young Handel wrote during his period in Rome, and not originally intended for staging (indeed opera was effectively banned in the city, under Papal edict). 
The MET Orchestra at Carnegie Hall – Yannick Nézet-Séguin conducts La mer & Daphnis et Chloé – Isabel Leonard sings Le Temps l’horloge & Shéhérazade
Monday, June 03, 2019 |  The MET Orchestra and Yannick Nézet-Séguin offered this French program in which he demonstrated his multi-faceted talent in a splendid performance of La mer... Henri Dutilleux’s Le Temps l’horloge (Time and the Clock) was written between 2006 and 2009. ... Isabel Leonard’s lilting voice captured the essence of these diverse poems impressively... 
LSO – Michael Tilson Thomas conducts Charles Ives’s Holiday Symphony, Daniil Trifonov plays Beethoven’s Emperor Concerto
Sunday, June 02, 2019 |  In his capacity as Conductor Laureate, Michael Tilson Thomas returns every season to the LSO but has only rarely featured music by Charles Ives – a composer central to his repertoire, whom he conducts more perceptively than any other of his contemporaries. ... Fortunate, then, that this programme included A Holiday Symphony... ... Enthusiastic as it was, the almost capacity Barbican Hall was evidently there for Beethoven’s ‘Emperor’ Concerto with Daniil Trifonov. 
San Francisco Ballet at Sadler's Wells – Programmes A & B – Shostakovich Trilogy | The Infinite Ocean | Snowblind | Björk Ballet
Sunday, June 02, 2019 |  The USA’s oldest professional dance company, San Francisco Ballet, is a highly respected and much-admired ensemble, known above all for its dedication to commissioning new works. Their eleven-day sojourn at Sadler’s Wells is a proud statement of their artistic credo – twelve ballets all created in the last five years. Programmes A and B made for interesting contrasts, A comprising Alexei Ratmansky’s Shostakovich triptych while B veered from Edwaard Liang through Cathy Marston to end with Arthur Pita. 
Berliner Philharmoniker – Michael Sanderling conducts Shostakovich’s Leningrad Symphony – Bruno Delepelaire plays Haydn’s D-major Cello Concerto [live webcast]
Saturday, June 01, 2019 |  This week marked Michael Sanderling’s debut with the Berliner Philharmoniker, with this programme, here played for the third and final time, giving ample opportunity to display his considerable talents. ... A sense of urgency was evident right from the start of Shostakovich’s ‘Leningrad’ Symphony. ... In the first half we heard Joseph Haydn’s D-major Cello Concerto. Bruno Delepelaire (BP principal) gave an account that was notably intimate. 


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