Concert Reviews

Gluck is the composer of whom Handel remarked “my cook knows more counterpoint than Gluck does”, and the scores do indeed look very ‘vertical’, with simple harmonies to match. However,...
It was a neat choice of music (on the eve of Mothering Sunday) to combine two passionately expressive works exploring texts on love, loss and longing and prefacing this with...
After the success of their collaboration with Philip Glass’s second opera Satyagraha in 2009 (and twice revived), Phelim McDermott’s Improbable company together with English National Opera have returned to Africa...
If there is such a thing as a Carl Nielsen specialist in the United States, it would be Alan Gilbert, the music director of the New York Philharmonic. Along with...
The twenty-year-old Rachmaninov’s The Rock was inspired by two melancholy literary works – the title comes from a touching poem by Lermontov and the story was drawn from Chekhov’s somewhat...
Well! Welsh National Opera’s Figaro trio ended on an impressive note with strands brought together from what had gone before in the Rossini and Mozart operas. The principal characters had...
The epically toxic relationship between Britten and Stravinsky – adolescent hero-worship on Britten’s part leading two decades later to downright hostility – is well documented. Yet the older composer had...
Half a century ago, near enough, Radu Lupu won Leeds with Beethoven's Third Piano Concerto. I remember it well, it gripped the night, the imagination, our fantasies. William Mann, doyen...
How engaging The Marriage of Figaro can be when performed by a well-balanced cast, all attuned to the production and singing and acting with commitment and evident enjoyment. Once again...
A week and a day later than planned, Maurizio Pollini, now recovered from the flu, was able to give his Royal Festival Hall recital of Schumann and Chopin: a nifty...
This traditional programme was designed to pull in the crowds. The Royal Philharmonic Orchestra and its principal guest conductor Pinchas Zukerman delivered secure but mixed results. The Overture to Ruslan...
Every time in this excellent Wigmore Hall recital when I thought I’d nailed the main, generating aspect of Leon McCawley’s style, he’d confound expectations. His seemingly ascetic, self-contained persona would...
If Handel's operas generally contrast the outward political wrangling of their protagonists with their private grief and (often romantic) schemes, Orlando, unusually, focuses consistently upon the inner psychological conflicts of...
The humour of Rossini’s Barber can be strangely tricky to bring over the footlights and many directors and designers have come a cropper by trying too hard. If the wit...
This third of three concerts at Carnegie Hall with the Vienna Philharmonic Orchestra and Valery Gergiev featured two late-romantic works that portray fabled literary heroes, Parsifal and Manfred.Wolfram von Eschenbach,...
Part of the LSO’s Shakespeare 400 series, this was the second of Gianandrea Noseda’s concerts with the orchestra since the announcement of his appointment as its Principal Guest Conductor (alongside...
The first chord of Schubert’s Rosamunde Overture (previously associated with The Magic Harp) boded well for the evening: precise and with a notably positive tone from the trombones. This dramatic...
This was the ultimate leg of the Detroit Symphony Orchestra and Leonard Slatkin’s three-week, six-programme, twelve-concert Brahms Festival – but there was to be a twist.Unfortunately, Hélène Grimaud’s performance of...
There were two New York premieres: Olga Neuwirth’s Masaot/Clocks Without Hands and Heidi Melton’s first Carnegie Hall performance of ‘Brünnhilde’s Immolation’.Valery Gergiev and the Vienna Philharmonic Orchestra opened their second...
For some years, Tamara Stefanovich has been building a reputation in the more radical domain of modern piano music, and this Southbank Centre International Piano Series recital was no exception...
Skip to content