Reviews of live performance

11590 1
Rampant romanticism was at the heart of this Guildhall Symphony Orchestra programme juxtaposing two expansive symphonic poems for large orchestra. Contemporaneously composed – Richard Strauss’s Ein Heldenleben in 1898 and...
11596 1
This second of Mark Morris dance was more satisfying than the first. In it, Morris succeeded in showing us an even greater variety of his work, From the lightweight, almost...
11589 1
The list of great musicians who have worked in the Chapel Royal of Hampton Court Palace includes the sixteenth-century composers Thomas Tallis, William Byrd, Thomas Morley, Orlando Gibbons, Pelham Humphrey...
11588 1
For its 30th-anniversary concert at Wigmore Hall, the Schubert Ensemble opened with Ralph Vaughan Williams’s Piano Quintet (1903), which only resurfaced in 1999, after its withdrawal by the composer, and...
11587 1
The dark realm of which Tristan sings at the end of Act Two was powerfully foreshadowed in Daniel Harding and the LSO’s extraordinarily nihilistic performance of Schubert’s ‘Unfinished’ Symphony, one...
11584 1
Wisps of sound, flecks of colour; such is the legacy of Toru Takemitsu (1930-96). He was here embraced in the Southbank Centre’s The Rest is Noise festival (Elliott Carter seems...
11585 1
What makes Mark Morris works so satisfying? That he employs simplicity of means - often a plain backdrop - most certainly; that he is musically sophisticated and of the most...
11583 1
A near-capacity audience awaited what was billed by Cristina Ortiz in an interview for the programme-book as a “Scherlade” – a concert combination of Chopin’s Ballades and Scherzos. The pianist...
11579 1
This concert was a well planned event in its focussing on two seminal works that underlined a sea-change in the evolution of contemporary music both in Poland and in the...
11582 1
A warm welcome back to Karen Oberlin, who charmed us at The Crazy Coqs last year with her tribute to Doris Day. She now presents an equally delightful programme featuring...
11577 1
Bracing concision and facile prolixity distinguished this OAE concert. Beethoven leaves us in no doubt where they are in his Coriolan Overture, as in the Fifth Symphony with a signature...
11578 1
The partnership of Maxim Rysanov and Ashley Wass was a late replacement for Tabea Zimmermann and Igor Levit, indisposed due to illness. Thankfully two of the three pieces in their...
11575 1
Since 1956 the Park Lane Group has been a staunch advocate for young artists and new music, not least in its New Year Series (2014’s week is 6-10 January in...
11574 1
It seems scarcely credible that Russell Keable has been at the helm of the Kensington Symphony Orchestra for three decades – this concert marking that statistic ‘‘almost to the day’’...
11580 1
In the world of new British choreography, it is not always the youngest or the latest that are the best. Michael Clark, the ex-bad boy of British dance and famous...
11576 1
In its newsletter, Chelsea Opera Group described the ideal COG opera as “one that is by an important composer but not in the repertoire of the major opera companies”, adding...
11568 1
There is a feeling in some quarters that Benjamin Britten’s centenary this year has given him – I quote – “a disproportionate hold on the musical establishment” in relation to...
11597 1
A whole year of events led up to this spectacular concert – on the exact centenary of Benjamin Britten’s birth – at the concert hall he built (and rebuilt) near...
11573 1
For the second offering of its all-too-brief London visit, Stuttgart Ballet presented a mainstay of its repertoire, John Cranko’s comic ballet The Taming of the Shrew. Since its creation in...
11571 1
There is no better way for an American orchestra to commemorate the centenary of Benjamin Britten’s birth than with a performance of Peter Grimes, commissioned by the Koussevitzky Music Foundation....
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