Concert Reviews

Amid the abundance and supreme heroic confidence of Beethoven’s oeuvre, his solitary excursion into opera is isolated and equivocal. Beethoven, prolific and masterly, was not unattracted to the theatre -...
Some of Colin Davis’s earliest successes were with the ECO and Stravinsky; it was encouraging at this concert to find him returning to a composer who he’s not featured too...
The second of this season’s ’New to London’ concerts featured a disparate triptych of works by composers who, for varying reasons, are not as well enough known here as they...
Is there a new-model Murray Perahia? A Perahia who, after recovering from a career-threatening injury, plays in a more masculine, muscular way, more openly heroic, but with fewer moments of...
Not exactly an apposite pairing, but effective all the same. Mainprizewinner at the 1995 Queen Elizabeth Competition in Brussels, Markus Groh will be a new pianist to many and, on...
Leopold Stokowski only conducted the BBC Symphony Orchestra on eight occasions, but someone obviously thought that this was a good enough reason to hang a concert around his name. The...
Pushkin’s ironic yet chilling novella, The Queen of Spades, is an exemplar of clarity and conciseness, an almost ideal basis for an opera. Tchaikovsky, having already successfully set scenes from...
A programme suggesting buses – those that arrive one after the other. Only a few days before this concert - which celebrated 25 years of Gramophone Awards, the participants all...
There was an element of symmetry to this premiere. Almost 25 years ago, Simon Rattle conducted the Philharmonia Orchestra in the first performance of Peter Maxwell Davies’s (First) Symphony, a...
The Royal Festival Hall itself – opened 3 May 1951 – was the star of the show. Like most parties this celebratory concert was bright and noisy.The Philharmonia Orchestra –...
It was beginning to seem as though the UK premiere of What Next? would take as long to happen as it took Elliott Carter to write it. Devising a suitable...
One cannot fail to be moved by Itzhak Perlman’s determination and dignity as he makes his crutch-aided entrance. Much less regard though for audience members not turning off mobile phones...
No one could accuse ENO of repetition in its annual commissions. The intense realism of Mark-Anthony Turnage’s The Silver Tassie last year could not be in greater contrast with the...
If you’re reading this on or after April 29, Zubin Mehta will have turned 65. No age for a conductor, a pension probably his last concern – his for-life commitment...
This concert closed the LSO’s Bohemian Spring series, one bringing some fine concerts in terms of the quality of the music-making, but one that missed a chance to highlight more...
Concertos have run unobtrusively through the output of Colin Matthews since the subtle and understated First Cello Concerto of 1984. Practicalities aside, it is surprising that a Horn Concerto should...
The more I hear of Ingo Metzmacher’s work, the more I admire it. He’s not on the podium for self-display; he’s there to focus on the music, to clarify and...
Founded in 1986 by Claudio Abbado, who remains as music director, the GMJO, despite its Austro-German basis, is "open to all musicians under the age of 26 from every country...
Despite there being further concerts, this offering from the National Youth Orchestra felt like a natural culmination to the LSO’s Bohemian Spring series, featuring pieces from two related but temperamentally...
As an adjunct to the LSO’s Bohemian Spring series, this recital by the London Symphony Chorus was a valuable reminder of the wealth and range of Czech choral music. Chronologically...
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