Violin and music

Violin and music

Concert Reviews

Bruckner – Bernard Haitink

Thu 23 Oct 2014

London Evening Standard, 24 Oct
And for the privilege of experiencing this towering masterpiece in the hands of one of the great conductors of the day, one can only be profoundly thankful.
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The Guardian, 24 Oct
It was quite simply a privilege to hear such Brucknerian mastery at work.
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Classical Source, 24 Oct
All told, however, there are few conductors or orchestras capable of doing equal justice to Bruckner today, and this LSO/Haitink partnership provided yet another overwhelming experience.
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Bachtrack, 24 Oct
And the ending was spectacular, the coda carefully shaped and graded to prepare the brass-emblazoned chords in the final bars. Haitink was in his element here, giving us a triumphant and glorious conclusion.
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Panufnik/Schumann/Strauss – Sir Antonio Pappano/Piotr Adnerszewski

Sun 19 Oct 2014

The Guardian, 22 Oct
The brilliance of it all lay in Pappano’s refusal to see Strauss's score as the last word in self-referential irony, and to remind us that its emotions, its pride, anger and beauty, are genuine and run deep.
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The Times, 22 Oct
The LSO's sharp perfection helped the piece to make its mark. So did the enthusiasm of Antonio Pappano, who tore into its geometrically conceived structures with the epxressive glee of someone conducting a romantic masterpiece.
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Financial Times, 21 Oct
Pappano’s “hero” was rugged, outgoing, super-confident, striding forwards in playing that was consistently red-blooded. Not much light and shade, not much elegance, but this was a hero whose victory over his critics was never in doubt.
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The Telegraph, 20 Oct
Antonio Pappano may have been conducting Panufnik for the first time, yet he seemed completely attuned to the score’s autumnal tone and he drew a performance of warm intensity.
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Bachtrack, 20 Oct
The outrageous over-the-top mock histrionics of Strauss’s Ein Heldenleben was given the Rolls Royce treatment by Pappano and the LSO.
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Classical Source, 20 Oct
‘The Hero’ had ardour and panache, archly undercut by the ‘Adversaries’ (its intricate textures finely delineated by LSO brass and woodwind), before leader Roman Simovic brought intransigence then consolation to the ‘Companion’ episode which almost managed not to outstay its welcome.
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Ravel/Bartók/Tchaikovsky – Sir Antonio Pappano/Janine Jansen

Thu 16 Oct 2014

Classical Source, 16 Oct
There was much to enjoy musically, though... the opening ‘Kingdom of Sweets’ scene (unexpected!) was rapturous, and later there was no lack of power, passion and colour; plenty of suave characterisation, too.
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Bachtrack, 16 Oct
The scherzo-like second movement suited Jansen perfectly, alternating between powerfully aggressive and slower, almost melancholic, sections. Though it wasn’t always pretty, her sheer passion and intensity impressed; certainly a powerhouse reading of one of the most demanding concertos in the repertoire.
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Dukas/Beethoven/Rimsky-Korsakov – Rafael Payare/Elisabeth Leonskaja

Thu 9 Oct 2014

The Times, 13 Oct
The fantasy tales were told with a long-sighted vision of what held them together. And this performance was a chance to be treated to the solo playing of the LSO’s leader, Gordan Nikolitch, and that of principal cello, Tim Hugh, too. Delicious clarinet and bassoon solos gurgled their way through Payare’s rolling seascapes.
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Bachtrack, 10 Oct
After a slightly shaky opening few bars, Payare brought out a taut performance, brimming with confidence and enjoyment.
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Classical Source, 9 Oct
...this was a fresh, respectful yet individual interpretation, thought-through and full of Eastern Promise, with the third-movement ‘The Young Prince and the Young Princess’ beautifully serene and eloquently turned.
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Mendelssohn/Schumann – Sir John Eliot Gardiner/Gautier Capuçon

Thu 2 Oct 2014

Classical Source, 3 Oct 
The fearsome power which Gardiner and the LSO wrought in the first movement’s development was carried over into the scherzo, instilling the latter with considerable vigour and weight, as though trying to make its apparent frivolity at one with the work at large.
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Prokofiev/Tchaikovsky – Valery Gergiev/Denis Matsuev

Tue 23 Sep 2014

The Observer, 28 Sep
The second concert, last Tuesday (also broadcast live on Radio 3), opened energetically with the LSO strings nimble and fearless in Prokofiev’s “Classical” Symphony No 1 – sounding easy, though in truth full of technical treachery.
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Sunday Times, 28 Sep
His formidable virtousity was called on, not so much in the name of diabolical ingenuity as of sheer splendour – cascades of shattering octaves, glorious armfuls of notes, a sizzling rhythmic display... It was fascinating to hear this work again. And the account of Prokofiev's mighty, somehow celebratory Fifth was outstanding in every way.
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Classical Source, 24 Sep
In the right music – as here – Gergiev and the LSO are well-nigh invincible. On this form the LSO has nothing to fear from any other orchestra.
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Tishchenko/Prokofiev/Shostakovich – Valery Gergiev/Denis Matsuev

Sun 21 Sep 2014

The Times, 23 Sep
From the grimacing chuckles of Rachel Gough's bassoon to Andrew Marriner's softly devastating clarinet, Gergiev harnessed the skill of his players and built up the churning textures to explosive heights.
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The Guardian, 22 Sep
Shostakovich’s Tenth Symphony threw the spotlight in turn on to a dozen outstanding solo players in the LSO’s wind and brass. Gergiev’s ability to pace and sustain the long climaxes in this composer’s symphonies remains exemplary, and the second movement went at a brutal, exhilarating gallop.
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The Telegraph, 22 Sep
All the ballast came at the end in the guise of Shostakovich’s Tenth, played with a mix of brooding intensity and blistering attack.
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Financial Times, 22 Sep
Matsuev was born with 10 hammers where other people have fingers and his performance of Prokofiev’s Piano Concerto No.3 caught him at his most virtuoso, fast, furious and percussive, forging industrial music at fever pitch.
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London Evening Standard, 22 Sep
Gergiev also gave us the real thing: Shostakovich’s Tenth Symphony, big, bold and blatant when it needed to be, but also exuding refined pungency.
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