Violin and music

Violin and music

September 2013

Britten/Prokofiev/Shostakovich - Gianandrea Noseda/Nikolai Lugansky

Sun 29 Sep 2013, Barbican

Bachtrack, 3 Oct 2013
Once again, Noseda’s pointed energy and the LSO’s responsive playing made for a spectacular performance: from the pained mourning of the Lacrymosa to the thunderous terror of Dies irae and the serenity of Requiem aeternam, the score’s nuances were brought out with precision, emotions fully realised.
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Good Morning Britten
Noseda conducted at a daringly fast pace, his feet leaving the ground on occasion, but the orchestra stayed fully in check with stunning clarity as the dance collapsed around us.
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Seen and Heard, 1 Oct 2013
The London Symphony gave great performances this evening, the orchestra sounding distinctive, unified, and bringing vitality and insight to every phrase.
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The Guardian, 30 Sep 2013
In a work that resembles a virtuoso obstacle course, he was technically dazzling, every note clear and even. And there was constant depth underpinning it all; no passage was so driven that Lugansky could not find time for a tiny but meaningful nuance whenever Prokofiev's music arched an eyebrow or, more rarely, stifled a sob. The players of the LSO gave characterful support, energised not only by their soloist but by the dynamism of Gianandrea Noseda's conducting.
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Classical Source, 30 Sep 2013
As ever, Noseda gave his all, lived every note, and the LSO responded in kind.
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Strauss/Mahler - Thomas Dausgaard/Barry Douglas

Wed 25 Sep 2013, Barbican

Seen and Heard, 27 Sep 2013
An outstanding debut from Dausgaard and fabulous playing from the LSO.
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One Stop Arts, 25 Sep 2013
Thomas Dausgaard seemed content to let the LSO emerge as the true stars this evening, conducting a conventionally-minded account which thrilled primarily because of the sheer brilliance of the orchestral performance.
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Bachtrack, 27 Sep 2013
With the assured Thomas Dausgaard leading the way in this furious, huge march, the band amply showed its Mahler chops with some scintillating orchestral sounds.
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Classical Source, 28 Sep 2013
The LSO covered itself in glory throughout with superb playing: the brass deserves special mention.
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The Times, 27 Sep 2013
From the very first bars, we could feel the electric charge: the players’ ready response to Dausgaard’s fearless start in the eye of the storm, and the conductor’s own thrill at having such resources at his command.
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Mozart/Kaner/Dvorák - Robin Ticciati/Mitsuko Uchida

Thu 19 Sep 2013, Barbican

Bachtrack, 24 Sep 2013
The playful interaction between orchestra and soloist was beautifully managed, with the melodic fragments seamlessly passing from the piano to solo wind and back again. The thunderous applause for both orchestra and conductor was well deserved.
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The Arts Desk, 19 Sep 2013
Ticciati delighted in the fire, the free sweep of the first movement’s lyrical respite and the flow of the cellos’ bittersweet Dumka melody in the Andante con moto, the wood magic of twilight-zone string rustlings.
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Edward Seckerson, 20 Sep 2013
There was much to relish here, not least the lovely cello-led serenade of the Andante con moto which, with typical Dvorak effortlessness, eventually gets passed to the wind with the cellos embellishing. Even at its most “serious” this music puts a smile on your face. And what about that surge of Czech nationalism in the fiery finale where the strenuous attack of cellos and basses indicated just how naturally the robustness of this music comes to this orchestra.
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Classical Source, 20 Sep 2013
The LSO in knockout form...Uchida captured as-one the music’s simplicity and complexity; perhaps most importantly, this singular tribute was something that we could all be involved in, once again remembering a much-missed musician.
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The Times, 23 Sep 2013
Ticciati played his part, weighting the orchestra’s textures and colours with a skill probably heightened after his years with the Scottish Chamber Orchestra. Woodwind solos, one of Mozart’s joys, lay neatly embedded; everything basked in light and air.
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Financial Times, 22 Sep 2013
There was not a gesture or decoration wasted, nor any lack of nimble wit in the finale’s variations, where Robin Ticciati’s warm-hearted conducting was like a chip off the old block (Davis having been one of his mentors).
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Evening Standard, 20 Sep 2013
Without ever sounding mannered, [Uchida] gave the music time and space, and under Ticciati the orchestra sounded lighter on its feet than it might have done under Davis.
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The Independent, 20 Sep 2013
Listening from the heavens, that conductor must have been well-pleased with [Uchida's] delicately-shaded account, in which a gamut of conflicting passions was woven into one serene stream of melody.
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The Arts Desk, 20 Sep 2013
The bittersweet second theme, with its keenings making a happy outcome uncertain, was ineffable from both orchestra and then soloist, strings shading their support chords with just as much care as they had the theme itself.
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Daily Telegraph, 20 Sep 2013
Kaner’s handling of the orchestra is accomplished from the start, and as the work progresses he stamps an imaginative mark, too: the second half develops quite sensuously as long and sinuous lines emerge from underneath the filigree.
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The Guardian, 20 Sep 2013
It was an eloquent tribute, the opening melody pensively questioning, its continuation melancholy but not remotely sentimental. Uchida was superb, as ever; somehow, it is when she is at her most introspective that she speaks to her audience most clearly.
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Classical Source, 20 Sep 2013
If the LSO plans another Panufnik Legacies CD (please!), then [Kaner's] The Calligrapher’s Manuscript, which is exhilarating and haunting, should certainly be included. This impressive piece received an excellent first performance.
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Edward Seckerson, 20 Sep 2013
The atmosphere as ever was potently theatrical with our ears hanging on to every turn of phrase, and come the finale where Mozart, the showman, brandishes his variational skills with astonishing aplomb [Uchida] and the LSO woodwinds were the tightest and most characterful of ensembles.
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Verdi Rigoletto - Gianandrea Noseda et al

Sun 15 Sep 2013, Barbican

Sunday Times, 22 Sep 2013
the London Symphony Chorus and the soloists — all three principals new to the cast —  seemed fired by Gianandrea Noseda’s electrifying conducting, which banished any hint of routine from an opera that rarely fares as well as this in the theatre.
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Bachtrack, 16 Sep 13
The practice the orchestra had had in the summer stood them in good stead, and it was a thrilling introduction to the season...Gianandrea Noseda must be one of the most dynamic and energetic conductors I have seen in recent times.
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The Guardian, 17 Sep 2013
In his element in Verdi, Noseda powered his way through the score with a combination of high-voltage intensity and fierce insight.
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The Times, 17 Sep 2013
Saimur Pirgu’s Duke of Mantua was playboy-playful and the Albanian tenor tossed off his arias with dash and swagger to spare. As Rigoletto, Dimitri Platanias boasts what seem like limitless stocks of baritonal power. The Greek singer won terrific ovations.
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Seen and Heard International, 16 Sep 2013
A concert performance of Rigoletto that was possibly the best of this type of evening I have ever been at...It was left mainly to just the voices and the excellence of the musicians to bring this Verdi alive and it all worked splendidly…memorably.What a perfect tribute to Verdi – and an equally impressive start to the LSO’s new season!
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Opera Britannia, 16 Sep 2013
What a bracing season opener it made under conductor Gianandrea Noseda! If it’s subtlety and nuance you want in your Verdi, best look away now, for this was fast, furious, frothy and frenetic.
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The Arts Desk, 15 Sep 2013
The LSO took this opportunity to act out its part in the clash of cymbals, the moan of the oboe, the skip of the first fiddles. From the first dread chords of the brass, the sun-baked, storm-lashed streets of 16th-century Mantua were colourfully summoned.
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Classical Source, 16 Sep 2013
Purely from the orchestral point of view, the results were sensational – from the doom-laden Prelude onwards, Noseda’s grip on the harsh, Mediterranean contrasts of light and shadow was complete, with the brilliant, sometimes brutal brass playing (underpinned by a baleful cimbasso) like a secular ‘Tuba mirum’ and the LSO strings delivering surface and depth that couldn’t have sounded more Italian.
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Whatsonstage.com, 16 Sep 2013
From start to finish Noseda and the orchestra illuminated every aspect of this marvellous score. The LSO clearly love working with him and they performed at white hot intensity throughout, culminating in the most exciting storm scene of my experience.
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James Mallinson: Producing LSO Live

James Mallinson has been producing LSO Live recordings for 14 years. He gives us a little glimpse at what it takes to capture live concerts at the Barbican and turn them into CDs and downloads


 

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