The audience was left in no doubt that this partnership of the LSO and Simon Rattle has much to offer audiences in future.
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What a worthy tribute this was to Bernstein. It was a pleasure to be in the company of such a talented ensemble of singers and musicians.
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The London Symphony Chorus sang with rich character, and throughout the evening the LSO played with the artistry and virtuosity that we now take for granted.
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Distinctive voices within the LSO included Liz Burley as jazz pianist, Philip Cobb taking to the sassy trumpet style ... and saxophonist Howard McGill … It all added up to a zinging tribute on the 100th anniversary of Bernstein’s birth
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Rattle and the LSO created a jewel box of glinting wind solos on a velvet string cushion. Ravel’s magic box of miniatures should not work in a gigantic hall like this, but it did.
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Rattle and his orchestra cast a wonderfully bracing musical spell — just acidic enough to temper the material’s sweetness.
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No such problems for Simon Rattle and the London Symphony Orchestra, who produced subtle, beautiful and utterly beguiling sounds in their all-Ravel Prom.
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Rattle and Zimerman work together with the orchestra to create the finest nuances and set the multi-faceted piece under high tension.
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The LSO played all three works exquisitely, with all the shifts in colour immaculately teased out.
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Atrás, en un pasado ya insondable, quedaba un Andante inicial expuesto en todas sus contradicciones, sombras e incertidumbres, borrados por el posterior devenir de la composición y por la magnética energía de un maestro tan intenso y preciso como Simon Rattle. Gracias, maestro, por semejante Novena, y gracias al Festival de Santander por un programa que, como este, marca la diferencia en un contexto sin apenas diferencias.
[Translation] Back, in an already unfathomable past, there was an initial Andante exposed in all its contradictions, shadows and uncertainties, erased by the subsequent evolution of the composition and by the magnetic energy of a master as intense and precise as Simon Rattle. Thank you, teacher, for such a Novena, and thanks to the Santander Festival for a program that, like this one, makes a difference in a context with hardly any differences.
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El impetuoso arranque de la primera danza, a modo de straussiano galop, fue trazado a la perfección por la orquesta, la cual exhibió un sonido brillante y pleno de carácter, pero al mismo tiempo dio una lección de ductilidad en un trío repleto de incontables sutilezas.
[Translation] The impetuous start of the first dance, in the style of a Straussian galop, it was drawn to perfection by the orchestra, which exhibited a brilliant sound and full of character, but at the same time it gave a lesson of ductility in a trio full of countless subtleties.
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To tell these musical tales well is to take them absolutely seriously; to tell them best, as Simon Rattle and the London Symphony Orchestra did here in their all-Ravel Prom, is to persuade your audience to do the same.
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The rendering of Mother Goose (like Monteux, Rattle opted for the complete ballet version rather than the more usual five-movement Suite) was magnificent in its way, luminous and unhurried, packed with gorgeous solos and well-scrubbed textures
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