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Post by julesd68 on Apr 9, 2024 23:49:28 GMT
Royal Festival Hall - 6 April 2024
Järvi Conducts Bruckner
London Philharmonic Orchestra Paavo Järvi conductor Leila Josefowicz violin
Stravinsky: Violin Concerto Bruckner: Symphony 7
This concert was truly a tale of two halves but not in the way you might expect.
Let's start with the main event, the Bruckner. What a glorious first movement! From those opening cellos the music was marked by a gorgeously lyrical flow that has an unmistakably spiritual dimension, lifting our gaze beyond the present. The flute solos so beautifully taken,, throughout the work and the standout performance for my ears. The main climax of the movement was just shattering, both in sheer volume and emotional impact as shivers ran through my body. I must say that throughout the work the climaxes never let up in intensity, propelled by a brass team including a superb quartet of Wagner tubas and underscored by the heft of eight double basses, almost taking me by surprise with their potency each time.
I wasn't as happy with the Adagio. I wonder if it was taken at too relaxed a tempo as for me it came across as needing editing; these clever variations on a three note motif began to outstay their welcome which is a shame when one takes into account the poignancy of Wagner's impending death that the movement circumnavigates. It didn't have quite the same luminosity as the previous Allegro, as a result of the imperfect flow and my mounting impatience.
I also struggled with the Scherzo somewhat. I certainly appreciated the light relief after the internal focus of the Adagio but there's just too much of the opening theme that seems to sway back and forth ad infinitum. However I really enjoyed the Finale, as varied and satisfying as it is with much more in the way of thematic twists, turns and unpredictability.
One thing I cannot criticise is the unfailing commitment of the orchestra who really seemed to be playing for their lives and revelling in the colossal dynamic swings of the work that often feature in no more than a few bars of music. They certainly deserved the extremely warm reception shown at the end of the concert and it was lovely to see them turn to acknowledge the applause from those of us in the choir.
Onto the Stravinsky VC. I can't really enjoy the first two movements. Yes they are clever, technical & playful but there's nothing that I can really latch onto, whilst appreciating the dexterity of the performance and so a certain irritation set in. Now the third movement gives the soloist their first real chance to show tone and poise and I was much taken by this. The finale is an exuberant exercise in outright virtuosity and Ms Josefowicz was utterly fearless in this regard. Indeed throughout the work she was muscular, forthright and powerful, never holding back for a second. I would be most interested to hear her play again in different repertoire. A clever VC, yes, but entirely satisfying, perhaps not.
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Post by MartinT on Apr 10, 2024 4:34:01 GMT
I'm glad the brass forces did the Bruckner 7 justice, it needs that. A wonderful symphony for its power and beams of light.
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Post by julesd68 on Apr 12, 2024 16:34:20 GMT
Jerwood Hall LSO St Luke's - 12 April 2024
Bertrand Chamayou - piano
Erik Satie - Gymnopédie No 1 John Cage - All Sides of the Small Stone (for Erik Satie) Erik Satie - Gnossienne Nos 1 to 3 John Cage - In a Landscape Erik Satie - Rêverie de l’enfance de Pantagruel Veritables Preludes flasques (pour un chien) Gymnopédie No 2 Le Bain de Mer Gnossienne Nos 4 to 6 Gymnopédie No 3 Gnossienne No 7 John Cage - Dream
The entirely estimable Mr Bertrand Chamayou introduced today's lunchtime concert by telling us that this was the first time he had performed Satie to a wide audience. Weren't we the lucky ones - this was a dream of a concert in every way. Indeed we were encouraged to enjoy it as a "meditation" with each piece effortlessly segued into the next. I spent much of the performance with my eyes closed and mind as blank as possible, just allowing the music to gently pour over me. Fifty minutes passed as if in a dream ....
Of course the Satie is very familiar but such a pleasure to hear it performed live and in a smallish venue, sitting close to the Steinway. Not much needs to be said about the performance. Chamayou + French rep = max musical satisfaction. His touch, timing and dynamics are all truly glorious, but I knew that already. Indeed the real discovery here is the John Cage material which was written in response to Satie. I found them to be profoundly enigmatic, contemplative and intriguing; I encourage you to explore further, so here's the new album, Letter(s) to Erik Satie in which you can hear much of the concert programme itself.
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Post by MartinT on Apr 12, 2024 17:49:30 GMT
You lucky bugger, all that gorgeous Satie played live.
One day...
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Post by julesd68 on Apr 21, 2024 17:43:14 GMT
Jacksons Lane, London - 21 Apr 2024
The Fairy Queen - Henry Purcell
HGOAntiqua Orchestra led by Seb Gillot HGO director Eloise Lally
This was one of the most extraordinary performances I have seen in my 55 years. The singing was eternally joyous whilst the production was endlessly inventive; I only hope I can do justice to the evening in this short review.
Jacksons Lane is a modestly sized Arts Centre just 10 minutes walk from my home in Highgate, North London. The small theatre brings great intimacy to the experience and the acoustic is surprisingly good. Imagine if you will a stage with a 12 person Baroque orchestra seated at the back led from the harpsichord. The premise of the production is set in a contemporary photographer's studio where she has an enchanted vision of classical Athens, in which she encounters a host of Ancient gods and mortals over the five acts.
The background of HGO is to give an opportunity to up and coming talent; we were handsomely rewarded in this regard. I would be quite amazed had we not heard some stars of the future here and I can only wish these fine young people all the very best in their future careers. The opera was splendid entertainment from start to finish with Purcell's ravishingly exquisite music but if I had to pick one moment it would be the musical exchange between a soprano and baroque oboist who took to the stage to move around the soprano, almost as if she were a snake charmer. The poise and tone of both voice and instrument was quite riveting.
The production was so cleverly interactive for the performers themselves in the way that they do so much more than just stand there singing. They have to navigate multiple on-stage costume changes and seamlessly rearranging the studio set as the orchestra plays the overtures. They even sometimes handle the photographic lighting! It's all handled so humorously and with such a deft and light touch ...
The choreography was remarkably assuredly handled considering the numbers involved on this small stage, with a fine sense of artistic harmony and momentum. A feast for the eyes. Humour was also a such strong feature of the evening, as was a sense of gender fluidity which was handled so naturally. There was even occasionally a dose of good old fashioned camp humour. We even somehow got a rendition of "YMCA" near the end of the opera and it just worked, with the crowd responding in great spirit. How often do you hear this tune with a baroque orchestra? But make no mistake, these are serious performers and it would not surprise me if a handful of singers make it to the stages of Glyndebourne and further afield ...
The final bow was welcomed with raucous applause and I took the short walk home with a spring in my step thanks to this profoundly rewarding experience which I will not forget. It goes without saying that I will be following HGO closely from now on.
hgo.org.uk jacksonslane.org.uk/
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