A starburst of musical colour for the new year. Debussy’s Prélude à l’après-midi d’un faune opened new worlds of sonic sensuality, while Lutoslawski’s Concerto for Orchestra launched dazzling sonic fireworks into the grey skies of postwar Poland. The LSO and conductor Alexandre Bloch present the two masterpieces to bookend a performance by pianist Alice Sara Ott – a regular guest of this orchestra, and a firm favourite of the Barbican audience. She plays the sunlit, jazz-flavoured G major Concerto by Maurice Ravel – and the concert ends with Ravel, too: his unforgettable evocation of a world dancing on the edge, La Valse. Music to thrill the ears and intoxicate the spirit. PROGRAM Debussy: Prélude à l’après-midi d’un faune; Ravel: Piano Concerto in G, La valse; Lutoslawski: Concerto for Orchestra
LSO: Gianandrea Noseda & Seong-Jin Cho
Korean pianist Seong-Jin Cho and the music of Frederic Chopin – could there be a more instinctive pairing? Well, Cho has developed a special rapport with the London Symphony Orchestra, and his previous performances with the LSO’s principal guest conductor Gianandrea Noseda have been received with little short of rapture. Tonight, they rekindle the flame in Chopin’s impassioned Second Concerto; the luminous centrepiece of a concert that opens with Stravinsky’s colourful tribute to Tchaikovsky and ends with the high romance and epic adventure of Borodin’s Second Symphony – music close to the heart of the St Petersburg-trained Noseda. PROGRAM Stravinsky: Divertimento from ‘The Fairy’s Kiss’; Chopin: Piano Concerto No 2; Borodin: Symphony No 2
LSO: Pappano conducts Tchaikovsky and Vaughan Williams
Led by its superb chief conductor Sir Antonio Pappano, the London Symphony Orchestra invites a trio of soloists – violist Antoine Tamestit, soprano Julia Sitkovetsky, and bass-baritone Ashley Riches – to join them in an emotional and original program that pairs Tchaikovsky’s sweeping Romanticism with Vaughan Williams’s pastoral grandeur. Opening the program is the Tchaikovsky’s Fourth Symphony. Two unjustly lesser-heard works by Vaughan Williams follow: first, Tamestit takes the solo role in Flos Campi, inspired by the Song of Solomon and written for the unusual combination of viola, small orchestra, and wordless chorus. Finally, Sitkovetsky, Riches, and the London Symphony Chorus perform the impassioned Dona nobis pacem, a fervent call for peace by a composer who had witnessed the senselessness of violence firsthand as a stretcher bearer in World War I and despaired to see the clouds of war gather anew in 1936. PROGRAM Tchaikovsky: Symphony No 4; Vaughan Williams: Flos Campi, Dona nobis pacem
Orphée et Eurydice
The most enduringly popular opera by German composer Christoph Willibald Gluck, Orphée et Eurydice recounts the famous myth of Orpheus, the legendary Greek musician and poet who is grief-stricken over the untimely death of his wife, Eurydice. Staged by acclaimed director-choreographer John Neumeier and produced in collaboration with The Joffrey Ballet, Lyric Opera of Chicago’s new co-production with Los Angeles Opera and Staatsoper Hamburg seamlessly melds opera and dance. Lyric’s production stars Tenor Dmitry Korchak as Orphée with Sopranos Andriana Chuchman as Eurydice and Lauren Snouffer as Amour. The Chicago Tribune deemed the production “triumphant” and “miraculously fresh and alive.” The production features Gluck’s reworking of the original German opera into a French-language production featuring ballet.
Bayreuth Festival 2017: Die Meistersinger von Nürnberg
The high-point of the 2017 Bayreuth Festival, Barrie Kosky’s “astonishingly entertaining and convincing” (Der Spiegel) new Meistersinger is “a triumph” (Berliner Morgenpost): “a production of enormous insight and great quality … that plumbs the depths of both the opera and its composer” (Opera News). The “exquisite cast” (Die Zeit) is headed by Michael Volle’s “eloquent” Hans Sachs (The New York Times). “Philippe Jordan’s supple conducting is moulded around Kosky’s staging… and the Bayreuth Orchestra and Chorus are superb” (The Guardian).
Bayreuth Festival 2018: Lohengrin
From the 2018 Bayreuth Festival, the acclaimed new production by American director Yuval Sharon, “one of the most interesting arrivals on the musical landscape” (Opernwelt). The New York Times praised “the outstanding Piotr Beczala” as Lohengrin, “Anja Harteros [making] her impressive Bayreuth debut” as Elsa, and Ortrud “played with dominant presence by the incomparable Waltraud Meier”. The distinguished artists Neo Rauch and Rosa Loy created “breathtaking visuals”, and the whole performance was guided with “enthralling musicality” by conductor Christian Thielemann.
Cinderella
The entire classical world looks to this young lady – because what she creates is not only of the highest quality always, but also of supra-regional importance. And at just 13 years of age. We’re talking of Alma Deutscher, of course. The British composer, violinist and pianist can already look back on a proud list of works, but she finally composed her first opera “Cinderella”. Thunderous applause and standing ovations were the result of the sold-out performances at the Opera San José. Anyone expecting a work full of childhood fantasies from a child who writes opera will actually be a little disappointed – or rather rewarded with the surprising opposite. Alma Deutscher is often compared to the prodigy Mozart. A flattering comparison, of course. “She would rather be the first Alma than the second Mozart” (Scott Pelley for CBS News). Alma Deutscher’s opera is full of depth, variety and multifaceted richness, as only a young, highly talented girl’s equally experienced, yet equally unbiased view of the fairy tale and the world might allow.
LSO: Harding conducts Dvorak and Widmann
Voices of nature and fabulous tales: Daniel Harding and viola player Antoine Tamestit explore the imaginary realms of Jörg Widmann and Antonin Dvorák. With the music of Antonín Dvorák, there’s always something unexpected going on beneath the gloriously tuneful surface. A gothic Czech folk-tale takes on a truly universal resonance; and an open-hearted celebration of the Bohemian countryside blossoms into something rapturous, in colors reminiscent of Strauss or Mahler. And since Dvorák was a viola player, what better way to set the mood than with the Viola Concerto by Jörg Widmann – the 21st century’s most playful (and inventive) descendant of that great Romantic tradition? ‘Even with the viola’s C-string alone, you can tell stories unimaginable on any other string instrument’, he says, and he wrote this piece, especially for Antoine Tamestit. Music that dreams and then dazzles, performed by artists who just love the sound it makes. Program: Widmann: Viola Concerto; Dvorák: In der Natur, The Golden Spinning Wheel
LSO: Rattle conducts Brahms and Shostakovich
It begins with the engines of industry: mechanical marches, pounding brass. An uneasy second movement, and then a nightmarish vision of life in Stalin’s Russia explodes in a frenzied succession of dance themes. Shostakovich withdrew his Fourth Symphony before its first performance, after hints that he was treading a fine line with the Soviet authorities. It shines on as an extraordinary vision of thwarted humanity. Brahms wrote his Violin Concerto with, and for, his friend, the virtuosic Hungarian musician Joseph Joachim, and its foot-stomping finale honours Joachim’s heritage. PROGRAM Brahms: Violin Concerto; Shostakovich: Symphony No. 4
LSO: Pappano conducts Boulanger, Barber & Rachmaninoff
The sun comes out in Lili Boulanger’s lively tone poem, and lyrical feelings bloom in music by Samuel Barber and Serge Rachmaninoff. D’un matin de printemps is one of the few glimpses we have of Lili Boulanger’s compositional genius, a sparkling miniature that leaves a lasting impression of spring. The emotional sincerity of Samuel Barber’s lyrical Violin Concerto cuts to the heart, its nervy third movement building up to a burst of feeling. And passion reigns in Rachmaninoff’s opulent Second Symphony. Its third movement contains some of the most beautiful music he ever wrote. PROGRAM Boulanger: D’un Matin de printemps; Barber: Violin Concerto; Rachmaninoff: Symphony No. 2