Review: Program 3 (London Symphony Orchestra)
Three's a charm as Gergiev and the London Symphony Orchestra score a Sydney hat-trick.
Three's a charm as Gergiev and the London Symphony Orchestra score a Sydney hat-trick.
Romance and sheer murder rub shoulders in a searing Russian program.
Chemistry between Gergiev and LSO on display in Prokofiev masterpiece. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Period Schubert's the next step in Richard Gill's new musical revolution.
A slow start with Brahms gives way to Elgar’s emotional riches. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Russian violinist Alina Ibragimova gives an astounding performance of Sibelius. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
We ask the winner of this year’s ABC Young Performers Award about her musical start in life.
Last year’s celebration of Australia’s musical elite diaspora, the Australian World Orchestra, (plus a few resident players) featured Zubin Mehta on the podium. I’ve always regarded Mehta as a superb “technician” but, apart from a wunderkind debut Bruckner Ninth, while still in his twenties with the Vienna Philharmonic, I’ve never found his interpretations particularly engaging. However, my reactions to this two CD set of the occasion has somewhat changed my thinking. Their performance of Stravinsky’s The Rite of Spring, in its centenary year, is very fine- without challenging Doráti’s, Bernstein’s first New York version or Igor Markevich’s old Philharmonia (stereo) version where the orchestral shriek at the opening of the second section is truly blood curdling. I don’t think I’ve ever heard the treacherous opening bassoon passage so beautifully shaped. The woodwind is also beautifully captured throughout. Mehta’s tempi are steady rather than headlong. The performance of Mahler’s First Symphony was a treat. Mehta included the discarded Blumine (“Flowers’) movement ( as he did in his Israel Philharmonic recording in the late eighties) although Mahler was probably right to remove it, as it sounds genuinely, as distinct from faux, naïve. The string playing was of a caliber we seldom hear…
A marathon effort of Mahler’s challenging Resurrection Symphony. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Anthony Marwood and George Enescu co-star in an exquisitely conceived program.
Australia’s favourite conductor shares his seasons greetings.
The French pianist talks about life, music and why Debussy used to make him cry.
Kathryn McDowell tells Limelight what it's like to be the LSO's woman behind Valery Gergiev.