Review: Reflections on Gallipoli (Australian Chamber Orchestra)
An unflinchingly truthful, but nonetheless moving commemoration of the ANZAC centenary.
An unflinchingly truthful, but nonetheless moving commemoration of the ANZAC centenary.
Tawadros brothers help Tognetti re-vision Vivaldi in fine style.
Johnny Greenwood’s a standout amongst an evening of mixed Beethovian pleasures. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
The Radiohead guitarist and composer Jonny Greenwood talks Messiaen, desert islands and dixieland.
Tequila disguised as a slice of lemon; musicians in cages; Bach in the dark. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Vivaldi bookends next year's season but there's a great deal more in between.
Tognetti and co offer a bold and confident delivery of an ambitious program.
The 1714 Guarneri instrument will be debuted by ACO violinist Rebecca Chan this month. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Italian cellist plays, dances and sings while taking us (and his instrument) on a whistle-stop tour.
I found this CD puzzling, but a friend described it as a “marquee” issue – a showcase for the Australian Chamber Orchestra and director, Richard Tognetti. The main courses are the first movement of Beethoven’s Violin Concerto and the first movement of Brahms’ First Symphony. The rest of the program is a Bach violin concerto and two other short excerpts. I’m at a loss to understand why anyone would want to hear just the first movement of the Beethoven or the Brahms. Surely it would have made more sense to issue a double CD featuring both in their entirety. Tognetti’s way with the concerto is admirable. Without sounding rushed, he keeps it moving while retaining the monumental grandeur. His is an unfailingly sweet-toned reading with plenty of animation. The Brahms is similarly flowing, eschewing the granitic approach of Klemperer and Furtwängler. I recently saw Tognetti’s Brahms Fourth. His conducting gestures were infrequent, but the results were stunning: the ACO’s ensemble was tight and the heft of just 48 players was amazing. This is not quite as impressive but I’d still like to hear the entire performance as the textures are admirably lucid with just the right quotient of bounce or schwung…
The ACO’s Richard Tognetti’s in the Limelight hot-seat for a special December issue. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
The great English cellist returns to Sydney to perform with passion and showmanship. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
The cellist waited 40 years to record the most beloved concerto. Limelight visited his London home to see what kept him.