Morning:
13°c
London faces a wave of bus and Tube strikes that could cause chaos for millions of passengers as unions walkout over pay and conditions
More...
An awesome and ridiculous film that leaves you thrilled beyond the point of your natural endurance
2012
Theatre
The show has suddenly become quite wonderful, and the galvanising factor is the terrific stage debut of Melanie C
Blood Brothers
Music
The British pop music industry may be eating itself but if Muse are the pick of what it can offer the world in 2010 then British music is in rude health indeed
Muse
I was smitten by both Gilberts enormous luxuriant moustache and the intelligence and nuance of this highly entertaining play
I totally recommend Babbo to anyone who is looking for really good and traditional Italian food
Always been a fan but never seen them live. I was ecstatic to be part of this epic event. WOW!
London,
Barry Millington's rating
Reader rating
Description: Music by Rossini, Mendelssohn and Dvorak, conducted by Gustavo Dudamel and featuring young Dutch violinist Janine Jansen.
Young lion: Gustavo Dudamel has an inspirational approach to classics
Gustavo Dudamel is the young lion who shot to worldwide fame on his appearance with the Simón Bolívar Youth Orchestra of Venezuela at the Proms last year. Piotr Anderszewski has long established a reputation for his dazzlingly inspirational approach to the classics.
The pairing of Dudamel and Anderszewski in Brahms’s Piano Concerto No 1 in D minor therefore offered the tantalising prospect of one musical genius striking sparks off another.
Initiating the performance with a particularly arresting drum-roll, Dudamel set the scene with a heroic and, well, leonine delivery of the first movement’s introductory material. What made the reading special, however, was the rapt, poetic quality elicited from the more introspective music that happens to play an equally dominant role in the unfolding of the movement.
Both conductor and soloist have the ability to generate mystery and awe. Anderszewski especially gives the impression of making music on the wing, and the improvisatory nature of his playing was exploited to excellent effect, too, in his encore: the Sarabande of Bach’s First Partita, which he ornamented with rhapsodic liberality.
Dudamel and Anderszewski complemented each other tonally also, the Venezuelan’s warm, sensual phrasing providing an ideal backdrop for the Pole’s crystalline virtuosity.
In Shostakovich’s Fifth Symphony Dudamel galvanised the Philharmonia into a high-octane performance such as he might have drawn from his own young compatriots.
If the icy emotional landscape of the Largo plumbed the depths of despair, the outer movements had an edge-of-precipice feel with just the right touch of desperation.
Nor was it only the players who were susceptible to the blistering intensity of the finale: the surge of adrenaline in the stalls was palpable. Within seconds of the last great timpani thwack, the entire audience was on its feet. You don’t see that every day at the Festival Hall.
Details are correct at the time of publication - please check with venue before booking.
[ 1 ] [ 2 ]
This was one of the best concerts I have ever attended. The Shostakovich was unbelievable; I'd never heard this symphony performed with such heartbreaking power and poise - it was a complete revelation. It took my breath away. Absolutely stunning. Only someone with no soul could have failed to have been moved. That the same orchestra conjured up such force and violence, but also such chilling stillness - well, it left me speechless. As for the Brahms, Anderszewski's performance moved me to tears. Memories of this concert will stay with me for a very long time.
- Ian Jones, Finchley
