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New Moon is nothing if not an international advertisement for the hungry virtues of virginity and young people can’t get enough of it
The Twilight Saga: New Moon
Theatre
A smart, prickly and rewarding view of sexual and emotional confusion
Cock
Restaurants
Kitchen W8 is a bargain for this area, if such sophistication is what you crave
Kitchen W8
Too long and drawn out but very entertaining with excellent special effects
This is a peculiar play and does not work for me. Some of it is very funny but there are real flaws
Alex has a strong powerful voice and was faultless, she is far better now than she was on the X-Factor
London,
Barry Millington's rating
Reader rating
Description: The Dutch ensemble presents three popular pieces, Mozart's Symphony No 35 In D, Beethoven's Symphony No 7 In A, Op 92 and Debussy's La Mer.
Phone: 0845120 7500
Website: www.barbican.org.uk
Email: info@barbican.org.uk
Trains: Tube/BR: Moorgate/Barbican 
Opening hours: Mon-Sat 9am-8pm, Sun 11am-8pm
Extra info: Pub, Food, Parking
The weekend visit of the Royal Concertgebouw Orchestra came hard on the heels of the welcome announcement that the Amsterdam-based ensemble would be spending more time at the Barbican in occasional residencies.
It is always an instructive pleasure to hear this world-class orchestra, with its perfectly blended brass and wind — not to mention the richly endowed strings.
In the second of their two concerts under Bernard Haitink they offered the magnificent torso of Bruckner’s Ninth Symphony, prefaced by Schumann’s Piano Concerto. The soloist for the latter was an artist who can be relied on to bring a musical quality as immaculate as that of the Concertgebouw: Murray Perahia.
Haitink’s Bruckner is very much a known quantity, carving great edifices of sound out of solid blocks. The cliché that Bruckner’s symphonies are like vast cathedrals is never truer than when Haitink is in charge.
If the first two movements provided the bricks and mortar and the overarching structure, the Adagio finale flooded the space with light and provided the spiritual dimension. Velvet-toned, superbly controlled brass, not least the normally intractable Wagner tubas, made their invaluable contribution.
It’s not the only way to do Bruckner, but Haitink, in being true to himself, is irrefutably persuasive. As the imposing architecture takes shape in response to his unerring baton, one is inclined to think: this is how it should be.
That, after all, is the mark of an outstanding performance. Let us hope the residencies bring us many more.
Details are correct at the time of publication - please check with venue before booking.
