Beauty of sound dilutes the passion in Welser-Möst and the Vienna Philharmonic's Tchaikovsky

Franz Welser-Möst
© BBC/Chris Christodoulou

Vienna Philharmonic

Franz Welser-Möst (conductor)

BBC Proms
7.30pm, Sunday 31 August, 2025
Royal Albert Hall, London

★★★

Mozart, Wolfgang Amadeus (1756-1791): Symphony No. 38 in D major, K504 'Prague'

Tchaikovsky, Pyotr Ilyich (1840-1893): Symphony No. 6 in B minor, Op. 74 'Pathétique'

The Vienna Philharmonic at the BBC Proms
© BBC/Chris Christodoulou

'It almost goes without saying that the Vienna Philharmonic sounded exquisite at all times, the orchestra never knowingly emitting anything uneasy on the ear'.

Mozart:

'Welser-Möst was the epitome of restrained poise, with razor-sharp ensemble from the offbeat violins, before they fizzed in the Allegro'.

'Despite impressive agility from the woodwinds ... and skittering violins, there was not much to get the heart racing here'.

Tchaikovsky:

'Welser-Möst kept a lid on things until build to the climax, with violins and woodwinds swirling into the tutti march, one of the evening’s first truly spectacular moments'.

'At least a handful of grit in the mix would have better captured the symphony’s “Pathétique” essence'.

Read my full review on Bachtrack here.

Bampton Classical Opera have fun with Salieri at The Barn, Old Walland

Siân Dicker (Mirandolina) & Samuel Pantcheff (Fabrizio)
© Bampton Classical Opera

Andrew Griffiths (Conductor)
Jeremy Gray (Director/Designer)
Harriet Cameron (Assistant Director)
Karen Halliday (Movement Director)

Pauline Smith, Anne Baldwin (Costumes)

Ian Chandler (Lighting)

Alex Norton (Répétiteur)

Siân Dicker (Mirandolina)

Samuel Pantcheff (Fabrizio)

Rosalind Dobson (Lena)

Osian Wyn Bowen (The Baron Ripafratta)

David Horton (The Count of Albafiorita)

Aidan Edwards (The Marquis of Folimpopoli)

The Orchestra of Bampton Classical Opera

Bampton Classical Opera

6.00pm, Saturday 6 September, 2025

The Barn at Old Walland, Wadhurst

★★★★

Antonio Salieri (1750-1825): La locandíera (The Landlady)

(libretto by Domenico Poggi () after Carlo Goldoni (1707-1793), translated by Gilly French and Jeremy Gray) 

arr. Giorgio Croci, by arrangement with Casa Musicale Sonzogno di Piero Ostali

Osian Wyn Bowen (Baron Ripafratta) & Siân Dicker (Mirandolina)
© Bampton Classical Opera

My third visit now to Bampton Classical Opera in the beautiful setting of The Barn at Old Walland, deep in the High Weald, was once again a delight. On a lovely late summer evening, BCO brought their joyous production of a hitherto unknown (to me) jolly romp by Salieri, La locandiera (The Landlady), having given three other performances at Bampton and Westonbirt, with one more to come at Smith Hall, London on 16 September.

In the 200^th anniversary year of Salieri’s death, it is a good point to be reassessing a composer who was remarkably successful and popular in his lifetime, yet pretty universally neglected thereafter. Pushkin’s play Mozart and Salieri and of course, Peter Shaffer’s play Amadeus and its film version, did a great deal to embed the myth of Salieri’s jealousy and even murderous conspiracy to bring down his young rival, despite there being no real evidence for this. And despite Salieri’s subsequent reputation for being more pedestrian than the younger ‘genius’, it’s interesting to note that in La locandiera, Salieri is exploring the somewhat revolutionary territory of servants getting one over on the noblemen that Mozart’s Le nozze di Figaro is credited with, some thirteen years earlier than his rival.

 

So in La locandiera, we have the strong female lead, landlady Mirandolina, getting one over on not just one but three noblemen. The Count and the Marquis are straightforward suitors, whilst the Baron claims to eschew all women, immediately riling Mirandolina with his misogynistic behaviour and demands. Mirandolina resolves to trick him by winning him over, before ultimately unmasking him as a fool. Understandably this confuses her servant Fabrizio, who is in love with her, and he becomes enraged as she turns her charms on the Baron. After three acts of shenanigans, all is resolved, and Mirandolina chooses Fabrizio over the three supposedly ‘better prospects’. Now of course the behaviour of the male characters is made fun of, and ultimately they are defeated – but there still a sense that their unwanted approaches, bordering on harassment, are just a bit of fun. And despite her strength and rejection of their misogyny, Mirandolina still ends up with Fabrizio, who has exhibited several outbursts of red-flag jealousy. But putting these twenty-first century qualms to one side, it is still the women that come out clearly on top at the end, with even the maidservant Lena getting a final opportunity to take charge of her fate. 

 

David Horton (Count) & Aidan Edwards (Marquis)
© Bampton Classical Opera

Gilly French and Jeremy Gray, BCO’s artistic directors, provided the translated libretto, and it was full of their playful humour that I’ve seen in previous productions here. Lots of great rhymes (custard/flustered, behaviour/gave ya, bile/style – not quite sure about chicken/kick-in though…) support the humour, and memorable lines emphasise the subversion. The Baron likes ‘her forthright manner’, which ‘disturbs the status quo’, and Mirandolina is given the strong statement ‘I’m a woman and women are tough’.

 

Siân Dicker excelled as the feisty Mirandolina, her powerful voice suiting the larger-than-life character, filling the small space. Yet Mirandolina isn’t one dimensional, and in her Act 2 aria, when she repeats that phrase ‘I’m a woman and women are tough’, Dicker shifted between angry confidence and moments of self-doubt, as Salieri’s music also shifts into darker harmonies. Samuel Pantcheff’s Fabrizio was also multi-dimensional, portraying well confusion and jealousy at Mirandolina’s actions, as well as genuine warmth and affection, and Pantcheff & Dicker’s final love duet was touchingly beautiful. Pantcheff also had great fun with the sight gag of delivering ever more ridiculous eggs for the Baron in Act 1.

 

Osian Wyn Bowen’s Baron was suitably uptight and pernickety, and his clear-toned tenor gave us a range from initial arrogance, through to softening warmth as he succumbed to Mirandolina’s charms (with a particularly lyrical aria in Act 2), then finally to angry frustration and humiliation. Aidan Edwards’ Marquis and David Horton’s Count formed a great double act, Horton’s wiry tenor and wily confidence contrasting well with Edwards’ warm baritone and comic buffoonery. Their non-sensical sporting costume changes (tennis/table tennis, to golf, to croquet?) added a fun counterpoint to the Baron’s natty formal dress. Rosalind Dobson’s Lena was lightly playful, her bright soprano and her mischievous asides providing dashes of additional humour, particularly in the final moments. Ensemble pieces had great energy and fine-tuned balance, and the sextets at the end of Acts 2 and 3 were highly impressive.

Rosalind Dobson (Lena)
© Bampton Classical Opera

The production was tight and pretty polished, considering the limited space they had in The Barn. When the full cast of six were all on stage, it was more than a little cosy, and there were one or two props that almost came a cropper. But despite this, they made convincing use of the one set, which shifted between serving as the Baron’s room and other spaces in the inn. Costumes were simple yet bright, and lighting equally straightforward, with just occasional shifts of tone and colour. 

 

Andrew Griffiths conducted the 11 piece band with energy and elegance, and the balance was mostly assured, with the horns off to one side avoiding overly dominating the light strings. Alex Norton on harpsichord gave delicate support in the recitatives, and Griffiths kept everything moving along at a jolly pace throughout.

 

BCO have talked about focussing on semi-staged and concert performances in coming years. Here’s hoping that these lightly staged yet joyful performances at The Barn continue to be a part of their offering in the future.

Bampton Classical Opera
© Nick Boston

The Barn at Old Walland
© Nick Boston

Musical resilience from Pekka Kuusisto and Katarina Barruk at the Proms

Pekka Kuusisto &
members of the Norwegian Chamber Orchestra
© Andy Paradise

Katarina Barruk (vocals)

Arnljot Nordvik (guitar)

Christer Jørgensen (drums)

Norwegian Chamber Orchestra 

Pekka Kuusisto (violin/director)

BBC Proms
7.30pm, Sunday 31 August, 2025
Royal Albert Hall, London

★★★★

Katarina Barruk
© Andy Paradise

Barruk, Katarina (b.1994): Ruhttuo intro

                                          Miärraládda (arr. Sonstad, Øystein (b.1970)/Nordvik, Arnljot)

                                           Niäguoh (arr. Stangness, Christo, orch. Sonstad, Øystein)

                                           Sådna jahttá - Part 2: Maadter-aahka (arr. Nyman, Marzi (b.1979))

                                           Ij gåssieke (arr. Sonstad, Øystein/Nordvik, Arnjlot)

                                           Dállie (arr. Buene, Eivind (b.1973))

Tippett, Michael (1905-1998): Divertimento on Sellinger's Round - A Lament (2nd movement)

Philip Glass (b.1994): String Quartet No. 3, 'Mishima', 5. Blood Oath (arr. Kuusisto, Pekka (b.1976))

Kendall, Hannah (b.1984): Weroon Weroon (UK premiere)

Bach, Johann Sebastian Bach (1685-1750): Chorale prelude 'O Mensch, bewein dein Sünde gross', BWV 622 (arr. Reger, Max (1873-1916))

Shaw, Caroline (b.1982): Plan & Elevation, 5. The Beech Tree (arr. Murphy, Ben/Shaw, Caroline)

Pärt, Arvo (b.1935): Fratres - version for solo violin, string orchestra and percussion

Shostakovich, Dmitri (1906-1975): Chamber Symphony, Op. 110a (arr. of String Quartet No. 8 by Barshai, Rudolf (1924-2010))

Encore:

Lennon, John (1940-1980): Imagine (arr. Kuusisto, Pekka)

Katarina Barruk
© Andy Paradise

Barruk:

'Barruk’s striking voice shifted from pure tone to nasal growls, then high and wispy, across a huge range'.

'Barruk’s voice rose high over lamenting strings, then fell into low creaks, with a clear exhortation to never surrender'.

Kendall:

'Kuusisto’s glassy rapid tremolo buzzed and scraped, emitting strange harmonics, and rising and falling in dynamic, before grinding to a halt, adding to the evening’s diversity of sound worlds'.

Pärt:

'NCO moved together with instinctive ensemble, the violins swaying as one. Kuusisto’s solo variations sang out with clarity and improvisatory expression'.

Shostakovich:

'Kuusisto and the NCO let rip with the fourth movement’s violent stabbing knocks ... The second movement's DSCH motif and wild dance and the third's macabre waltz were suitably terrifying'.

Read my full review on Bachtrack here.

Pekka Kuusisto & the Norwegian Chamber Orchestra
© Nick Boston

A spectacular swansong for the Rosendal Chamber Music Festival

Kvinnherad Church in Rosendal
© Liv Øvland

Leif Ove Andsnes (Artistic Director, piano)

Yulianna Avdeeva (piano)

James Baillieu (piano)

Knut Christian Jansson (piano)

Johan Dalene (violin)

Oda Holt Günther (violin)

Timothy Ridout (viola)

Julia Hagen (cello)

Opus13:

Sonoko Miriam Welde (violin)

Edvard Erdal (violin)

Albin Usijärvi (viola)

Daniel Thorell (cello)

Leif Ove Andsnes & Ragnhild Gudbrandsen
© Liv Øvland

Ida Aubert Bang (harp)

Cecilie Løken Hesselberg (flute)

Sigrid Holmstrand (flute)

Björn Nyman (clarinet)

Marita Elise Holme (clarinet)

Åsmund Moen (percussion)

Bernhard Butenschön (percussion)

Magnus Lille Haugen (percussion)

Sebastian Lindland (percussion)

Mari Eriksmoen (soprano)

Hilde Haraldsen Sveen (soprano)

Daniel Sæther (countertenor)

Eirik Grøtvedt (tenor)

Ragnhild Gudbransen (voice)

Yulianna Avdeeva, Johan Dalene & Julia Hagen
© Liv Øvland

Ensemble C4:

Caroline Eidsten Dahl (recorder)

Ingrid Økland (violin)

Maria Innes Zanovello (violin)

Edda Stix (viola)

Gunnar Hauge (cello)

André Lislevand (viola da gamba)

Christian Kjos (harpsichord & organ)

Jadran Duncumb (theorbo)

Kjell Tore Innervik (percussion)

Bjarni Frímann (conductor)

Knut Vaage (composer)

Rosendal Chamber Music Festival

6-10 August 2025

Rosendal, Norway -

Riddershalen, Baroniet Rosendal

Kvinnherad Church, Rosendal

The Red Room, Baroniet Rosendal

★★★★★

Ensemble C4
© Liv Øvland

Shostakovich:

'Ridout’s taut, passionate playing drew out every note, yet his crying solo, as if from a distance, at the opening of the finale was achingly impressive'.

Mendelssohn:

'The enhanced acoustic and their enthusiasm raised the volume to extremes in places, but the sheer exuberance and obvious pleasure evident in their performance had the entire hall rapt'.

'Mari Eriksmoen communicated her Grieg with operatic drama and a bright yet powerful tone throughout'.

'Eirik Grøtvedt was the real vocal revelation, however. He showed incredible bravery when producing a tremulous, fragile pianissimo at the top of his range...yet he also had huge power when needed'.

Timothy Ridout & Leif Ove Andsnes
© Liv Øvland

Leif Ove Andnes:

'In his quiet, gentle way, he demonstrated a sense of the visionary leadership that has clearly built something very special in this beautiful part of Norway'.

Read my full review on Bachtrack here.

James Baillieu & Mari Eriksmoen
© Liv Øvland

Grieg, Edvard (1843-1907): 19 Norske Folkeviser, Op. 66 No. 1, 'Kulok'

Mendelssohn, Felix (1809-1847): Piano Trio No. 1 in D minor, Op. 49

Tveitt, Geirr (1908-1981): Hestemennan (Horsemen)

                                         Marskveld (March evening)

                                         Bera ei sorg (Carrying grief), Op. 246 No. 9

Vaage, Knut (b.1961): Bumerang

Grieg, Edvard: Tolv Melodier (Vinjesangene), Op. 33 Nos. 6-12

                            Eit Syn (A Vision)

                            Gamle Mor (The Old Mother)

                            Det Første (The first thing)

                            Ved Rundarne (At Rondane)

                            Et Vennestykke (A Piece on Friendship)

                            Trudom (Faith)

                                Fyremål (The Goal)

Mendelssohn, Felix: Six Duets Op. 63, No. 1, Ich wollt' meine Leib' ergösse sich

                                  Die Hochzeit des Capacho, Op. 10, So kehrest du wieder

Grieg, Edvard: Seks Digte, Op. 4

                            Die Waise (The Orphan)

                            Morgen Thau (Morning Dew)

                            Abschied (Farewell)

                            Jägerlied (Hunting Song)

                            Das alte Lied (The Old Story)

                            Wo sind sie hin? (Where have they gone?)

Members of Opus13
© Liv Øvland

Gade, Niels (1817-1890): 4 Fantasiestücke, Op. 43 No. 3

Schumann, Robert (1810-1856): Violin Sonata No. 1 in A minor, Op. 105

Mendelssohn, Felix:  String Quartet No. 2 in A minor, Op. 13

Vaage, Knut: From 20 Views at Opus 54

Grieg, Edvard: Haugtussa, Op. 67

                            Det syng (The Enticement)

                            Veslemøy (Veslemøy)

                            Blaabærli (Blueberry Slope)

                            Møte (The Tryst)

                            Elsk (Love)

                            Killingdans (Kidlings' Dance)

                            Vond Dag (Hurtful Day)

                            Ved Gjætle-Bekken (At the Brook)

                             Lyric Pieces, Op. 54 No. 6, Bell Ringing

Vaage, Knut: Skråblikk på Haugtussa (Oblique Glance at Haugtussa)

Grieg, Edvard: Intermezzo for cello and piano in A minor, EG115

Vaughan Williams, Ralph (1872-1958): Six Studies in English Folk Song

Grieg, Edvard: from Barnlige Sange, Op. 61

                              3. Lok (Farmyard)

                              6. De norske fjelde (The Norwegian Mountains)

                              2. Sang til juletraet (The Christmas Tree)

                              5. Kveldssang for Blakken (Goodnight song for Dobbin)

Schumann, Robert: Märchenbilder, Op. 113

Opus13
© Liv Øvland

Grieg, Edvard:    Andantino serioso, Op. 28 No.4

                            Andante con moto, EG116

                            Tolv Melodier (Vinjesangene), Op. 33 No. 5, Langs ei Aa (Beside the Stream)

                            Norwegian Dances, Op. 35 Nos. 2-3

                            Holberg Suite, Op. 40, Sarabande & Rigaudon

Debussy, Claude (1862-1918): Syrinx

Ravel, Maurice (1875-1937): Introduction & Allegro

Clarke, Rebecca (1886-1979): Sonata for Viola and Piano

Ravel, Maurice:  3 Poèmes de Stéphane Mallar mé

                            Piano Trio

Grieg, Edvard: Fem Digte af John Paulsen, Op. 26

                            1. Et Håb (Hope)

                            2. Jeg reiste en deilig Sommerkvæld (I walked one balmy summer eve)

                            3. De Ærgjerrige (You whispered that you loved me)

                            4. Med en Primula veris (The first primrose)

                            5. På Skogstien (Autumn thoughts)

                         Sex Digte af Ibsens, Op. 25

                            1. Spillemænd (Fiddlers)

                            2. En Svane (A Swan)

                            3. Stambogsrim (Album Lines)

                            4. Med en Vandlilje (With a Waterlily)

                            5. Borte! (Departed!)

                            6. En Fuglevise (A Birdsong)

                         String Quartet in G minor, Op. 27

Rosendal Chamber Music Festival 2025
© Nick Boston

Rosendal Chamber Music Festival 2025
© Nick Boston

Vierne, Louis (1870-1937): Piano Quintet, Op. 42
Nordheim, Arne (1931-2010): from Three Unexpected Songs, No.2 Ore, fermate il solo

Marini, Biagio (1594-1663): Balletto secondo, Op. 22 No. 2

Vaage, Knut: Tilstandar, 'Opp av jorda' (Spring)

Silvestrov, Valentin (b.1937): Bagatelle Op. 1 No. 2

Marais, Marin (1656-1728): Suite VII en sol majeur du Troisième Livre de pièces de viole, Prelude No. 93

                                             Suite VI en sol majeur du Cinquième Livre de pièces de viole, Chaconne No. 83

                                             Suite VII en sol majeur du Troisième Livre de pièces de viole, Sarabande No. 99

                                             Suite VII en sol majeur du Troisième Livre de pièces de viole, La Guitare No. 107

Leclair, Jean-Marie (1697-1964): from Deuxième récréation de musique, Op. 8, No. 6 Chaconne

Vaage, Knut: Tilstandar, 'Hauste inn' (Autumn)

Shostakovich, Dmitri (1906-1975): Sonata for Viola and Piano, Op. 147

Scarlatti, Alessandro (1660-1725): Sinfonia di concerto grosso, No. 8 in G major

Grieg, Edvard: Romancer (ældre og nyere), Op. 39

                            1. Fra Monte Pincio (From Monte Pincio)

                            3. I Liden højt deroppe (Upon a grassy hillside)

                            4. Millon Roser (Among roses)

                        6 Digte af Holger Drachmann, Op. 49, No. 6 Forårsregn (Spring Showers)

Rosendal Chamber Music Festival 2025
© Nick Boston

Rosendal Chamber Music Festival 2025
© Nick Boston

Tveitt, Geirr: Femti Folkatonar frao Hardanger for klaver, Op. 150
                             25. The call of the dairy maid

                             39. Visiting Saturday in the mountains

                             10. What beer!

                             11. God's goodness and God's greatness

Duparc, Henri (1848-1933): Phidylé

                                             Cinq mélodies, Op. 2 No. 1. Soupir

                                             La vague et la cloche

Vaage, Knut: Tilstandar, 'kom lindereid kom' (Summer)

Mendelssohn, Felix: String Octet in E flat major, Op. 20

Vivaldi, Antonio (1678-1741):

Trio Sonata No. 12 in D minor, RV 63 'La Folia'

Andriessen, Louis (1939-2021): Workers Union

Rosendal Chamber Music Festival 2025
© Nick Boston