Tuesday, 18 February 2020

No nonsense joy in Kissin's Beethoven at the Barbican

Evgeny Kissin
© Felix Broede

Evgeny Kissin (piano)

Thursday 6 February 2020

Barbican Hall, London

Ludwig van Beethoven (1770-1827):
Piano Sonata No. 8 in C minor, Op. 13 'Pathétique'
15 Variations and a Fugue, Op. 35 'Eroica'
Piano Sonata No. 17 in D minor, Op. 31 No. 2 'Tempest'
Piano Sonata No. 21 in C major, Op. 53 'Waldstein'
Bagatelle for piano, Op.126 No.6 in E flat major
Six variations on an original theme for piano in D major, Op.76
Bagatelle for piano, Op.33 no. 5 in C major
Six Écossaises for piano, WoO 83

Evgeny Kissin
© Nick Boston
'Kissin took no prisoners – definitely not Beethoven for the fainthearted, yet performances full of urgent energy and evident joy in the music'.

The 'Pathétique' Sonata:
'It is a testament to Kissin’s unquestionably phenomenal technical prowess that nothing ever disrupted the momentum here'.

The Eroica Variations:
'Kissin carried us through their journey with a great sense of the overall architecture'.

'The Tempest was impatient and full of breathless energy ... The Waldstein was uncluttered and surprisingly smooth'.

Read my full review on Bachtrack here.

Friday, 31 January 2020

Thrilling Shostakovich with a heart of desperation from the LSO and Noseda

Gianandrea Noseda
© Mark Allan
Christian Tetzlaff (violin)
Gianandrea Noseda (conductor)

Thursday 30 January 2020

Barbican Hall, London

Sergei Prokofiev (1891-1953): Symphony No. 1 in D major, 'Classical', Op. 25
Wolfgang Amadeus Mozart (1756-1791): Violin Concerto No. 3 in G major, 'Strassburg', K216
Johann Sebastian Bach (1685-1750: Partita No. 3 in E major, BWV 1006, Gigue
Modest Mussorgsky (1839-1881): Khovanshchina: Prelude 'Dawn on the Moscow River'
Dmitri Shostakovich (1906-1975): Symphony No. 9 in E flat major, Op. 70

'Noseda and the LSO achieved a good balance here between accentuating the wit and edge, whilst maintaining “classical” precision and simplicity'.

'Christian Tetzlaff’s Mozart was warm and expressive, performing with a lively bounce in his step'.

'Noseda shaped the dynamics and brought out the detail of this brief but striking miniature'.

'Noseda notched up the tension, driving on to a scream before the grotesque march, and then the final sudden switch into the breathless conclusion'.

Read my full review on Bachtrack here.

Christian Tetzlaff/Gianandrea Noseda/London Symphony Orchestra
© Nick Boston

Gianandrea Noseda/London Symphony Orchestra
© Nick Boston