Improvisatory Gershwin from Ryan Wang in a boldly energetic Chromatica programme

Ewan Millar and Chromatica Orchestra
© Monika Jakubowska

Ryan Wang (piano)

Nick Walker (trumpet)

Ewan Millar (cor anglais)

Ingunn Korsgård Hagen (conductor)

Jonathan Gibson (conductor)

Students from Bobby Moore Academy

Chromatica Orchestra

Maren Bosma (leader)

7.30pm, Wednesday 17 June 2026

Grand Hall, Battersea Arts Centre, London

★★★★

Ryan Wang and Chromatica Orchestra
© Monika Jakubowska

Copland, Aaron (1900-1990): Quiet City

Gerwshin, George (1898-1937): Rhapsody in Blue

Encore:

Mozart, Wolfgang Amadeus (1756-1791): Piano Sonata no. 11 in A major, K331: Rondo alla Turca (arr. Volodos, Arcadi (b.1972)/Say, Fazil (b.1970)/Wang, Ryan?)

Bernstein, Leonard (1918-1990):  Symphonic Dances from 'West Side Story': 'Mambo'

Ives, Charles (1874-1954): Central Park in the Dark

Bernstein, Leondard: Suite from 'Fancy Free'

'Rhythms were tight, intonation solid and ensemble strong, and they were at the programme’s centre, rather than tucked away in pre-concert event'.

'The trumpet carries the questioning solo line, with the cor anglais a kind of echoing reminder, and this came across well in Walker’s assured yet nervy entries, and Millar’s mournful, mellow tones'. 

Ingunn Korsgård Hagen conducts Chromatica Orchestra
© Monika Jakubowska

'The spirit of the performance and the clear enjoyment of the Chromatica players held it all together, with sprightly tempi set by Wang and Korsgård Hagen...Wang returned for a bravura jazzed-up encore of Mozart’s Rondo alla turca.'.

'With drunken waltzes, jazzy piano moments and cheeky swagger (with sailor hats) from the drummer and pianist, they had great fun, whilst negotiating those complex rhythms with ease'.

'They all had a ball, and that communicated to the audience, bringing their programme full of energetic rhythm and bombast but also atmospheric nuance to a joyful close'.

Read my full review on Bachtrack here.

Ingunn Korsgård Hagen conducts Chromatica Orchestra
© Nick Boston

Ryan Wang and Chromatica Orchestra
© Nick Boston

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.

Joyful energy from Rachel Podger and The Mozartists at Wigmore Hall

Rachel Podger, Ian Page & The Mozartists
© The Mozartists

Rachel Podger (violin)

The Mozartists

Ian Page (conductor)

7.30pm, Wednesday 18 June, 2025

Wigmore Hall, London

★★★★★

Haydn, Franz Joseph (1732-1809): Symphony No. 66 in B flat major

Mozart, Wolfgang Amadeus (1756-1791): 

Violin Concerto No. 2 in D major, K211

Symphony in D major, K196+121(207a)

Violin Concerto No. 5 in A major, 'Turkish', K219

Haydn:

'Racing violins and rasping horns, and a bounce in Page’s step showed they meant business'.

Rachel Podger
© Nick Boston

Mozart:

Violin Concerto No. 2:

'The Second Violin Concerto opened with a jolly Allegro, Podger’s face radiating pleasure, her solo line singing above the orchestral texture'.

Symphony:

'Delightful, with nimble violins and robust woodwinds, all over in a flash'.

Violin Concerto No. 5:

'When they reached the “alla turca” section, they were all having great fun. Podger enjoyed the surging waves, taking Page and the orchestra with her, whilst the cellos and double bass added percussive slaps'.

Rachel Podger, Ian Page & The Mozartists
© Nick Boston

'A joyous evening, with incisive and energetic playing throughout'. 

Read my full review on Bachtrack here.

Classy Brahms ends a fine visit from Yutaka Sado and the Tonkünstler-Orchester

Tonkünstler-Orchester Niederösterreich
© Martina Siebenhandl

Yeol Eum Son (piano)

Tonkünstler-Orchester

Yutaka Sado (conductor)

7.30pm, Thursday 13 March 2025

Cadogan Hall, London

★★★★

Jean Sibelius (1865-1957): Symphony No. 7 in C major, Op. 105

Wolfgang Amadeus Mozart (1756-1791): Concerto for Piano and Orchestra No. 21 in C major, K467

Encore:

Moritz Moszkowski (1854-1925): Huit Morceaux Caractéristiques, Op. 36 No. 6, Étincelles

Johannes Brahms (1833-1897): Symphony No. 1 in C minor, Op. 68

Encore:

Johannes Brahms: Ungarische Tänze, WoO 1, No. 5 in F sharp minor, orch. Albert Parlow (1824-1888) (in G minor)

Yutaka Sado & the Tonkünstler-Orchester Niederösterreich
© Nick Boston

'They gave a largely first-class performance, their Brahms bringing the house down'.

Sibelius:

'Sado set the scene with a steady crescendo, bright woodwinds contrasting the rich string sound that quickly enveloped them'.

Mozart:

'South Korean pianist Yeol Eum Son's Mozart was full of delicacy and elegance'.

Yeol Eum Son
© Nick Boston

Brahms:

'In a performance of effortless familiarity, Sado made sure that it never felt workaday'.

'There was no holding back here, the final brass fanfare over emphatic string chords bringing a powerful performance to an end'.

Read my full review on Bachtrack here.

Highly individual Mozart from Buniatishvili

Khatia Buniatishvili
© Esther Haase

Khatia Buniatishvili (piano)

Academy of St Martin in the Fields

Benjamin Marquise Gilmore (director) 

7.30pm, Monday 9 December 2024

Barbican Hall, London

★★★

Khatia Buniatishvili
& the Academy of St Martin in the Fields
© Nick Boston

Wolfgang Amadeus Mozart (1756-1791): Don Giovanni, K527, Overture 

                                                                  Piano Concerto No. 23 in A major, K488

Encore:

Claude Debussy (1862-1918): Suite bergamasque, L75, No. 3, Clair de lune

Felix Mendelssohn (1809-1847): Overture in B minor, Op. 26, 'The Hebrides'

Franz Joseph Haydn (1732-1809): Symphony No. 104 in D major, H I:104

Encore:

Jean Sibelius (1865-1957): Belshazzar's Feast Suite, Op. 51, No. 2 Nocturne

Mozart Piano Concerto No. 23:

'Buniatishvili’s Mozart was somewhat mystifying, and certainly very individual'. 

'The sound was not without beauty, with some very quiet playing too, but her soft-focussed over-pedalling in solos was completely at odds with the articulation produced when with the orchestra, almost like there were two different soloists at times'. 

Benjamin Marquise Gilmore
& the Academy of St Martin in the Fields
© Nick Boston

Mendelssohn:

'Barely needing direction, the ASMF performed with a chamber feel, maintaining the pulse instinctively'.

Haydn:

'Dynamic contrasts, energy flowing from Gilmore to the orchestra, and precise, confident solos from all sections injected lively spirit throughout'.

Sibelius:

'The star of the show here was definitely the haunting tone of (Michael) Cox, a delightful end to an evening of strong performances from the ASMF'. 

Read my full review on Bachtrack here. 

Handel's Messiah overpowered by massed forces to close the Proms Choral Day

Messiah at the BBC Proms Choral Day
© BBC/Andy Paradise

Nardus Williams (soprano)

Helen Charlston (mezzo-soprano)

Benjamin Hulett (tenor)

Ashley Riches (bass-baritone)

Philharmonia Chorus

Bath Minerva Choir

The Fourth Choir

Jason Max Ferdinand Singers

London Youth Chamber Choir

Voices of the River's Edge

Gavin Carr (coordinating chorus-master)

Academy of St Martin in the Fields

John Butt (conductor)

Helen Charlston
© BBC/Andy Paradise

BBC Prom 65

7pm, Saturday 7 September 2024

Royal Albert Hall, London

★★★ 

George Frideric Handel (1685-1759): Messiah

(orch. Wolfgang Amadeus Mozart (1756-1791))

'Conductor John Butt had a massive juggernaut to control and, with the best will in the world, nuance was always going to be a challenge. The Academy of St Martin in the Fields played with precision and lyricism, but in solo arias and recitatives, they were often sadly just too loud to allow room for the soloists’ subtleties of expression'.

John Butt conducts Messiah
© BBC/Andy Paradise

'Tenor Benjamin Hulett opened with a gently sustained “Comfort Ye”, followed by a nimble “Ev’ry Valley”.... When Mozart got out of the way and left things to strings alone for “Behold, and see”, (Helen) Charlston shone.... Soprano Nardus Williams delivered pure tone in “He shall feed his flock”, again, muted strings allowing for delicate colour....Bass-baritone Ashley Riches’ penetrating tone cut through the textures well'.

'The Philharmonia Chorus formed the semi-chorus (still 120 singers), delivering confident precision in the fiddlier choruses'.

'The fully combined chorus produced a phenomenally powerful sound, and this was used to dramatic effect for “Wonderful Counsellor” in “For unto us a child is born”'.

Read my full review on Bachtrack here. 

Energy and showmanship in Minasi and Ensemble Resonanz's Mozart at the Proms

Riccardo Munasi conducting Ensemble Resonanz
© BBC/Mark Allan

Clara-Jumi Kang (violin)

Timothy Ridout (viola)

Ensemble Resonanz

Riccardo Minasi (conductor) 

BBC Prom 41

7.30pm, Wednesday 20 August 2024

Royal Albert Hall, London

★★★★

Wolfgang Amadeus Mozart (1756-1791):

Le Nozze di Figaro (The Marriage of Figaro), K492, Overture

Sinfonia concertante in E flat major, K364

Encore:

Duo for violin and viola in G major, K423, Adagio

 

Don Giovanni, K527, Overture

Symphony No. 41 in C major, K551, ‘Jupiter’

Encore:

Symphony No. 35 in D major, K385, ‘Haffner’, Presto

Le nozze di Figaro Overture:

'Le nozze di Figaro’s overture set the tone, with immediate energy, bright tone and tight ensemble, Minasi shaping the surging lines, and a pulsing build to the climax'.

Clara-Jumi Kang & Timothy Ridout
© BBC/Mark Allan

Sinfonia Concertante:

'Clara-Jumi Kang and Timothy Ridout’s tones were beautifully matched throughout, a real sign of a duo that perform together frequently. ... They gave us sweetly singing lines in the opening movement, then mellow longing in the aching slow movement, and the finale was sprightly and playful, with their final runs up to the top precise and full of joy'. 

Don Giovanni Overture:

'The overture to Don Giovanni upped the energy levels after the interval, delivering instant drama, with tightly surging scales and falling woodwind figures, and Minasi injecting energy into quick tempos'.

Jupiter Symphony:

'Perhaps not one for a definitive recording, but entertaining as a live experience'. 

'From the pianissimo beginning, Minasi then took off at a cracking pace, and this was a tour de force of energetic drive from beginning to end'. 

Read my full review here.

Strong performances avoid Gloger's Così being buried by its own cleverness

Golda Schultz (Fiordiligi)
© ROH/Clive Barda

Jan Philipp Gloger (Director)
Oliver Platt (Revival Director)

Ben Baur (Set Designer)

Karin Jud (Costume Designer)

Bernd Purkrabek (Lighting Designer)

Katharina John (Dramaturg)

Alexander Soddy (Conductor)

Orchestra of the Royal Opera House

Sergey Levitin (Concert Master)

Royal Opera Chorus

William Spaulding (Chorus Director)

Jennifer France (Despina) and ensemble
© ROH/Clive Barda

Daniel Behle (Ferrando)

Andrè Schuen (Guglielmo)

Gerald Finley (Don Alfonso)

Golda Schultz (Fiordiligi)

Samantha Hankey (Dorabella)

Jennifer France (Despina)

Aquira Bailey-Browne, Lucy Brenchley, Chris Edgerley, Jamie Francis, John Kamau, Douglas Santillo, Josh Thompson (Actors)

Andrè Schuen, Golda Schultz, Gerald Finley,
Daniel Behle & Samantha Hankey
© ROH/Clive Barda

7pm, Wednesday 26 June 2024

Royal Opera House, London

★★★

Wolfgang Amadeus Mozart (1756-1791): Così fan tutte, ossia La scuola degli amanti, K588

(libretto by Lorenzo Da Ponte (1749-1838))

'The frequent set changes bring constant interest, with clever use of different levels of staging, and strong singing and acting performances from all make this great fun, if one lets go of it all making a great deal of sense'. 

'Golda Schultz was the clear standout here, negotiating effortlessly Fiordiligi’s extensive vocal demands, particularly in ‘Come scoglio’, with its range of over two octaves and massive leaps'.

Andrè Schuen (Guglielmo) & Samatha Hankey (Donatella)
© ROH/Clive Barda

'Daniel Behle displayed a beautifully lyrical tone, and played the less bombastic of the two men convincingly. In “Un’aura amorosa” he demonstrated incredibly delicate control at the top, as well as delivering a powerful sound when required.'.

'Jennifer France’s Despina was full of fun, with great comedic timing and clowning as the disguised doctor and notary, and was highly nimble vocally, with some cracking top notes too'.

'The Royal Opera Chorus were on fine form, with some subtly raunchy partner-swapping in the background, as well as delivering their pithy choruses. Alexander Soddy conducted with pace and precision, and there was some particularly fine horn and woodwind playing'.

Gerald Finley (Don Aldonso) & the Royal Opera Chorus
© ROH/Clive Barda 

Read my full review on Bachtrack here.