The celebratory, cerebral and contradictory elements inherent in this diverse programme of Haydn, Mozart, Poulenc and Stravinsky didn’t quite disguise some uneven performances in Søndergård’s third prom concert.
Schubert’s last three piano sonatas, published posthumously in 1839, were brought to new life with thrilling intensity and a sense of authority by one of Britain’s most self-effacing recitalists.
At very short notice David Hill stepped in to conduct an all-French programme with the London Symphony Orchestra where serenity, elegance and passion were all beautifully communicated.
Even without their trademark blue and yellow tracksuits,, the young (and now not so young) players of the Simón Bolívar Symphony Orchestra can still generate a certain frisson.
As part of their Autumn UK tour, Russia’s oldest symphony orchestra delivered Liadov, Prokofiev and Tchaikovsky, but failed to create a lasting impression.
The Presteigne Festival went Polish this year with an enterprising perspective of contemporary and post-war works including the world première of Paveł Łukaszewski’s newly commissioned Requiem.
Peter Broadbent and the Joyful Company of Singers return to the Presteigne festival for an enterprising programme of unfamiliar 20th-century choral repertoire.