Championing Saint-Saëns with style: Emelyanychev, Isserlis and the OAE

Maxim Emelyanychev conducts the OAE

Steven Isserlis and the OAE

Por Mark Pullinger, 27 enero 2023

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“fruity French bassoons, merci beaucoup”

Crítica hecha desde Royal Festival Hall, Londres el 26 enero 2023

Saint-Saëns, Phaéton, Op.39

Saint-Saëns, Concierto para violonchelo núm. 1 en la menor, Op.33

Saint-Saëns, Carnaval de los animales: El cisne

Saint-Saëns, Danza macabra

Saint-Saëns, Sinfonía núm. 3 en do menor, para orquesta y órgano, op. 78

Orchestra of the Age of Enlightenment

Steven Isserlis, Violonchelo

Maxim Emelyanychev, Dirección

James McVinnie, Órgano

Matthew Truscott, Violín

Una gran sinfonía para un gran final

David Santana Cañas, 30th May

Elgar, Strauss y el Sibelius más épico son el repertorio elegido por Ibermúsica para cerrar su Serie Barbieri de la mano de Thierry Fischer.

****1

Immersive OAE submerged at Southbank’s Multitudes festival

Mark Valencia, 22nd April

The road to immersion is paved with modish deflections as the Orchestra of the Age of Enlightenment performs 20th-century English string music.

**111

Mixed Mozart from the Orchestra of the Age of Enlightenment

Dominic Lowe, 26th February

A Mozart's of symphonies – his last – under conductor Robin Ticciati is capped with a fine Jupiter, but is let down by the performances of its two predecessors.

***11

Haydn pur: Sir András Schiff mit dem OAE in Dortmund

Jens Klier, 19th November

Die Melange aus bestimmter Lässigkeit und zwinkernder Süffisanz ließ bei neuerlichem Haydn dieser geistreichen Londoner Künstlergemeinschaft wieder kaum redensartliches Auge trocken.

****1

John Butt and the OAE celebrate Handel's Solomon

Roy Westbrook, 12th October

The Queen of Sheba is clearly in a hurry in this account of Handel's oratorio at the Queen Elizabeth Hall.

*****

Enescu Festival immersion: Bach on the street, Klimt in the forest

Peter Quantrill, 11th September

At the George Enescu International Festival, a pair of new shows crossing genres and reinventing the classics, with mostly enlightening results.

****1

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Mark Pullinger

Mark has been a Bachtrack editor since 2014. He is also an experienced critic, writing hundreds of reviews for the site, as well as a freelancer writing for other magazines and newspapers. He also writes programme notes and blogs on Substack. Mark has a particular passion for the operas of Verdi as well as Russian and French repertoire. Outside the concert hall and opera house, Mark enjoys cooking and travel and is probably at his happiest let loose in a French patisserie or a Viennese coffee house.