Find classical music concert, opera, ballet and dance reviews | Symphony no. 5 in C minor, Op.67

This was potentially a very nice programme which frustratingly only rarely lived up to its promise.

First on the programme were the Prelude and Liebestod from Tristan and Isolde, the iconic bookends of Wagner's most revolutionary work. The Prelude lacked the extraordinary tension and atmosphere it can have, though the climax was powerful throughout. Anyone who heard Angela Denoke in the recent run of Salome at the Royal Opera House will not be surprised to hear that her delivery of the Liebestod was severely affected by her sad and by now quite advanced vocal decline - which manifests principally as poor diction, wayward intonation and difficulty in sustaining a line. Her posture showed very uncomfortable signs of physical tension, and the severe jaw shake points to further vocal tensions that interfere with voice production. At least Isolde's scena lies much lower than does Salome's final scene, which meant that the wobble that plagues her high notes was kept better in check, but at this stage Denoke is not capable of doing full justice to Wagner's music.