En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Christian Ihle Hadland

Un concert malheureusement en deçà de ce à quoi l'Orchestre National de Lyon nous avait habitués. Christian Ihle Hadland tire néanmoins son épingle du jeu. 

Christian Ihle Hadland’s piano sparkled in Ravel sandwiched by lively and joyful Rameau and Mozart.

A charming, thoughtful account of Beethoven's First Piano Concerto by Norwegian pianist Christian Ihle Hadland, while the NSO under the baton of Stutzmann delivered wonderful Haydn and Mendelssohn Symphonies. 

Herbert Blomstedt, Christian Ihle Hadland and the Oslo Philharmonic gave scintillating performances of Beethoven and Mahler.

Dausgaard dishes up a novel Brahms Second Symphony, while Hadland performs an elegant Coronation Concerto. 

The Norwegian string ensemble enthuse the audience at Leeds Town Hall with Bartók's Divertimento for String Orchestra and Britten's Variations on a theme of Frank Bridge.

Starting the role of principal conductor of a new orchestra may be compared to trying out a new car. There is of course the initial thrill of the novelty of it all, testing the performance of the vehicle; how quickly it can accelerate, how smooth are the transitions from one speed to another.

There are (at least) two moments in Beethoven’s Piano Concerto no. 2 where the music extends the language taken from Haydn and Mozart and reaches out into new worlds. Both were handled to great effect by tonight’s soloist, Christian Ihle Hadland.

The extended applause and stamping proved that the Leeds audience loved the visitors from Bergen with their popular programme, which was part of the Leeds International Concert Season.

The Bergen Philharmonic opened their concert very aptly, with a piece by an English composer that evoked their homeland. Delius took regular holidays in Norway and an early meeting with Grieg had helped Delius on his way to becoming a serious composer. 

The concert opened with BBC newsreader Julia Somerville, summarising news from the year 1915 at an old-fashioned broadcasting desk complete with microphone. It was informative, and set the scene for this recital, one in a series of ‘time capsule’ concerts, solely featuring music composed in 1915 – including two of Debussy’s last chamber pieces.