A thrilling combination of Barry and Beethoven at the Barbican

Par Dominic Lowe, 23 mai 2019

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“Barry’s way of teasing those who expect a good concerto to end in a dynamic blaze”

Critique faite à Barbican Hall, Londres, le 21 mai 2019

Beethoven, Symphonie no. 7 en la majeur, Op.92

Barry, Dead March

Beethoven, Symphonie no. 8 en fa majeur, Op.93

Lawrence Power, Alto

Britten Sinfonia

Thomas Adès, Direction

At Aldeburgh Festival, Nicholas Daniel plays the Pied Piper of Cool

Christopher Woodley, 13th June

For the Aldeburgh Festival's 75th anniversary celebrations, Daniel delivered a great performance of Vaughan Williams's Oboe Concerto, in the company of Gustav and Imogen Holst.

****1

Britten Sinfonia ablaze on the BBC Proms’ hottest night

Nick Boston, 6th September

Inventiveness, joyful performance and intuitive communication from Thomas Gould and the Britten Sinfonia in recompositions from Richter, Auerbach and Tippett.

*****

Donizetti's L’esule di Roma: a Roman triumph for Opera Rara

Dominic Lowe, 11th May

This is the 27th Donizetti opera given the Opera Rara treatment and their ability to spot a hidden gem remains as adroit as ever.

****1

Love and death in Scotland: Mercadante’s Il proscritto

David Karlin, 28th June

A great orchestral performance of an exciting score don't quite mask the dramatic weaknesses of Opera Rara's latest.

***11

Holst's Sāvitri: near-death experience in the Barbican

Roy Westbrook, 4th May

A game of three halves from the Britten Sinfonia, with a late appearance by three star soloists.

****1

Memorable celebración de Thomas Adès y la Britten Sinfonia

Francisco Martínez Ramos, 10th June

Thomas Adès, una de las figuras más importantes y carismáticas del panorama musical británico e internacional, presenta un concierto en el Barbican Centre londinense, junto a la Britten Sinfonia.

*****

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Dominic Lowe

Dominic Lowe recently completed a degree in Classics, and one of his great interests is the reception of Greece and Rome in opera. A regular opera-goer since his very early teens, he is particularly keen on the hidden operatic gems of the 19th century. He is largely based in the South of England.