François Leleux makes SCO debut as conductor

Par Simon Thompson, 08 mars 2018

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“Alison Mitchell... seemed to dance on air as she embodied the flute’s many different moods”

Critique faite à Queen's Hall, Edinburgh, Edimbourg, le 8 mars 2018

Fauré, Pelléas et Mélisande, Op.80

Bernstein, Halil

Lebrun, Oboe Concerto no.1 in D minor

Bizet, Carmen: Chanson Bohème

Bizet, Symphonie en ut majeur

François Leleux, Hautbois, Direction

Alison Mitchell, Flûte

Scottish Chamber Orchestra

Le SCO et Emelyanychev à domicile à la Halle aux grains

Thibault d'Hauthuille, 21st May

Au sein de la série de concerts organisés par Les Grands Interprètes, la phalange écossaise et son directeur musical ont fait forte impression en compagnie de la brillante violoniste Alina Ibragimova.

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Saxophone dreams with Jess Gillam and the Scottish Chamber Orchestra

David Smythe, 11th March

Jess Gillom and Scottish Chamber Orchestra in St Andrews in a wide-ranging programme of contemporary music. Ben Glassberg conducts.

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Baroque inspirations from Emelyanychev and the SCO

David Smythe, 20th February

Maxim Emelyanychev and the Scottish Chamber Orchestra offer a Baroque-inspired programme of Bach, Handel, Britten, a modern take on Scarlatti and wonderfully zany Schnittke.

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Maxim Emelyanychev and the Scottish Chamber Orchestra reshape Mozart

David Smythe, 29th January

In Edinburgh’s Usher Hall, Mozart’s final three symphonies are given a vibrant interpretation by the Scottish Chamber Orchestra conducted by the effervescent Maxim Emelyanychev.

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Gnarly Buttons central to the SCO’s John Adams programme

David Smythe, 12th December

Andrew Manze conducts an all-Adams programme in Glasgow, Maximiliano Martín the fearless soloist in Gnarly Buttons, bookended by mesmerising Shaker Loops and exuberant Fearful Symmetries.

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Reich+ from Colin Currie and the Scottish Chamber Orchestra

David Smythe, 6th November

The Scottish Chamber Orchestra with Colin Currie fizz with energy in Duddell, Grime and Steve Reich.

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Simon Thompson

Simon lives and works in Edinburgh, and teaches History and Modern Studies at a local high school when he is not writing about music. Born an Irishman, he is an enthusiastic adopted Scot, and has lived in the capital for fifteen years since university days, making the most of its many avenues for classical music. He spends his spare time enthusing about music, theatre, art and literature to anyone who will listen, including his long-suffering students, who have no choice.