Power (and Padmore) to the ECO in Britten, Tippett and Woolrich

Par Mark Valencia, 22 janvier 2017

Chargement en cours, veuillez patienter...

Voir le listing complet

“music that ought to have been ripped from their souls emerged from nowhere higher than the bow wrist”

Critique faite à Kings Place: Hall One, Londres, le 21 janvier 2017

Tippett, Fantasia Concertante on a Theme of Corelli

Dowland, Flow, my tears (Lacrimae Pavane)

Dowland, If my complaints could passions move, Captain Digorie Piper's Galliard

Britten, Lachrymae: Reflections on a Song of John Dowland, Op.48

Woolrich, Ulysses Awakes

Britten, Nocturne for tenor, 7 obbligato instruments and string orchestra, song cycle, Op.60

English Chamber Orchestra

Mark Padmore, Ténor

Lawrence Power, Alto

Essential Early Romantics from the ECO at Cadogan Hall

Roy Westbrook, 11th May

Three of the world's best composers, who were friends and colleagues, but who rarely co-habit in concert, appear at Cadogan Hall.

****1

A vivid Soldier's Tale from the English Chamber Orchestra

Graham Watts, 4th October

Outstanding narration was the feather in this soldier’s cap

****1

Spirited Mendelssohn without frills from the English Chamber Orchestra

Nick Boston, 27th September

Warm Borodin and energetic Mendelssohn from the ECO players in an online experience which lacked occasion.

***11

Delicious French morsels launch the ECO’s Teatime Music

Mark Pullinger, 13th September

A trio of French works launch the English Chamber Orchestra's Sunday afternoon series, filmed in Beckenham Place Mansion.

****1

Ravishing Tchaikovsky from Serebrier and the ECO

Andrew Larkin, 22nd January

A fantastic all-Tchaikovsky concert in which cellist Natalie Clein gave a magnificent rendition of the Rococo Variations.

*****

Classy Bach from Vilde Frang

David Karlin, 29th April

Vilde Frang galvanises the English Chamber Orchestra, with the slow movement of Bach's E major violin concerto proving the highlight of the evening.

***11

Plus de critiques...

Mark Valencia

Mark has worked in arts journalism for four decades, both as a writer and as a French-English translator. Nowadays he focuses his energies on reviewing opera and music. Mark also writes for Opera magazine and for Musical America as a correspondent for Europe and the UK.