Thomas Adès: Mixing the new with the old

Par Mark Thomas, 17 août 2016

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“Adès encouraged tremendous attack and bite in the more gritty sections”

Critique faite à Royal Albert Hall, Londres, le 15 août 2016

Prokofiev, Symphonie no. 1 en ré majeur «Classique», Op.25

Coll, Four Iberian Miniatures (London premiere)

Adès, Lieux retrouvés (UK premiere)

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

Augustin Hadelich, Violon

Steven Isserlis, Violoncelle

Britten Sinfonia

Thomas Adès, Direction

Two funerals and a bedding at the Linbury Theatre

Eleanor Knight, 1st May

Tales of love and loss as operas by Elena Langer, Charlotte Bray and Elizabeth Maconchy form a varied triple bill in this showcase for The Royal Opera’s Jette Parker Artists.

****1

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

Plus de critiques...

Mark Thomas

A lifelong devotee of classical music, Mark caught the bug after listening to The Planets, The Rite of Spring and Beethoven’s Fifth when he was knee-high to a grasshopper. He has degrees in non-musical subjects and currently works as a Chartered Governance Professional, but these have proved to be mere distractions from the wonders of sonatas, concertos and symphonies. He has been reviewing for Bachtrack since 2016, plays viola and violin (very shakily) and used to sing a bit (even more shakily).

Prom 40: Mixing the new with the old: Thomas Adès at the Proms