A slow start but a brilliant finale from Sir Andrew Davis and the Melbourne Symphony Orchestra

Par Hazel Rowland, 20 août 2014

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Critique faite à Royal Albert Hall, Londres, le 19 août 2014

Strauss R., Don Juan, poème symphonique, Op.20

Elgar, Concerto pour violoncelle et orchestre en mi mineur, Op. 85

Berlioz, Symphonie fantastique, Op.14

Truls Mørk, Violoncelle

Melbourne Symphony Orchestra

Sir Andrew Davis, Direction

Protests disrupt the Melbourne Symphony Orchestra's Proms appearance

Dominic Lowe, 29th August

Despite the disruption, the musicians of the MSO under Chief Conductor Jaime Martín continue their interesting programme of Sutherland, Dvořák and Tchaikovsky.

***11

From Elgar to didgeridoo: the Melbourne Symphony play the Elphi

Mengguang Huang, 28th August

Under Jaime Martín, the Melbourne Symphony Orchestra showcase Indigenous music through William Barton’s didgeridoo alongside Elgar and Mussorgsky, creating a visually and sonically vivid, if uneven, evening.

***11

Sir Andrew Davis leads Elgar’s Gerontius in Melbourne

Patricia Maunder, 8th March

The double choir triumphs in the MSO’s massive, mostly successful attack on an English choral masterpiece all too rarely performed in Australia.

***11

Soloists and orchestra shine in MSO Opening Gala

Nicholas Young, 3rd March

A celebration of composer, soloist and orchestral excellence in an eclectic, if slightly eccentric, gala opening program to launch the Melbourne Symphony Orchestra's 2018 season.

****1

Bartók and Shostakovich with power and precision in Melbourne

Nicholas Young, 10th August

Pitch-perfect Bartók by Ibragimova and a boldly expansive reading of Shostakovich's Fifth by Hrůša made for an insightful evening's reflection on musical early modernity.

****1

Fraternity and frivolity: from Bizet to Elgar in Melbourne

Nicholas Young, 28th July

Under Benjamin Northey's baton and Kristian Chong's fingers, Bizet's Carmen Suite and Saint-Saëns' Second Piano Concerto dazzle, but it's Elgar's Sospiri and Enigma Variations that truly made the evening.

***11

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Hazel Rowland

Hazel is in her final year reading music at Oxford University. As well being a classical music reviewer, she has written arts commentary for the Oxford Student and reviewed plays at the Edinburgh Fringe Festival. Her particular interests lies in early German Romantic music and in how classical music functions within contemporary popular culture. Follow her blog here.