Smudgy haze and glaring sunbursts

By Mark Pullinger, 05 May 2017

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“akin to pairing Monet with Jackson Pollock”

Reviewed at Royal Festival Hall, London on 4 May 2017

Boulez, Douze Notations, for piano (No. 4)

Boulez, Notation no. 4

Debussy, Images, for orchestra: Gigues

Boulez, Douze Notations, for piano (No. 7)

Boulez, Notation no. 7

Debussy, Images, for orchestra: Rondes de printemps

Boulez, Douze Notations, for piano (No. 2 )

Boulez, Notation no. 2

Debussy, Fantaisie, for piano and orchestra

Debussy, La Mer

Esa-Pekka Salonen, Conductor

Philharmonia Orchestra

Pierre-Laurent Aimard, Piano

Viennese splendour in Garsington’s Rosenkavalier revival

Roy Westbrook, 28th May

Bruno Ravella's splendid 2021 production of Strauss' opera of Viennese manners returns with a fine cast.

****1

Garsington’s new La traviata ticks every musical and dramatic box

David Karlin, 27th May

Music Director Douglas Boyd conducts a performance of exceptional musical quality, and Louisa Muller's uncontroversial but passionate direction makes this Traviata one for the ages.

*****

Classical grace and Romantic eloquence from the Philharmonia

Christopher Woodley, 7th May

The contrasting delights of Schumann, Brahms and Dvořák are powerfully evoked in performances of charm, eloquence and high drama from the Philharmonia, continuing the orchestra’s 80th anniversary celebrations.

****1

Benedetti ablaze with the Philharmonia

Christopher Woodley, 19th April

As gifts to the Philarmonia's 80th birthday season, Nicola Benedetti gives a barnstorming account of Elgar's Violin Concerto before Cristian Mӑcelaru gets emotionally drained by La Mer.

*****

A Resurrection for the ages: Kent Nagano conducts the Philharmonia

Eleanor Knight, 19th March

Any performance of Mahler’s Resurrection Symphony is an event, but this mighty Philharmonia account at the Royal Festival Hall proves extra special.

*****

A brilliant UK premiere of John Adams’ After the Fall

David Karlin, 25th February

The Icelandic pianist and Finnish conductor make a superb case for John Adams' latest concerto; the Philharmonia play Ravel's Daphnis et Chloé strongly but don't convince completely.

****1

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Mark Pullinger

Mark has been a Bachtrack editor since 2014. He is also an experienced critic, writing hundreds of reviews for the site, as well as a freelancer writing for other magazines and newspapers. He also writes programme notes and blogs on Substack. Mark has a particular passion for the operas of Verdi as well as Russian and French repertoire. Outside the concert hall and opera house, Mark enjoys cooking and travel and is probably at his happiest let loose in a French patisserie or a Viennese coffee house.

Smudgy haze and glaring sunbursts: Boulez and Debussy juxtaposed by Salonen and the Philharmonia