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An esoteric combination opens the aptly named Unusual Istanbul Music Festival

By Jonathan Sutherland, 31 May 2017
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Reviewed at Lütfi Kırdar International Convention and Exhibition Centre, Istanbul on 29 May 2017
Programme
Balakirev, Oriental Fantasy, "Islamey", Op.18
Saint-Saëns, Cello Concerto no. 1 in A minor, Op.33
Tsintsadze, Chonguri for cello solo
Strauss R., Der Rosenkavalier, Op.59: Suite
Performers
Borusan Istanbul Philharmonic Orchestra
Sascha Goetzel, Conductor
Andrei Ioniţă, Cello
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Borusan Istanbul Philharmonic: spiritually fulfilling Beethoven
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That a Turkish orchestra excels in Turkish music is no surprise... but in mainstream Western repertoire too? BIPO and Carlo Tenan charm Sheffield with their fresh take on the classics. 

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Carlo Tenan delivers a tempestuous, desperate Mozart Requiem
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The Borusan Istanbul Philharmonic Orchestra opens the Istanbul Music Festival featuring a showstopping, all-singing, all-conducting Gershwin finale. 
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Glass' Eleventh given Turkish première
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Philip Glass' Eleventh Symphony, given its Turkish première at the Istanbul Music Festival, returns to his signature repetitive style. 
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The Borusan Istanbul Philharmonic Orchestra had the privilege of playing three works of Krzysztof Penderecki under the composer's own baton.
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More reviews...
Read reviews of
Andrei IoniţăBorusan Istanbul Philharmonic OrchestraCamille Saint-SaënsCello Concerto no. 1 in A minor, Op.33Chonguri for cello soloDer Rosenkavalier, Op.59: SuiteMily Alexeyevich BalakirevOriental Fantasy, "Islamey", Op.18Richard StraussSascha GoetzelSulkhan Tsintsadze
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Jonathan Sutherland
Jonathan Sutherland
Jonathan Sutherland is a graduate of the Sydney Conservatorium of Music and the Hochschule Mozarteum in Salzburg. He is also an internationally renowned concert pianist specializing in the music of the 1930s. Jonathan’s first operatic experience was hearing Maria Callas sing Tosca in Covent Garden and he has since heard performances in all continents of the world including over 60 different productions at the Wiener Staatsoper. He has written for The Australian, Opera Today and The Opera Critic as well as Bachtrack. Jonathan speaks English, French, German and Italian fluently and is based in the south of France near Nice.