Kandinsky and Chagall fail to camouflage patchy playing

By Jonathan Sutherland, 02 June 2017

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“three cursor-like shapes scampering over the screen like manic karaoke indicators”

Reviewed at İş Sanat, Istanbul on 31 May 2017

Mussorgsky, Pictures at an Exhibition

Gluck, Melody from Orphée and Eurydice

Mozart, Fantasie in D minor, K397

Debussy, 12 Études, L.136 (Nos. 3 and 6)

Ravel, La Valse

Chopin, Nocturne no. 8 in D flat major, Op.27 no.2

Mikhail Rudy, Piano

Cockroaches and kaleidoscopes: Mikhail Rudy recital

Mark Pullinger, 27th March

The Institut Français’ three day festival “It’s all about Piano!” kicked off cinematically at King’s Place, with Mikhail Rudy’s compact double bill of Metamorphosis and Pictures at an Exhibition.

***11

It is excellent to have a giant's strength

Robert O'Connor, 10th September

Playing three 45-minute concerts in one afternoon is a herculean triumph. Even if done badly it is still a triumph. Mikhail Rudy did that and fortunately did it very well. The three concerts took place on Sept. 10 at King's Place as part of their festival. The theme of all three was the Russian literature, which is rich with colorful, majestic, exotic and challenging pieces.

Turangalîla underwhelms at the Southbank’s Multitudes festival

Roy Westbrook, 23rd April

Serious music ill-matched by filmic limitations as the Royal Philharmonic Orchestra tackles Messiaen’s epic “symphony” as part of the Southbank’s cross-genre festival.

**111

Immersive OAE submerged at Southbank’s Multitudes festival

Mark Valencia, 22nd April

The road to immersion is paved with modish deflections as the Orchestra of the Age of Enlightenment performs 20th-century English string music.

**111

A dream of a Gerontius from Pappano, the LSO and Chorus

Roy Westbrook, 21st April

Giving their 27th performance of the oratorio, the London Symphony Chorus excel as angelic angels and demonic demons.

****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.

*****

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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.

Kandinsky and Chagall fail to camouflage patchy playing in Istanbul