Convincing MacMillan and full-on Shostakovich with the LSO

Gianandrea Noseda conducts the London Symphony Orchestra

Nicola Benedetti and the London Symphony Orchestra

By Nick Boston, 04 April 2025

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“Noseda and the LSO certainly went for its over-the-top bombast”

Reviewed at Barbican Hall, London on 3 April 2025

Shostakovich, Festive Overture in A major for orchestra, Op.96

MacMillan, Violin Concerto no. 2 (London premiere)

Shostakovich, Symphony no. 12 in D minor "The Year 1917," Op.112

Gianandrea Noseda, Conductor

Nicola Benedetti, Violin

London Symphony Orchestra

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

Pappano and the LSO: a thrilling collision between heaven and hell

Charlotte Gardner, 16th April

Vilde Frang joins Sir Antonio Pappano and the London Symphony Orchestra at the Barbican for transcendent Korngold alongside darker fare.

****1

Han Kang’s The White Book takes on a compelling new life

Peter Quantrill, 5th March

At the Barbican, Laura Bowler's new work for Barbara Hannigan translates Han Kang's novel into a soundscape of icy stillness

****1

A curious evening from Noseda, Kopatchinskaja and the LSO

Mark Valencia, 26th February

Good, bad, but never ugly, a curious evening unfolds at the Barbican, inspired at times, ill-judged in places.

***11

Borodin steps into the symphonic limelight: Noseda and the LSO

Mark Pullinger, 15th February

Seong-Jin Cho continues his Artist Portrait series with the LSO by performing Chopin's poetic Second Piano Concerto.

****1

Rattle and the LSO sell a travel package to Hungary and Spain

Roy Westbrook, 18th January

Opening her LSO Artist Portrait series, Patricia Kopatchinskaja plays Béla Bartók’s Second Violin Concerto before Rattle and the LSO whisk the audience to Falla’s Andalusia.

****1

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Nick Boston

Nick has an MA in Music, specialising in performance and repertoire. His particular passions are choral music, chamber music and opera, with a particular interest in early music. He sings in a number of choirs in the south east of England, plays the piano and occasionally dusts off the violin. He writes about music here.

Convincing MacMillan from Benedetti contrasts with Noseda's full-on Shostakovich