Sublime Beethoven and a ride into the abyss with the LSO

Alice Sara Ott

Alice Sara Ott, Nathalie Stutzmann and the London Symphony Orchestra

Nathalie Stutzmann

By Mark Pullinger, 11 November 2022

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“Ott’s playing rippled so softly that it was akin to walking on water, barely breaking the surface”

Reviewed at Barbican Hall, London on 10 November 2022

Franck, Le Chasseur maudit (The Accursed Huntsman)

Beethoven, Piano Concerto no. 3 in C minor, Op.37

Beethoven, Bagatelle for piano in A minor "Für Elise", WoO 59

Brahms, Symphony no. 4 in E minor, Op.98

Alice Sara Ott, Piano

London Symphony Orchestra

Nathalie Stutzmann, Conductor

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

Rare Vaughan Williams from Pappano and the LSO

Chris Garlick, 7th December

Tchaikovsky and Vaughan Williams make rare bedfellows, but Pappano's grip on these disparate scores impresses, with the London Symphony Chorus and Orchestra on wondrous form.

****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.

Sublime Beethoven and a ride into the abyss with Ott, Stutzmann and the LSO