Russian fire and French nightmare in Jūrmala

By Roy Westbrook, 26 August 2019

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“If I were a pianist, I would carry this hall’s acoustic around with me”

Reviewed at Dzintari Concert Hall: Great Hall, Jūrmala on 25 August 2019

Rachmaninov, Piano Concerto no. 3 in D minor, Op.30

Liszt, Gretchen am Spinnrade, D 558 no. 8 (transcribed from Schubert D 118)

Youmans, Tea for two

Horowitz, Carmen Variations

Berlioz, Symphonie fantastique, Op.14

Strauss II, Unter Donner und Blitz (Thunder and Lightning Polka), Op.324

Yuja Wang, Piano

Zubin Mehta, Conductor

Israel Philharmonic Orchestra

Israel Philharmonic makes long awaited Elbphilharmonie debut

Mengguang Huang, 3rd November

The Israel Philharmonic’s debut at Hamburg’s Elbphilharmonie showcases Lahav Shani’s elegant precision, Martin Fröst’s vivid virtuosity and Paul Ben-Haim’s rare symphonic voice, culminating in radiant musical unity.

****1

Lahav Shani and the Israel Philharmonic at Carnegie Hall

Edward Sava-Segal, 16th October

From Bernstein’s private elegy to Tchaikovsky’s tempered affirmation, the Israel Philharmonic offers an evening of reflection, discipline and quiet radiance.

****1

Lahav Shani leads the Israel Philharmonic back to Carnegie Hall

Edward Sava-Segal, 14th November

After a three-years hiatus, the orchestra returns to New York, with violinist Gil Shaham playing Tchaikovsky's Violin Concerto before an assured Prokofiev Fifth Symphony.

****1

Zubin Mehta and the Israel Philharmonic in Jūrmala

Roy Westbrook, 24th August

Jan Lisiecki's leap-in with the Israel Philharmonic offers extra spontaneity in Beethoven's Fourth Piano Concerto.

*****

A cursory Mahler 3 from Zubin Mehta and the IPO

Vishnu Bachani, 8th November

In a work as complex and multifaceted as Mahler’s Third, plumbing the depths of the music is not a trivial task. Mehta and his orchestra shone in moments but not uniformly across the symphony.

**111

Mehta and the Israel Philharmonic at Carnegie Hall

Edward Sava-Segal, 7th November

Tonal finesse, graceful articulation and magical simplicity mattered more than anything else in Yefim Bronfman's version of Beethoven's Third Piano Concerto.

****1

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Roy Westbrook

Roy Westbrook gained a diploma in music history at London University (Morley College) and was for some years the head of music day schools at Oxford University, where he also led music summer schools. After some years leading the University's business school he has returned to music teaching and writing, and recently took part in the Arts in Residence courses on Bruckner, Mahler and Bach He is co-author (with Terry Barfoot) of a history of opera, and has taught day schools on Sibelius in Oxford and elsewhere.