Birgit Nilsson Prize: dazzling Dvořák from the ever-smiling Yo-Yo Ma

Yo-Yo Ma, Alan Gilbert and the Royal Stockholm Philharmonic Orchestra

Alan Gilbert conducts the Royal Stockholm Philharmonic Orchestra

By Stephen Pritchard, 17 October 2022

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“Ma never does things by halves; there’s real commitment in every phrase and every note”

Reviewed at Konserthuset Stockholm: Stora Salen, Stockholm on 16 October 2022

Berlioz, Symphonie fantastique, Op.14

Dvořák, Cello Concerto in B minor, Op.104

Royal Stockholm Philharmonic Orchestra

Alan Gilbert, Conductor

Yo-Yo Ma, Cello

Musical tributes to Festival d’Aix as it wins Birgit Nilsson Prize

Peter Quantrill, 21st October

Pierre Audi is remembered in words and music as the Festival d’Aix-en-Provence receives $1m – the richest prize in classical music – at Stockholm’s Konserthuset.

Bancroft and the Royal Stockholm Phil brass shine in Bruckner

David Karlin, 24th October

The RSPO's Chief Conductor leads an impressive Bruckner 4. With Augustin Hagelich, Mendelssohn's Violin Concerto is lighter fare, but trips merrily.

****1

Music, people, planet: a triumphant celebration in music for Yo-Yo Ma

Stephen Pritchard, 18th October

The celebrated cellist becomes the first instrumentalist to be presented the Birgit Nilsson Prize by His Majesty King Carl XVI Gustaf at the official Award Ceremony in Stockholm.

*****

Old works and new from Jukka-Pekka Saraste and the RSPO

Sandra Bowdler, 25th November

An intriguing programming of old and new works, covering the time period 1893 to 1976, which themselves contain elements of old and new, beautifully performed.

****1

Grande Finale 4: Oramo and the RSPO conclude a majestic Sibelius cycle

Roy Westbrook, 29th May

In between the two symphonies, there was an extra Sibelius item, and this time it was a novelty.

*****

Grande Finale 3: Favourite Sibelius from Oramo

Roy Westbrook, 26th May

Oramo's structural insight ensures ideal tempo relations between sections, so crucial in Sibelius.

****1

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Stephen Pritchard

Stephen Pritchard began singing as a treble at the age of eight and progressed to become a tenor in Portsmouth Cathedral Choir, the Gibbons Consort and now the English Chamber Choir. Writing about music has been at the core of his 40-year career in journalism, chiefly at the Observer. He has been known to play a pretty mean jazz double bass.