Showing posts with label London Philharmonic. Show all posts
Showing posts with label London Philharmonic. Show all posts

Friday, January 26, 2007

LPO TO GIVE UK PREMIERE OF KORNGOLD'S 'DAS WUNDER DER HELIANE'

It's true! Korngold's biggest, greatest opera is finally to receive its UK premiere, nearly 80 years after it was written. The London Philharmonic will play, Vladimir Jurowski will conduct, and an all-star cast is headed by Patricia Racette, Michael Hendrick and Andreas Schmidt; supporting roles will be taken by the likes of Willard White, Robert Tear, Ursula Hesse von den Steinen and Andrew Kennedy. Date for the diary: 21 November 2007. Pre-concert talk by a Korngold devotee closer than you think (*blush*). Full details here.

Yesterday the upbeat team of what's now written as the Southbank Centre launched the classical music programme for the reopening season of the spanking newly refurbished Royal Festival Hall. 11 June is the big day; the first 48 hours are all free; and all four resident orchestras - the LPO, the Philharmonia, the Orchestra of the Age of Enlightenment and the London Sinfonietta - will play together for the very first time (Ravel's Bolero included). There's a tremendous bonanza of world-class music-making to look forward to. I note with tears in my eyes that the Philharmonia lists piano god Radu Lupu among its soloists. He hasn't played at the South Bank since...well, I can't remember. Pollini will be playing two Beethoven concertos with the LPO. The Piano Series includes recitals by Uchida, Brendel, Andsnes and Krystian Zimerman. Violinists include Mutter, Fischer, Kavakos. There's a run of Carmen Jones in the summer, and later there'll be festivals of Nono and of Messiaen for his centenary.

And they are going to do a Korngold anniversary series. A couple of years ago, I realised that 2007 would be the 50th anniversary of EWK's death and decided that someone had to do something, otherwise nothing would happen. Sketched out my Fantasy Football Korngold Festival, took it to the then head of classical music at the South Bank and left it in her capable hands. Cripes - they went for it. I'm still pinching myself in wonder. Of course, the series has evolved from the basic plan, with everyone deciding which pieces to do; and Vladimir himself plumped for Heliane, not Die tote Stadt.

The LPO is doing three Korngold concerts: a film music programme on 2 November conducted by John Wilson, putting his music alongside Steiner, Newman, Rozsa, Williams et al; the Violin Concerto with the glorious Nikolaj Znaider on 14 November, in a programme with Zemlinsky and Shostakovich conducted by Jurowski; and Heliane to culminate. The Korngold series will also feature a day of events on 27 October, with the showing of Barrie Gavin's splendid documentary, a round-table discussion with a panel of exerts (I'll be asking the questions), a chamber concert by the Nash Ensemble and a song recital by Anne Sofie von Otter with that great Korngold champion Bengt Forsberg at the piano.

I'll introduce a Korngold Watch series on this blog as soon as I can, as there are events taking place all over the world. But to the best of my knowledge, ours here in London is one of the biggest. BOX OFFICE IS NOW OPEN: 020 7840 4242 or online via the concert links above.

Thursday, May 04, 2006

Jurowski to be principal conductor of LPO

The London Philharmonic Orchestra announced today that 34-year-old Russian conductor Vladimir Jurowski is to take over as its principal conductor as from the reopening of the Royal Festival Hall in 2007. Much jubilation ensued.

Seriously good news, I reckon, as Jurowski is the most exciting young conductor I've come across. There are some excellent chaps out there, but his performances have been head & shoulders above the rest. Vladi is currently the LPO's principal guest conductor and his presence on the podium transforms the atmosphere into something collaborative, young, upbeat and not only a little thrilling. More details shortly.

Saturday, October 29, 2005

The nice surprise I mentioned

After - how many?! oh no!! - decades of living in London and attending its various flawed concert halls, I had a huge surprise the other day. Tom's orchestra, the London Philharmonic, is (like its sister Philharmonia) currently homeless while the Royal Festival Hall undergoes its long-awaited refurbishment. So they're playing next door at the Queen Elizabeth Hall instead. Normally I loathe the QEH. It's a miserable concrete monstrosity and its gloomy interior induces little other than sleepy ennuie.....well, until now. What happened? They've opened up the platform so that it's far deeper than usual; they've put up some wooden acoustic stuff (looks a little like stacked up coffins) to the back and sides and - bingo! The band and Vassily Sinaisky started up some lovely Glinka and there was the sound we'd always wanted. Resonant. Warm. Clear. Close. Wallow-in-able. Glorious. Right there in our very own QEH. I was speechless.

Great concert too - another first was hearing Tchaikovsky's Third Symphony live in a concert hall. A work I've always loved from recordings but one that never normally gets played, except for the New York City Ballet performing Balanchine's 'Jewels'. Tchaikovsky in a good mood is such a rarity that it's surprising nobody makes the most of it when it happens, as it undoubtedly does here. The nickname 'Polish' makes me laugh, though, because - except for the Polonaise in the last movement - this music is so terrifically, unmistakeably Russian...

The evening was only marred a little by the Dvorak Cello Concerto, played passably - I use this word with reason, as you'll see in a mo - by the LPO's quasi-resident soloist, Pieter Wispelwey. He's a handsome Dutch fellow (peculiarly resembling a leading British politician) who is very good at Bach in period style. No reason, I guess, why he should have a grander concept of the Dvorak, given that his natural bent is clearly not for romanticism. But hear that famous recording of Slava playing his guts out, and one wonders why anything less would ever do. Playing aside, Wispelwey's facial expressions - ranging from apparent surprise to intense frustration to incipient apoplexy - conjured up for me startlingly marvellous images of Tony Blair in need of prunes.

UPDATE: SUNDAY MORNING - Here's Anna Picard's review of the concert from The Independent - she has less time than me for the QEH acoustics, and more for Wispelwey's playing, but her impression of his face is even more extreme than mine...!

Thursday, February 17, 2005

Underdog schmunderdog

Big thanks to Tim for a link to the Atlanta remarks/quotes about yrs truly's blog. I guess I was a technotwit after all...

I do have to take exception, though, to the journalist's description of Tom's orchestra, the London Philharmonic, as the 'underdog' among the top 5 London orchestras. Everyone gets the names confused now and then, but the LPO is really in pretty good shape (one sole section currently lets it down with depressing regularity, but I'm not really allowed to write about that...suffice it to say that it ain't the violins!). No, the real underdog is actually the Royal Philharmonic - which is absolutely tragic.

This once great orchestra, founded by Sir Thomas Beecham, gave the first Royal Festival Hall concerts I ever went to. I'll never forget, aged 12, sitting in the RFH listening to them playing Strauss's Don Juan and feeling the socks flying from my feet as the trombones glistened and the bows scrubbed...I remember thinking, 'I want to be part of this...' - little suspecting that, instead, I'd someday marry someone who was! But today the RPO has been left out in the cold in terms of government funding. The LSO gets the lion's share, and its home in the Barbican in the City of London enables it to have around double the cash of any of the others. No wonder it sounds good. The LPO and Philharmonia share a residency at the RFH and get decentish government money at the next level down. They both sound jolly good too. The BBCSO is a law unto itself, as ever: sometimes it sounds great, sometimes it doesn't, but it's not often to blame for the latter as its raison d'etre is its often weird and taxing programming. But the RPO, not having a high-profile residency (though it does have a new Chelsea base at Cadogan Hall now), gets such paltry funding that it has to resort to many of the most miserable kinds of orchestral gigs to make ends meet. It sounds and feels seriously demoralised. A pal of mine played a concerto with them out of town a year or so ago - I went along, and sitting in a draughty, miserable hall in which I was the youngest person by 40 years, listening to a draughty, miserable orchestra, was really sad, especially when I remembered how they had sounded all those years ago. It's not that they don't try - they certainly do - and I have the greatest respect for the way they soldier on. But I think they are trapped in a vicious circle and I don't know how they can get out of it.

The LPO is off on tour to Germany, Switzerland and Ljubljana next week, with Paavo Berglund conducting and soloists including cellist Pieter Wispelwey and violinist Christian Tetzlaff. They'll have to wrap up warm because it's -11 degrees in some of these places. Tom & I tried to check the forecasts for Ljubljana on the internet last night. After trying to spell it three times, we had to give up and try 'Slovenia' instead.