| Date and venue | Title |
|---|---|
| 1-Nov-2012 Southbank Centre: Royal Festival Hall | Nicola Benedetti and the Royal Philharmonic Orchestra at the Royal Festival Hall |
 For those who like their orchestral music Romantic, strident and generally unrelenting, the Royal Philharmonic Orchestra’s concert on 1 November was just the job. Korngold’s Violin Concerto in D major, played by Nicola Benedetti, was sandwiched in between two emotionally charged pieces of Tchaikovksy as the RPO under Diego Matheuz played to a packed Royal Festival Hall.
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| 22-Feb-2012 Sidney Myer Music Bowl | Melbourne Symphony: Kodály, Liszt and Tchaikovsky |
 Wednesday’s performance by the Melbourne Symphony Orchestra, entitled “Rising Star,” was the third in a series of four free concerts this year at the Sidney Myer Music Bowl. For over fifty years, these annual free concerts have given audiences in Melbourne a unique opportunity to sample select works from the classical music repertoire in open air. More than 9,000 attended Wednesday’s concert alone, many bringing picnic boxes and sitting on the grass.
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| 18-Nov-2011 Vredenburg Leidsche Rijn | Nicola Benedetti and Diego Matheuz: succesful debuts with the Radio Philharmonic Orchestra |
 Zoltán Kodály was an ethnomusicographer as much as a composer: he studied the folk music of Hungary, and this influence can be heard in most of his works. Dances of Galánta is no exception, yet it is so much more than folk melodies arranged for an orchestra. As an orchestral suite it’s dynamic yet consistent; the rhythms are upbeat and make you want to dance (as a dance suite should), yet the melodies are intimate and subtle. The woodwind section was excellent, playing the incredibly demanding and high-speed parts with ease, each one sounding as beautiful as the next.Read full review... | |
| 17-Jan-2011 Southbank Centre: Royal Festival Hall | Young blood at the Festival Hall |
 The theme of the first half of last night’s concert seemed to be love, in two of its many guises. Firstly of the sickly sweet variety: the love between hero and heroine in Berlioz’ Benvenuto Cellini, the opera from which he took material for the Roman Carnival overture. The second is that slightly darker love; the one which inspires you to write a great cello concerto after hearing that your sister-in-law whom you once hoped to marry is dying. Or maybe that’s just Dvořák.
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