| Date and venue | Title |
|---|---|
| 20-Mar-2013 Southbank Centre: Royal Festival Hall | Enchanting Russia: The RPO play Borodin, Prokofiev and Tchaikovsky |
 David Lindsay 2007.jpg) It took the Royal Philharmonic Orchestra a little while to settle into tonight’s performance – which was a shame, because Borodin’s overture to Prince Igor can be a fantastic programme opener. A slightly untidy brass chord began the measured introduction, which sadly lacked tension in the build-up to the sudden fanfare and breakneck main theme.Read full review... | |
| 14-Dec-2012 Usher Hall | John Lill's Greig the highlight of RSNO's winter programme in Edinburgh |
 Under the baton of Christian Kluxen, their young Danish Assistant Conductor, there was a distinctly Scandinavian flavour to the RSNO’s concert on Friday evening. While not sold out, the Usher Hall was reassuringly full, the audience no doubt drawn by the familiar names on the programme as well as undeterred by the novelties.
Read full review... | |
| 14-Jul-2012 Blossom Music Center | Tchaikovsky at Blossom Festival: Sinaisky and Müller-Schott make Cleveland Orchestra debuts |
 Blossom Music Center, summer home of The Cleveland Orchestra, is about 25 miles south of Cleveland, just to the north of Akron, in a beautiful wooded area nestled next to the Cuyahoga Valley National Park. Opening in 1968, Blossom presents a wide variety of concerts, both orchestral and popular, and theatrical events each summer. The parabola-shaped Pavilion, with its stained wood stage walls, sits at the bottom of a natural hill, thus creating a grassy amphitheater for audience members who wish to sit outside under the stars.Read full review... | |
| 25-Jan-2012 Birmingham Symphony Hall | Early Tchaikovsky and Brahms welcomed in wintry Birmingham |
| Two firsts for the price of one. The anticipated Piano Concerto no. 2 by Brahms was replaced by no. 1, as it suited French pianist Hélène Grimaud’s recording commitments with Deutsche Grammophon. Would the audience be taking a risk opting (perhaps unwittingly) for a double dose of early works, written before the composers’ output reached full maturity? Read full review... | |
