| Date and venue | Title | Submitted by |
|---|---|---|
| 17-Apr-2013 Konzerthaus: Großer Saal | A musical thrill at the Wiener Konzerthaus: Simon Boccanegra recorded live | Snapdragon |
 With the business situation in the recording industry being what it is, studio recordings of operas are more or less ruled out. The positive side of this is that the general public gets the chance to be part of concerts that are recorded and enjoy the tension such an event creates more often.Read full review... | ||
| 19-Jan-2013 Southbank Centre: Royal Festival Hall | Where the noise began: Richard Strauss at the Royal Festival Hall | David Karlin |
 A pub quiz question for you, dear reader: with which work did 20th century music begin? The rest is noise, Alex Ross's history of 20th century music, opens with Richard Strauss's 1905 opera Salome, focusing particularly on its final bars. As Princess Salome is crushed under the shields of King Herod's guard, the music turns to what Ross describes as "...a tumult... a howl... a shriek... In effect, the opera ends with eight bars of noise". Last night's all-Strauss concert, which closed with the Dance of the Seven Veils and the last scene from Salome marked the start of a year-long programme of events dedicated to telling the story of 20th century music, inspired by and named after Ross's book.
Read full review... | ||
| 4-Aug-2012 Haus für Mozart | Moving Mahler at Hampson's Salzburg Recital | Nahoko Gotoh |
 The baritone Thomas Hampson is a popular figure at the Salzburg Festival, having appeared there regularly since 1988, and at his Lieder recital with pianist Wolfram Rieger at the Haus der Mozart, one sensed a warm rapport between him and the audience. His programme consisted of Schumann’s Liederkreis, Op. 39, Dvořák’s Zigeunermelodien and Mahler’s songs based on the text of Des Knaben Wunderhorn.
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| 27-Feb-2011 Cadogan Hall | Mahler for Chamber Orchestra/a great tenor's UK debut? | Peter Grahame Woolf |
 Twice in a week we have enjoyed ideal concert experiences in which all the elements came together; Mozart at Wigmore Hall and this at Cadogan Hall.
In both cases the acoustics made an essential contribution, Wigmore Hall's giving lustre to Kristian Bezuidenhout's fortepiano and that of the beautiful Cadogan Hall (sold out for this Zurich International Concert and heard from the gallery where the sound is best) enhancing the richness of the chamber orchestra for Wagner and Mahler.
Read full review... | ||
