Vale of Glamorgan Festival 2020 online during lockdown
29/05/2020
United Kingdom Vale of Glamorgan Festival 2020
Huw WATKINS – Invention [Huw Watkins (piano); Suite for harp Anne Denholm (harp)] CLICK HERE
John Luther ADAMS – Two dances [Anne Denholm (harp)]; The dream of the hermit thrush; The dream of the canyon wren [George Barton (percussion), Siwan Rhys (piano)] CLICK HERE
Mark BOWDEN – for Michael Harrison [Alice Neary (cello), David Adams (piano)]; Four memos: Exactitude [David Adams (violin), Robin Green (piano)]
David John ROCHE – Tremolo Study 4 [David John Roche (guitar)]
Maja PALSER – A cry [Robin Green (piano)]
Mared EMLYN – Perlau yn y glaw; [Anne Denholm (harp)]
Steph POWER – Dreamtides [Matthew Jones (violin), Annabel Thwaite (piano)]
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An operatic take on The Halloween Tree delights at InsightALT 2020
26/02/2020
United States Theo Popov, The Halloween Tree (concert version): Soloists, American Lyric Theater Chamber Orchestra, MasterVoices / Geoffrey McDonald (conductor). American Lyric Theater, Ailey Citigroup Theater, New York, 23.2.2020. (RP)
The Halloween Tree (c) American Lyric Theater
A provocative approach to Beethoven and Olli Mustonen’s new Sextet at BTVN WOCHE 2020
14/02/2020
Germany BTVN WOCHE [4] – Beethoven and Mustonen: Meta4 (Antti Tikkanen, Mina Pensola [violins], Atte Kilpeläinen [viola], Tomas Djupsjöbacka [cello]), Tabea Zimmermann (viola), Janne Saksala (double bass), Olli Mustonen (piano). Kammermusiksaal Hermann J. Abs, Bonn, 9.2.2020. (MB)
Distinguished Beethoven from the Elias Quartet
14/02/2020
Germany BTHVN WOCHE [3] – Beethoven: Elias Quartet (Benjamin Navarro, Duncan Grant [violins], Simone van der Giessen [viola], Marie Bitlloch [cello]). Kammermusiksaal Hermann J. Abs, Bonn, 8.2.2020. (MB)
Beethoven chamber music provides an evening of delights in Bonn
09/02/2020
Germany BTVN WOCHE [2] – Beethoven: Adam Walker (flute), Lucas Macías Navarro (oboe), Vicente Alberola (clarinet), Guilhaume Santana (bassoon), José Vicente Castelló (horn), Daniel Sepec (violin), Tabea Zimmermann (viola), Tomas Djupsjöbacka (cello), Janne Saksala (double bass), Olli Mustonen (piano). Kammermusiksaal Hermann J. Abs, Bonn, 7.2.2020. (MB) Read more
Meta4’s stimulating celebration of Beethoven 250 in Bonn
09/02/2020
Germany BTHVN WOCHE [1] – Beethoven: Meta4 (Antti Tikkanen, Mina Pensola [violins], Atte Kilpeläinen [viola], Tomas Djupsjöbacka [cello]). Kammermusiksaal Hermann J. Abs, Bonn, 6.2.2020 (MB) Read more
Much to enjoy as Mitsuko Uchida and the Mahler Chamber Orchestra play Mozart
29/01/2020
Austria Salzburg Mozartwoche [5] – Mozart: Chiara Tonelli (flute), Alexi Kenney (violin), Béatrice Muthelet (viola), Frank-Michael Guthmann (cello), Mahler Chamber Orchestra, Mitsuko Uchida (piano, conductor). Grosser Saal, Mozarteum, Salzburg, 27.1.2020. (MB)
Mitsuko Uchida (c) Richard Avedon
A delightful celebration of Mozart’s birthday in Salzburg
28/01/2020
Austria Salzburg Mozartwoche [4] – Mozart: Les Vents français (François Leleux [oboe], Paul Meyer [clarinet], Gilbert Audin [bassoon], Radovan Vlatković [horn]), Kodály Quartet (Attila Falvay, Ferenc Bangó [violins], Zoltán Tuska [viola], György Éder [cello)), Éric Le Sage (piano). Grosser Saal, Mozarteum, Salzburg, 27.1.2020. (MB) Read more
Latest Classical Music News and Reviews
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This joyous set of Beethoven's sonatas takes its place among the very best.In its own way, the Seven Words of Christ is just as sublime as the Stabat Mater.This sensitive, dynamic recording is a joy, and may even constitute a revelation.The pair exhibits a refined style on these illuminating performances.A deeply affecting experience that ought to win the opera many new admirers.'We're dealing with constantly changing regulations,' said conductor Sakari Oramo
This joyous set of Beethoven's sonatas takes its place among the very best.
In its own way, the Seven Words of Christ is just as sublime as the Stabat Mater.
This sensitive, dynamic recording is a joy, and may even constitute a revelation.
The pair exhibits a refined style on these illuminating performances.
A deeply affecting experience that ought to win the opera many new admirers.
'We're dealing with constantly changing regulations,' said conductor Sakari Oramo
