Bournemouth Symphony Orchestra reviews

Bournemouth Symphony Orchestra reviews

I Vespri Verdiani: Verdi Arias by Olga Mykytenko (soprano); Bournemouth Symphony Orchestra/Kirill Karabits

I Vespri Verdiani: Verdi Arias

Olga Mykytenko (soprano); Bournemouth Symphony Orchestra/Kirill Karabits (Chandos)
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Lyatoshynsky: Symphony No. 3; Grazhyna

Bournemouth Symphony Orchestra/Kirill Karabits (Chandos)
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Komitas • Terterian: Orchestral Works

Bournemouth Symphony Orchestra/Kirill Karabits, et al (Chandos)
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Kirill Karabits conducts Walton's Symphonies Nos 1 & 2

Walton’s First Symphony is no longer considered the kind of severe technical challenge to an orchestra that it used to be. Even so, the Bournemouth Symphony Orchestra’s delivery of the score is a tribute to the standard that can be taken for granted from today’s players: one notoriously tricky passage after another (eg for violas at 2:18 in the first movement) is brought off with top-flight panache and accuracy.

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The Bournemouth Symphony Orchestra and Kirill Karabits interpret orchestral works by Karayev

Who needs the music of Kara Karayev? Azerbaijan, perhaps, may be proud to have a national figure, however tainted by Soviet association (he died in 1982). But quite why conductor Kirill Karabits felt the need to unearth the undistinguished music on this recording slightly  baffles me.

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The premier recording of Dyson's Choral Symphony

George Dyson wrote his Choral Symphonyin 1910, for his Oxford doctorate, but it gathered dust in the university’s Bodleian Library for the best part of a century until Dyson biographer Paul Spicer discovered it. This is the Symphony’s premiere recording.

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Kirill Karabits conducts Walton's 'notoriously tricky' Symphonies Nos 1 & 2

Walton’s First Symphony is no longer considered the kind of severe technical challenge to an orchestra that it used to be. Even so, the Bournemouth Symphony Orchestra’s delivery of the score is a tribute to the standard that can be taken for granted from today’s players: one notoriously tricky passage after another (eg for violas at 2:18 in the first movement) is brought off with top-flight panache and accuracy.

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