Royal Liverpool Philharmonic Orchestra reviews
Zemlinsky: Die Seejungfrau etc
Royal Liverpool Philharmonic Orchestra/Vasily Petrenko (Onyx)
Elgar: Sea Pictures; The Music Makers
Kathryn Rudge (mezzo-soprano); RLPO/Vasily Petrenko (Onyx)
Rebecca Dale: Materna Requiem; When Music Sounds
Louise Alder, Trystan Griffiths; Kantos Chamber Choir; Cantus Ensemble; Royal Liverpool Philharmonic Orchestra/Clark Rundell; The Studio Orchestra/Jeff Atmajian (Decca)
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Wolf-Ferrari: I quattro rusteghi
Silvia Beltrami, Aleksandar Stefanoski, Daniela Degennaro, Mihnea Lamatic, Tansel Akzeybek, Mirko Quarello, Giulio Pelligra, Romina Casucci, Agnieszka Hauzer, Ana James; European Opera Centre, Royal Liverpool Philharmonic Orchestra/Vasily Petrenko (Rubicon)
Bernstein: On the Waterfront, etc
Royal Liverpool Philharmonic Orchestra/Christian Lindberg (BIS)
Mendelssohn • Britten: Violin Concertos
Sebastian Bohren; Royal Liverpool Philharmonic Orchestra/Andrew Litton (Sony)
Elgar & Finzi: Violin Concertos
Ning Feng; Royal Liverpool Philharmonic Orchestra/Carlos Miguel Prieto (Channel Classics)
Mozart: Così fan tutte
Francesco Vultaggio, Héloïse Mas, Alexander Sprague, Biagio Pizzuti, Hamida Kristoffersen; European Opera Centre; Royal Liverpool Philharmonic Orchestra/Laurent Pillot (Rubicon)
Musorgsky • Shchedrin, et al: Orchestral Works
Royal Liverpool Philharmonic Orchestra/Vasily Petrenko (Onyx)
James Ehnes and the RLPO pay handsome homage to Vaughan Williams
‘The music sounds as rapturously beautiful as ever’
Vasily Petrenko conducts animal-themed music by Prokofiev and Saint-Saëns
It’s a measure of Peter and the Wolf’s brilliance that no amount of theatrical histrionics or ‘fashion’ can spoil a score of such spare, enchanted perfection. Its economy of means – both in words and music – give it a mirror-like quality, reflecting the changing ethos of the times.
James Ehnes performs violin concertos by Beethoven & Schubert with 'warmth and sweetness'
‘The whole gigantic scheme is serene’, the early 20th-century music analyst Donald Francis Tovey aptly remarked of Beethoven’s Violin Concerto. It’s as though the composer had deliberately set out to write a work almost entirely devoid of tension within the essentially dramatic form of the concerto – much as he did for the symphony a couple of years later, with the Pastoral.