Music for A Midsummer Night’s Dream, RSNO/Sondergard at Glasgow Royal Concert Hall
Conductor Thomas Sondergard with the RSNO at the Glasgow Royal Concert Hall review by Ken Bruce
Conductor Thomas Sondergard with the RSNO at the Glasgow Royal Concert Hall review by Ken Bruce
Music Rufus Wainwright/BBC SSO Glasgow Royal Concert Hall Keith Bruce four stars HALF a century ago, collaborations with orchestras by The Nice and Caravan were progressive. More recently pop and rock has wrapped itself in lavish orchestrations in a more conservative way, to reboot back catalogue.
Music, RSNO/Søndergård, Glasgow Royal Concert Hall, four stars
Violinist Nicola Benedetti has announced a programme that features a number of headline-making boasts, including the largest presence of opera for some years, what is claimed to be the most generous ticket concession plan in the event’s history, and birthday celebrations for veteran orchestral conductors with long histories of participation in the Festival.
IT is telling of the development of Bearsden Choir that chorus director Andrew Nunn is relaxed about repeating repertoire, like the two works in this programme, Vivaldi’s Gloria and the Faure Requiem. Just as significantly, the one new work it has commissioned, Love Lives Beyond the Tomb, by choir alumnus George Swann, will have an all-important second performance at the next concert in May.
virtuosic violinist Pekka Kuusisto Music SCO/Emelyanychev City Halls, Glasgow Keith Bruce five stars The Scottish Chamber Orchestra has an established and fruitful relationship with virtuosic violinist Pekka Kuusisto, but this season’s sequence of three concerts featuring the charismatic Finn looks designed to introduce him afresh to new audience members. With evenings he directs built around Vivaldi’s Four Seasons and then focused on his interest in folk fiddle still to come, here he was in the traditional role of orchestral soloist, playing the First Violin Concerto by his countryman Magnus Lindberg.
WHEN the latest programme from Scotland’s Dunedin Consort reaches London’s Wigmore Hall on its short tour, superlatives may well be deployed. It was already very good at this first performance, with the ensemble’s home gig in Edinburgh still to come.
FRENCH composer Jules Massenet’s version of Cinderella may stick closer to the pantomime story everyone knows than Rossini’s La Cenerentola, but it still has its decisive differences.
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