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Daily Maverick
a day ago
- Entertainment
- Daily Maverick
The thrill of a live classical music performance is here to stay
Why still hear classical music live? What can a concert by your local orchestra offer, when there are more than 100 years of unsurpassable recordings available to listeners? No less a towering giant than Glenn Gould considered live performances outdated and artistically inappropriate. He gave his last concert in 1964, and spent the next 20 years in recording studios, changing the way people listened to piano music. No local musician could recreate what masters like this produced in studio conditions, so why go to hear them play those same pieces? It was something I wondered myself as I trudged through Parktown, on the icy first night of the Johannesburg Philharmonic's Winter Symphony Season, to hear Grieg's Piano Concerto. When I open my Idagio app, I can find 40 different recordings of the same piece within a few seconds, from Dinu Lipatti's poetic, intimate account with the Philharmonia Orchestra in 1947, to Leif Ove Andsnes's 2003 epic drama with the Berlin Philharmonic, which reaches a technical refinement that not even machines could reproduce. What could a concertgoer hope to get out of a Joburg performance in 2025, with so much freshness and bravura available at their fingertips? One resounding answer arrived in the person of Aleksandra Świgut, a 33-year-old Polish pianist with an enthralling stage presence. She showed up to play the Grieg looking like a conventional concert pianist, though what emerged from her playing was something quite unique. She opened the concerto with the solid force that Grieg's A-minor chords demand (and that JPO listeners have come to expect, in the wake of Olga Kern). But her strength turned out to be just one bright shade in a broader spectrum. Brawn gave way to a smooth elegance in the main theme, and eventually to a tender sensuousness in the romantic second theme. In between, there were so many sharp switches in touch, tone, timbre and articulation – like hairpin bends turning from one colour of the rainbow to the next – navigated with a thrilling virtuosic energy. Call her a chameleon in combat boots. What was perhaps an even rarer achievement was her total musical and dramatic integration with the ensemble. Many Romantic concertos are performed either as a contest between piano and orchestra, or to extol a shining hero among the duller masses. Świgut carried off the impressive interpretive achievement of taking up a lead role while honouring a larger structure. Could it match the precision or intensity of the Grieg recordings on offer? It hardly matters, because it was unique, a performance that could not be replaced by any other. Here was an artist who brought both thought and passion to her work, and it crackled with energy as it came to life before an audience's rapt ears. The soloist who appeared the following week – Andrey Gugnin (38), Russian – was no less dazzling in his technique, but his standout moment came after he had played his programmed work. Rachmaninoff's First Piano Concerto is often heard in the shadow of his titanic Second and Third Concertos, but it glitters with something not found in its successors, a wonderful weirdness and youthful tension, where you can almost hear the composer forming his own voice in real time. Gugnin discharged it with a poised athleticism, and then returned amid loud applause to play an encore, which turned out to be one of the highlights of an entire musical year. His encore, Rachmaninoff's G-major Prelude, emerged with a tender intimacy that drew the entire hall inward. The melody unfolded tremulously, as if Gugnin himself didn't know what the next note might be. His right hand was light, with its notes shimmering over the Steinway's strings like sunlight on water, and his left hand gently and elegantly grounded the Prelude's lyricism. A quiet radiance emanated from the stage throughout the hall, and the moment felt suspended out of time. For two and a half minutes, its tenuous enchantment brought present listeners closer to the deep heart's core. Recordings by even better pianists could not do that. Some regular concertgoers may groan to see Beethoven on the programme. His symphonies are both intellectually and emotionally vibrant (they're classics for a reason), but are treated by many musicians with either a reverence or a torpor that deadens their spirit. Conrad van Alphen clearly is not one of those musicians. The South African-born conductor, who led the third week of the season, has forged a successful career in Europe; listening to his guest appearances at the JPO, it's not difficult to see why. His Pastoral Symphony (Beethoven's Sixth, in F major) blasted away all thoughts of cold fronts, winter winds and Joburg's general June jitters. The first movement, which Beethoven titled 'Awakening of cheerful feelings on arrival in the countryside', was light and lucent. The first violins sailed through their melodies like a swallow soaring in springtime, and when the winds and French horns joined them the sound beamed from the stage with very cheerful feelings indeed. In fact, a lot of Van Alphen's direction was marked by an irresistibly strong forward momentum and upward lift; or, put more bluntly, it was remarkably bright, loud and fast. Not in a roughshod way, but with long, flowing lines, and a warmer and more luminous energy than this reviewer has ever heard in the Pastoral Symphony. The third movement, a 'Merry gathering of country folk', was a vivacious dance, and many listeners in the audience seemed to be bopping their heads along to the music. Van Alphen didn't rush mindlessly through it, but steered the orchestra effortlessly through shifts in tempo and volume to evoke a vibrant, three-dimensional setting. The thunderstorm of the fourth movement was a rip-roaring force of nature, and when the sun came out again in the final movement, it was with a luster that sun-loving South Africans could wholeheartedly embrace. As the orchestra breezed through the last few minutes of the shepherd's grateful song, there seemed to be radiance arising and filling the hall. For now, it seems that the JPO and its audiences will still have to do with only one concert per week, which can seem scant to many when they find that performances are sold out long in advance. No Wednesday-night concerts are scheduled for next month's Early Spring Season either. But a gratifying appendage to the Winter Season was the JPO's accompaniment of Joburg Ballet's stunning production of Swan Lake, which opened at the Joburg Theatre and will soon travel to the Cape Town International Convention Centre. Unsurprisingly, the orchestra dazzled the audience on the night I attended. Note mistakes aside, they played with a sharp, snappy energy that kept the drama humming from each moment to the next, and a sprightly, buoyant sound that seemed to lift the dancers onstage. Particularly noteworthy is Johan Ferreira, the principal oboist, who had to carry the famous theme many times throughout the performance, as well as the concertmaster Miro Chakaryan and principal cellist Susan Mouton, who accompanied Siegfried and Odette in their moving pas de deux. I also especially enjoyed trumpeter Donald Bower's jovial solo in the Neapolitan Dance. The conductor, Eddie Clayton, welcomed a resounding applause for the players in the pit at the end of the show, securing the irreplaceable sense of joyful communion and spontaneous energy that brings a packed theatre together. Recordings have their beauty, but the thrill of a live performance is certainly here to stay. DM
Korea Herald
18-06-2025
- Entertainment
- Korea Herald
Berlin Philharmonic to return to Seoul for three concerts
The Berlin Philharmonic will return to Korea after a two-year absence, this time under the leadership of Kirill Petrenko. For the first time, the orchestra will give three performances in Korea, Nov. 7-9. Korean pianist Kim Sun-wook, who debuted with the Berlin Philharmonic in 2021, will join the orchestra in performing Schumann's Piano Concerto on Nov. 7 and 9. Also on the program for the two dates are Wagner's "Siegfried Idyll," Schumann's "Manfred" Overture and Brahms' Symphony No. 1. The Nov. 8 program will feature Leos Janacek's "Lachian Dances," filled with lively Czech folk influences; Bela Bartok's "The Miraculous Mandarin Suite," driven by bold percussion rhythms; and Igor Stravinsky's "Petrushka," one of the composer's three great ballets. All three concerts will take place at the Seoul Arts Center. In 2023, returning to Korea for the first time since 2017, the Berlin Philharmonic's concerts in Seoul sold out in just 40 seconds, demonstrating the orchestra's immense popularity in Korea. At that time, celebrated pianist Cho Seong-Jin, the orchestra's artist in residence for the 2024/25 season, joined the orchestra as the soloist for the second concert, performing Beethoven's Piano Concerto No. 4. The November performances in Korea will mark the first leg of the orchestra's Asia tour, during which it will stop in major Asian cities such as Taipei, Shanghai and Tokyo. In Taipei, the orchestra will perform at the National Concert Hall on Nov. 12 and 13. On Nov. 15 and 16, the orchestra will take the stage at the Shanghai Oriental Art Center. In Japan, the orchestra will offer four concerts between Nov. 19 and 23 at Suntory Hall in Tokyo, Minato Mirai Hall in Yokohama, and Muza Kawasaki Symphony Hall in Kawasaki, before returning to Suntory Hall on Nov. 23 to wrap up the Asia tour. Ticket prices for the Korean concerts range from 110,000 won ($80.26) to 550,000 won.
ABC News
03-06-2025
- Entertainment
- ABC News
WASO: Liszt's Piano Concerto
Franz Liszt was renowned for his ultra-virtuosic works for piano. One of the greatest pianists of our time, Lukáš Vondráček shines in Liszt's Piano Concerto No.1, an innovative masterpiece that is dazzling and daring. Elgar described his Second Symphony as a 'passionate pilgrimage of the soul'. Musically rich and emotionally complex, it encompasses the heights of joy and the depths of despair. WASO Principal Conductor Asher Fisch leads us through this enigmatic yet glorious work. Recorded live in concert by ABC Classic at the Perth Concert Hall on the 7th of September 2024. Producer Gavin Fernie. Engineers Richard Glover and Gavin Fernie. Program. Franz LISZT: Les Préludes (Symphonic Poem No.3) Franz LISZT: Piano Concerto No.1 Edward ELGAR: Symphony No.2 Artists. Lukáš Vondráček (piano) The West Australian Symphony Orchestra Asher Fisch (conductor) More. Digital program here.
Irish Independent
22-05-2025
- Entertainment
- Irish Independent
Irish Chamber Orchestra and renowned pianist to play Beethoven compositions at Kerry venue
Mr Bezuidenhout is returning for his third collaboration with the orchestra for the next instalment of his much-anticipated Beethoven Piano Concerto cycle The South African-born pianist brings his own blend of brilliance to Beethoven's music and, following on the success of Piano Concertos Nos. 1 and 3 in October 2023, he is turning his attention to Piano Concertos 2 and 4. Each piece promises to be a dramatic dialogue between Bezuidenhout and the orchestra, from fierce defiance to tender vulnerability while pushing boundaries with bold, expressive depth. Piano Concerto 2 is said to sparkle with youthful charm and wit while Concerto 4 is said to be intimate and emotional before soaring to a radiant finale. The Irish Chamber Orchestra and Kristian Bezuidenhout will play the Tralee venue on Friday, June 20. Tickets can be purchased online for €28.50 (retired/unwaged: €26) plus booking fees at The Irish Chamber Orchestra will play the University Concert Hall in Limerick on June 19 and The Whyte Recital Hall in Dublin on June 21.
Otago Daily Times
14-05-2025
- Entertainment
- Otago Daily Times
Conductor keen for finalists' concert
Dunedin Symphony Orchestra principal guest conductor James Judd is delighted to be working with the city's top young musicians ahead of Friday's "Rising Stars" Dunedin Concerto Competition concert. The concert will feature the three finalists in the concerto competition — cellist Portia Bell, 18, and pianists Ozan Biner-McGrath, 16, and Roy Zhang, 18, in performance, accompanied by a combined Dunedin Symphony Orchestra and Dunedin Youth Orchestra. Zhang has chosen to play the first two movements of Ravel's Piano Concerto in G Major , Bell has chosen to play the first movement of Dvorak's Cello Concerto and Biner-McGrath has chosen to play the first movement of Mozart's Piano Concerto in D Minor . This week, Judd has spent time with each of the young soloists, working through their performances and offering tips and support. "It has been marvellous working with them, because they are all so prepared and confident," he said. "It is very special and so important to encourage and celebrate such talented young musicians." Over the course of his long international career, Judd has worked with many young players and regards it as a privilege and a responsibility. "These sessions I have with them give me a chance to find out who they are, and encourage them to be courageous and free. "It is a real achievement to reach the final, so I'm hoping they will really enjoy the experience." The other aspect of the performance, combining the Dunedin Youth Orchestra with the Dunedin Symphony Orchestra, will be a new experience for him and is one he is looking forward to. "It is quite a different skill to provide accompaniment for a soloist, so I will be encouraging everyone to listen very closely to each other," he said. Judd has confidence in the skills of Dunedin Youth Orchestra director and conductor David Burchell to have the young players well prepared. "I am so impressed by all the work that music teachers and leaders of music organisations do to nurture the talent of our young people," he said. "It is something the Dunedin community can be very proud of and should celebrate." The Dunedin Youth Orchestra will feature during the concert's first half, conducted by Burchell, performing a selection of popular classics, including Offenbach's Overture to La Belle Helene , Arnold's Little Suite No. 2 , Prokofiev's Montagues and Capulets from the Romeo & Juliet Suite , and Coates' Knightsbridge March . Dunedin Concerto Competition Charitable Trust chairman Pieter du Plessis said the two-yearly event aimed provide exceptional performance opportunities for young classical musicians from across Otago and Southland. The competition was made possible through the long-term support of its patrons, led by Bruce Hodgson, the Towers Charitable Trust, the Bill and Clare Hodgson Bequest and funding from the Dunedin City Council Arts Grants, Creative Communities, Otago Community Trust and the Dunedin Casino Charitable Trust. Community support had been strong for the event, with good attendance at the preliminary rounds in March, and organisers were hoping for another full house for next week's finalists' concert, Mr du Plessis said. "By attending, you're not just supporting three finalists — you're backing the whole stage of young 'rising stars' who represent the next generation of musicians, educators and cultural leaders," he said.
