LSO Live
Sir Simon Rattle and Bavarian Radio Symphony Orchestra solve the riddle of Gustav Mahler’s Symphony No. 7. The conductor and the London Symphony Orchestra also offer a refreshingly impish, characterful traversal of music by Kurt Weill.
Sir Simon Rattle revisits the music of Benjamin Britten and Elim Chan once again draws on her remarkable ear for detail.
Two takes on the orchestral music of Prokofiev — one impish and unpretentious, the other revelatory.
Nazareno is bright, often joyous, and easy on the ears. That ought to count for something.
These are tough, feisty, devastating pieces — easily among the 20th century’s finest symphonies — and they receive ferocious readings from Antonio Pappano and the LSO.
Mariss Jansons’ ultimate performance, taped live at Carnegie Hall, shows the maestro at the top of his game; François-Xavier Roth’s new recording of pieces by Ravel and Debussy is a bit of a hit-or-miss affair; Diana Damrau’s Tudor Queens, a survey of heroines from three Donizetti operas, is nothing short of terrific.
Concert halls and opera houses remain closed — but unusual musical experiences await in this era of social isolation.
Ádám Fischer’s reading of Mahler’s Eighth Symphony is breathtakingly clean.
Michael Tilson Thomas delivers a towering Ives Fourth; pianist Conrad Tao’s American Rage is hard-edged and defiant, but also poignant and stirring; Gianandrea Noseda’s Shostakovich Fourth is ferocious.
Simon Rattle’s Bruckner is, on the whole, lean and lively; if you’re looking for a new Mahler Four, Vladimir Jurowski’s is the one to check out; Thierry Fischer leads performances of each symphony that take Saint-Saëns’ writing seriously.
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