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.
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Sir Simon Rattle revisits the music of Benjamin Britten and Elim Chan once again draws on her remarkable ear for detail.
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Two takes on the orchestral music of Prokofiev — one impish and unpretentious, the other revelatory.
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Nazareno is bright, often joyous, and easy on the ears. That ought to count for something.
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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.
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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.
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Concert halls and opera houses remain closed — but unusual musical experiences await in this era of social isolation.
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Ádám Fischer’s reading of Mahler’s Eighth Symphony is breathtakingly clean.
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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.
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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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Arts Commentary: Climate Crisis Cabaret — Marching Orders