Fabulous concert last night.
Shostakovitch: Violin Concerto No. 1. Viktoria Mullova (violin)
Ravel: 'Daphnis and Chloe' complete.
Ms Mullova was on top form and if her interpretation of the 2nd movement was not as manic as on her recording with Andre Previn, the beauty of the first and third movements more than compensated. A memorable performance.
The performance of 'Daphnis and Chloe' was also one which will stay in the memory for a long time. The huge orchestra was on top form in a performance conducted by Mark Elder with sensitivity and passion. Quite rightly Mark Elder highlighted the performance of the principal flautist for particular praise. The Halle choir were as remarkable as ever.
It was also good to see the Bridgewater Hall so full and the animated conversations in the tram on the way home afterwards. indicated how much those travelling on the tram to Rochdale were as moved as I was.
Writing about 'Daphnis and Chloe' recently, a Times critic (I can't remember which) wrote 'With 2 good suites from this ballet, who needs the complete score?'
It's performances like the one I heard last evening that leads me to think that there is room for performances of all three.
Shostakovitch: Violin Concerto No. 1. Viktoria Mullova (violin)
Ravel: 'Daphnis and Chloe' complete.
Ms Mullova was on top form and if her interpretation of the 2nd movement was not as manic as on her recording with Andre Previn, the beauty of the first and third movements more than compensated. A memorable performance.
The performance of 'Daphnis and Chloe' was also one which will stay in the memory for a long time. The huge orchestra was on top form in a performance conducted by Mark Elder with sensitivity and passion. Quite rightly Mark Elder highlighted the performance of the principal flautist for particular praise. The Halle choir were as remarkable as ever.
It was also good to see the Bridgewater Hall so full and the animated conversations in the tram on the way home afterwards. indicated how much those travelling on the tram to Rochdale were as moved as I was.
Writing about 'Daphnis and Chloe' recently, a Times critic (I can't remember which) wrote 'With 2 good suites from this ballet, who needs the complete score?'
It's performances like the one I heard last evening that leads me to think that there is room for performances of all three.
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