Concert Reviews
Mozart: Great Mass/ Requiem/ Symphonies tour

"By the end, it felt as if we’d plumbed every depth these wonderful works have to offer." - Telegraph ★★★★


C minor mass at the Paris Philharmonie


London: Cadogan Hall, 27 January 2016


The Daily Telegraph Review, Ivan Hewett: ★★★★

"The rising sequence in the Lacrimosa, often rendered with stately magnificence, here had a hushed astonished quality, as if the choir were witnessing that day “when the guilty arise from the dust. ... 
By the end, it felt as if we’d plumbed every depth these wonderful works have to offer." 

Read the full review on The Telegraph website 

 


Evening Standard Review, Nick Kimberley: ★★★★

"The choir wasn’t large but at musical climaxes it threatened to raise the roof, yet there was also hushed intensity. The four young soloists, emerging from within the choir, sang with focused vigour, bass David Shipley bestowing some operatic gravitas. This was a Requiem that poured balm one moment, breathed fire the next."

Read the full review on the Evening Standard website 



Bristol: Colston Hall, 15 January 2016


Guardian Review, Rhian Evans: ★★★★

"...it was the Jupiter Symphony, K551, in C Major, that stood out, both serene and noble, flowing with a vital energy that lent its own impetus to the finale where the fugal writing – who better than Gardiner to demonstrate Mozart vying with Bach? – had a brilliant precision."


Read the full review on The Guardian website 


The Times Review, Rebecca Franks: 
★★★★

"The restless energy of No 40 crackled; two horns standing either side of the stage to add drama to the outer movements. And the Jupiter, with its huge variety of emotion and idea, came across with exhilarating zeal."

Read the full review on The Times website 



Barcelona: L'Auditori, 24 January 2016


Sonograma Magazine Review, Carme Miró

"La solemnitat de la versió de Gardiner, amb colors clars i lluminosos, crea els vincles necessaris per unir la idea barroca de la Missa i la sensualitat de l’estil italià que Mozart va incardinar en aquesta magnífica composició."


Read the full review on the Sonograma website 



 
Janácek: Glagolitic Mass

John Eliot Gardiner’s Fine Zürich Debut with the Tonhalle Orchestra
December 6, 2015 
Read more...
 
Gluck "Orphée et Eurydice" at the Royal Opera House, reviewed in The Observer

"The whole evening was a breakthrough"
20th September, 2015 
Read more...
 
Gluck "Orphée et Eurydice" at the Royal Opera House, reviewed in The Financial Times

"But the real stars of the show, rightly placed at its heart, are Gardiner, his orchestra and the Monteverdi Choir"

16 September 2015

Orphée et Eurydice, Royal Opera House, London — review
★★★★

Schedule Gluck’s
Orphée et Eurydice in its less familiar Paris version of 1774. Bring in John Eliot Gardiner and his own period-instrument orchestra to look after the music and the Hofesh Shechter Company for the dance. Then put the orchestra on stage and sell standing places in the pit to members of the audience.


If the Royal Opera wants to try something experimental, the start of the season is the most convenient time to do it. This first ever outing for the 1774 Orphée et Eurydice at the Royal Opera House may not have turned out as radical as it promised, but it is imaginative and well worth seeing.

What we get is a sort of glorified concert performance. Gardiner and his English Baroque Soloists take pride of place in the centre of the stage on a moveable platform that levitates up to the ceiling and down into the floor. In fact, they come closer to making a journey to heaven and hell than Orpheus, who spends most of the evening rooted to his chair.

In this joint production by Hofesh Shechter and John Fulljames, the stage opens right out to reveal the unending expanse of the Elysian Fields, beautifully lit with streams of light from above. As expected, the Hofesh Shechter dancers release a strong charge of energy from Gluck’s dance music, but there was an opportunity here to root the dance more deeply into the drama that was not taken.

The Paris version of the opera calls for a star tenor who can reach some very high notes. Juan Diego Flórez is certainly that. His bright, clean tenor might be better suited to the Italian original, and then we might have understood more of what he was singing, but for a voice of class and high Cs by the armful, Flórez is your man.

Lucy Crowe and Amanda Forsythe make well-matched sopranos as Eurydice and Amour. But the real stars of the show, rightly placed at its heart, are Gardiner, his orchestra and the Monteverdi Choir. Their performances of Orphée et Eurydice at the Châtelet in Paris in 1999 were a high watermark, but Gardiner goes further now, taking risks that push his musicians and Gluck to the limits of the possible.

Read on The Financial Times website


 
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