Freaky Party

Music Reviews and more

Main menu

Skip to primary content
Skip to secondary content
  • Pop/Rock
  • Metal
  • Indie
  • Electronic
  • Folk
  • Jazz
  • Classical

Post navigation

← Older posts

Brahms: Late Piano Works album review – Anderszewski leans into the sorrow of these intimate miniatures

Darkness hangs over a fluid and distinctively emotional take on a dozen introspective works

Brahms: Symphony No 1, Tragic Overture album review – Petrenko and the Berliners give Brahms organic momentum

Brahms’s Tragic Overture leaps to life while there is much interest in a careful reading of the composer’s First Symphony in this new recording from the Berlin Philharmonic with their chief conductor

Brahms: Complete Symphonies album review – period-instrument plushness with modern-instrument refinement

In recordings taken from live performances, John Eliot Gardiner conducts the RCO in taut and purposeful readings

Brahms: Piano Quartets Nos 2 and 3 album review – high-class chamber music with a star team player

Pianist Krystian Zimerman is a master of understatement in these renditions of lesser-known quartets

Brahms: Piano Sonata No 1; Schubert: Wanderer Fantasy, D760 album review – beautifully shaped works and a bravura performance

The French pianist revels in the virtuoso demands of Brahms’s early sonata

Quatuor Agate: Brahms – The String Quartets album review – a suave and refined debut

The Paris-based group’s first disc is a wonderfully detailed recording of Brahms quartets that at times might benefit from a more muscular edge

Bournemouth SO/Karabits review – orchestra and conductor in perfect harmony

The conductor’s special qualities were on show in a varied programme, and helped add stability to artist-in-residence Alexander Malofeev’s glittering performance

LSO/Tilson Thomas/Tetzlaff review – Brahms soars and glows

In an all Brahms programme, Christian Tetzlaff brought momentum and shape to the Violin Concerto, and Tilson Thomas made every note glow

Brahms By Arrangement Vol Two: Orchestrations by Robin Holloway review – dialogue with the past brings present benefits

The English composer pays reverent and inventive homage to music by the German grandee with the help of the BBC Symphony Orchestra conducted by Paul Mann

Javier Perianes review – Granados’s Goyescas has rare outing but colours remain dim

Perianes has the agility and stamina to take on Granados’s piece but his realisation of the epic piano work didn’t have enough colour or character

Leonidas Kavakos/Yuja Wang review – shared detail and purpose

The two virtuosic soloists have a longstanding musical partnership that here produced a wonderful and generous evening of music by Brahms, Janáček and Schumann

Schumann Quartet/Anna Lucia Richter review – immaculate playing prized efficiency over emotion

Despite great commitment from the mezzo-soprano, the four string players merged into corporate facelessness in this performance of Brahms and Schumann

Ukrainian Freedom Orchestra review – tears and roars of delight for new national ensemble

Giving only their second ever performance, the Ukrainian Freedom Orchestra was highly impressive and deeply moving in a programme of Silvestrov, Chopin, Beethoven and Brahms

Brahms: Complete Songs, Vol 1 – Opp 32, 43, 86 and 105 review – masterful and revelatory

Tenor Christoph Prégardien gives an intelligent and perfectly weighted performance with pianist Ulrich Eisenlohr

Alexandre Kantorow: Brahms review – gothic darkness and beguiling sweetness

Kantorow’s affinity with the German Romantic sparks mercurially expressive and resonant playing in this follow-up to his 2020 Brahms disc

Post navigation

← Older posts
  • Olivia Rodrigo: You Seem Pretty Sad for a Girl So in Love review – who’s she singing about? Who cares when the songs are this good
  • Pussy Riot: CYKA review – debut album from iconic Russian agitators is let down by blunt-force EDM
  • Brown Wimpenny: Long Live Brown Wimpenny review – Manchester folk collective get bawdy and shambolic
  • Sally Beamish: House of Wonder album review – a musical shapeshifter celebrates 70 years
  • Katia and Marielle Labèque: 55 album review – a handsome tribute to the sisters’ musical curiosity and brilliance
  • The Mahler Experiment review – physical drama comes at a musical cost in choreographed symphony
  • Lola Young review – buoyant, brilliant return from British pop’s great oversharer
  • Kelsey Lu: So Help Me God review – strange, graceful songs drifting from pop’s edgelands
  • Danish String Quartet review – captivating performance from a world-class group
  • Manchester Camerata review – mental torments build up to a royal meltdown
  • The Marriage of Figaro review – Danielle de Niese’s deft direction weds finery with fun
  • St Vincent review – majestic orchestral transformations of jagged art-pop
  • BBCNOW/Bancroft review – conductor takes final bow in imaginative programme of vivid colours and emotions
  • Krishna review – the mystery of John Tavener’s ‘mystic pantomime’ is why it has been staged
  • Taylor Swift: I Knew It, I Knew You review – giddy up! Song for Toy Story cowgirl Jessie is Swift’s best in years
  • Zoh Amba: Eyes Full review – raw, rugged country rock also has real tenderness
  • Gintė Preisaitė: Instruments of Forgetting and the Singing Bone review – atmospheric, unsettling ambience
  • Hourglass album review – Simone Dinnerstein gives Glass room to breathe
  • Lizzo: Bitch review – a spirited star who just can’t rediscover her groove
  • Beethoven: The Violin Sonatas Vol 1 album review – fresh-as-a-daisy performances from a duo with a gift for storytelling
  • Mike D review – ex-Beastie Boy’s first UK gig in two decades, in a Tyneside bingo hall, is uproarious fun
  • Saint Levant review – Palestinian pop star makes Australian debut to an ecstatic, sold-out crowd
  • Vespers review – haunting clash of cultures conjures Vivaldi’s Venice
  • Jack White review – former White Stripe’s art is like a 12-year-old visiting Tate Modern for the first time
  • Lise Davidsen and James Baillieu review – superstar soprano unleashes her inner Valkyrie
  • Orlando review – a confident romp through Handel’s flimsily plotted opera
  • Take That review – stadium redux of Circus tour has maximal razzle-dazzle
  • Hampson and Sidorova review – style over substance with a whiff of the cruise ship
  • Matías Aguayo: Anenoa review – the funkiest, freest singer in the business hits the dancefloor
  • Violet Grohl: Be Sweet to Me review – alt-rock arriviste aces the part

Contact www.freakyparty.net   Terms of Use