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
Newer posts →

Prom 10: NYO/Benedetti/Heyward review – guts, virtuosity … and kazoos

The National Youth Orchestra of Great Britain gave a ferociously committed, exuberant and exhilarating performance of Beethoven’s Third and a buzzing new piece by Laura Jurd

Prom 4: SCO/ Emelyanychev review – unforgettable, supercharged Mozart

With their livewire principal conductor dancing around the stage, the Scottish Chamber Orchestra’s gleaming performance was one to treasure

First Night of the Proms review: a delightful shared experience with some surprises

While tonight at the Royal Albert Hall wasn’t quite back to normal it offered some joyful moments

Last Night of the Proms review – party falls flat as BBC miss chance to speak up

Despite desperate cheeriness from assorted guests and committed performances from all musicians, this event is about more than the music, and 2020’s concert failed to reflect current times

Aurora Orch/Collon review – Ayres and Beethoven pairing is vivid and lithe

Richard Ayres’s complex Beethoven tribute had real emotional power, while the latter’s Seventh symphony – performed from memory – was a joyous celebration of energy

BBCNOW/Bancroft review – panache, poignancy and a howl of protest

Ryan Bancroft’s first concert as principal conductor packed an emotional punch with a suite of American classics and a fierce new commission by Gavin Higgins

The week in classical: LPO/Pappano; BBC Proms review – upbeat pleasures

The LPO strings, soloists and a stand-in by the name of Antonio Pappano shone in Britten and Schoenberg. And the stars aligned in a Prom to remember

Proms 2020: LSO/Rattle review – empty Albert Hall allows room to play

The orchestra played all around this capacious venue, exploring space and sound in works including a premiere composed in lockdown by Thomas Adès

First night of the Proms review – Oramo conjures hope from Beethoven

Despite their reduced numbers, the BBC Symphony Orchestra brought intensity and lyricism to the judicious first-night choice of the Eroica

The week in classical: BBC Proms 2020 and more – review

A diet of highlights from the Proms archive should make us value this great festival more than ever. Elsewhere, enterprising live music-making continues

Opening night of the virtual Proms – archive treasures and a trite mash-up

A deft but trivial Beethoven tribute was balanced by unforgettable past Proms performances, as the BBC launched a season of historic highlights, with live concerts to come in late August

Home listening: Leclair, Louis Couperin and back to Bach Night

Old meets new in compelling discs from Leila Schayegh and Rinaldo Alessandrini

Prom 66: In the Name of the Earth review – gargantuan praise for the planet

Three orchestral choruses and five London choirs united to slightly muddying effect for this performance of John Luther Adams’s hymn to the world

Home listening: Brahms, Schumann – and Henry Wood

Alina Ibragimova and Cédric Tiberghien turn to Brahms

The week in classical: Proms 60 & 59 review – Haitink bows out in style

With a minimum of fuss, to momentous effect, Bernard Haitink conducted his final UK concert taking risks to the last

Post navigation

← Older posts
Newer posts →
  • 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
  • Dvořák: Symphony No 9 album review – Shani brings a natural freshness to a familiar work
  • La Traviata review – gripping and genuinely moving staging opens Garsington’s summer season
  • Colin Matthews: Seascapes album review – the songs teem with detail
  • Iceage: For Love of Grace & the Hereafter review – Danish punks ace sixth stellar album on the trot
  • La Fanciulla del West review – insightful staging reveals the power of Puccini’s maverick masterpiece
  • 125th anniversary gala concert review – back to 1901 as Wigmore celebrates birthday playing to its strengths
  • Sugar review – Bob Mould’s reunited band still in a sweet spot between noise and melody
  • Paul McCartney: The Boys of Dungeon Lane review – at 83, his gift for melody still astounds

Contact www.freakyparty.net   Terms of Use