London Philharmonic Orchestra
‘Few are mad enough to take it on’ – Pianist Benjamin Grosvenor on Busoni’s Piano Concerto
There’s an invisible choir, text from a Danish play about Aladdin, and it’s inspired by classical architecture, nature and quasi-Egyptian iconography – no wonder Busoni’s Piano Concerto is rarely performed. Now the colossus is coming to the Proms
The week in classical: The Merry Widow; Aldeburgh festival – review
Thomas Allen steals a witty, sparkling new production of Léhar’s masterpiece, and a cosmic world premiere from Judith Weir lives up to her star billing
Götterdämmerung review – Jurowski’s six-year completion of Wagner’s Ring cycle was well worth the wait
Gardner/LPO review – tautly controlled Tippett, and whoops for Seong-Jin Cho’
The Seven Deadly Sins review – LPO play Brecht and Weill with bite and swing
Dance Reimagined review – LPO and Wayne McGregor are a dream team, but AI lets them down
Philharmonia/LPO review – brilliant new piano concertos by Dessner and Coll
Bryce Dessner’s ebullient concerto, equal parts rock and Reich, was dazzlingly performed by Alice Sara Ott and the Philharmonia, while Francisco Coll’s glinting, flamenco-tinged piece had its world premiere with the LPO and Javier Perianes
LPO/Heyward review – Mutter makes Hollywood legend’s Violin Concerto sparkle and fizz
Anne-Sophie Mutter gave the UK premiere of John Williams’ second Violin Concerto in a concert of the US composer’s music that placed the violin front and centre
LPO/Canellakis review – poetic Beethoven and a clear, if careful, take on Shostakovich’s wartorn masterpiece
Karina Canellakis gave the Soviet-era symphony an eerie resonance, while soloist Jonathan Biss was at his poetic best in Beethoven’s second piano concerto
Prom 36 A Space Odyssey: LPO/Gardner review – unsettling and awesome
Intense and finely focused performances of the Ligeti and Strauss pieces used in Kubrick’s sci-fi epic revealed every detail of their unearthly majesty and awesome extremes
The week in classical: Dialogues des Carmélites; Tristan und Isolde; LSO/Rattle – review
Poulenc’s shattering opera disturbs and confounds in Barrie Kosky’s new Glyndebourne production; Wagner meets the pre-Raphaelites at Grange Park Opera. Plus, a thrilling farewell from Simon Rattle
The week in classical: Symphony of Sorrowful Songs; RPO/Petrenko; LPO/Mäkelä – review
Chart-topping Górecki becomes exquisite spectacle at ENO; Mahler’s Third is worth the wait; plus, the Finnish flourish of Klaus Mäkelä
LPO/Gardner review – Brett Dean provides tantalising prelude to cool Mahler
World premiere of this extract from Dean’s ‘planned opera’ was full of vivid colour and ear-catching textures. The Mahler that followed was stylish and unsentimental
LPO/Jurowski review – unsparing and unsettling works shine a dark light
Uncompromising performances of works by Hindemith, Prokofiev and Ustvolskaya glimmered with tension and beauty
Skalkottas: Violin Concerto; Concerto for Violin, Viola and Wind review – little-known works give glimpses of greatness
Violinist George Zacharias’s belief in this hugely demanding music shines through, but the stylistic differences between the concertos is bewildering
A House of Call/Aurora Orchestra review – a dazzling parade of musical imagery
The London Philharmonic were superb in the UK premiere of Heiner Goebbels’ 15-movement work, which is studded with found recordings, while the Aurora Orchestra performed Héloïse Werner’s touching new piece, For Mira
LPO/Adès review – composer’s finest stage work sea-changes into something rich not strange
Thomas Adès’ Tempest symphony proved a shapely and gorgeous précis of his 2004 opera in a concert conducted by the composer himself
The week in classical: Benjamin Grosvenor, RLPO/ Wong; Kirill Gerstein, LPO/ Szeps-Znaider; Seong-Jin Cho – review
In a busy week for star pianists, Benjamin Grosvenor takes a late-romantic warhorse and runs with it, while the RLPO try out their latest gleaming acquisition…
The Damnation of Faust review – Berlioz’s exemplary evocations of heaven and hell
Edward Gardner and the London Philharmonic offered a timely reminder of Berlioz’s astonishing gifts as a choral and orchestral writer
LPO/Gardner review – magical outing for Tippett’s ‘unplayable’ piano concerto
Coleridge-Taylor’s stately, long-lost Solemn Prelude and a crisp, exploratory interpretation of Elgar’s first symphony completed a trio of English compositions
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