Prom 60: RPO/Dutoit review – aplomb and bags of panache

THE GUARDIAN

It was hard to imagine Respighi's Roman trilogy done better...

Charles Dutoit, principal conductor of the Royal Philharmonic Orchestra, has long been an advocate of Respighi's so-called Roman trilogy, his sequence of symphonic poems composed between 1915 and 1928, which obliquely survey the city's history and culture through depictions of its fountains, pines and festivals.

https://www.theguardian.com/music/2014/sep/02/prom-60-rpo-dutoit-review

 

Prom 60: Driver, RPO, Dutoit

THE ARTS DESK

Rainbow colours with a cooling shower or two in Proms showpiece time.

After the enervating excesses of Salome and Elektra at the weekend, the abundance of notes at the Proms continued in a piano recital and an orchestral showstopper, but this time with built-in air conditioning. After all, both 22-year-old Benjamin Grosvenor and septuagenarian Charles Dutoit are absolutely in control of the colours they make, very occasionally too much so. But it was a rainbow-hued day inside the Cadogan and Royal Albert Halls, culminating in a spectacular and perhaps unrepeatable Respighi triple bill of Roman impressions.

Under the Stars 2014

Yesterday evening (Sunday 17 August 2014), seventeen Every Child a Musician (EcAM) participants from the London Borough of Newham were given the chance of a lifetime as they performed their very own creative composition alongside the RPO at Newham’s annual Under the Stars concert.

The piece was written over four days of creative workshops with RPO musicians, during which participants learned about Elgar’s 'Enigma' Variations before trying their own hands at writing themes and variations about friends, family and people in their community.

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An Interview with Cristian Mandeal

Cristian Mandeal conducts the first concert of the Orchestra’s 2014-15 season at Cadogan Hall next month. Hannah Nepil speaks to him.

When Cristian Mandeal guides the Royal Philharmonic Orchestra through Franck’s Symphony in D minor this September, he will aim to steer a path between two cultures. ‘This symphony sits on the boundary between a French and German mood,’ he says. ‘There is a flexibility to it, which is more appropriate to French music than German – but it’s not French in the same way as Debussy or Ravel or Berlioz. It is a mood which is very specific to Franck.’

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