Thanks to Cecilia Mort who sent the Classic FM Top 10 recordings - voted for by listeners and broadcast in the station’s annual Easter weekend countdown of the top 500.
Grown-up music ratio? On this evidence, about 50%.
1 (3 last year) The Lark Ascending Vaughan Williams
2 (7) Cello Concerto Elgar
3 (2) Piano Concerto No 2 Rachmaninov
4 (1) Clarinet Concerto Mozart
5 (4) Piano Concerto No 5 Beethoven (“Emperor”)
6 (9) Enigma Variations Elgar
7 (5) Violin Concerto No 1 Bruch
8 (6) Symphony No 6 Beethoven (“Pastoral”)
9 (8) Symphony No 9 Beethoven (“Choral”)
10 (11) Fantasia on a Theme by Thomas Tallis Vaughan Williams
Gerry Smith
Friday 27 April 2007
Monday 23 April 2007
New tenor - Saimir Pirgu - stars in delightful Gianni Schicchi
Albanian tenor Saimir Pirgu, making his Covent Garden debut, announced himself as a young tenor to watch in Puccini’s delightful one act opera, Gianni Schicchi on Saturday.
He was in good company. Bryn Terfel illuminated the title role, as Royal Opera House audiences have come to expect. Dina Kuznetsova impressed: her big moment, O mio babbino caro – one of the best-known arias in the repertoire – stood out, despite an abrupt intro. The support cast sang and acted well. Direction, costume - 1950s Italy – and the one room set were strong, convincing.
Inevitably, with Terfel in the title role, the classic-lite mob was out in force. “Can you understand the Spanish?” I overheard one greying bonehead enquire, in the interval after the equally delightful first piece, Ravel’s L’Heure Espagnol. “I think it’s in French, dear,” came the razor sharp reply.
Royal Opera House: preserve of the London/Home Counties intelligentsia? Doncha believe it.
Gerry Smith
He was in good company. Bryn Terfel illuminated the title role, as Royal Opera House audiences have come to expect. Dina Kuznetsova impressed: her big moment, O mio babbino caro – one of the best-known arias in the repertoire – stood out, despite an abrupt intro. The support cast sang and acted well. Direction, costume - 1950s Italy – and the one room set were strong, convincing.
Inevitably, with Terfel in the title role, the classic-lite mob was out in force. “Can you understand the Spanish?” I overheard one greying bonehead enquire, in the interval after the equally delightful first piece, Ravel’s L’Heure Espagnol. “I think it’s in French, dear,” came the razor sharp reply.
Royal Opera House: preserve of the London/Home Counties intelligentsia? Doncha believe it.
Gerry Smith
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