As a keen ballroom and latin dancer I’m constantly scanning for the best makeups and applicators, all to make me look young and gorgeous in the dance competitions (always a challenge, frankly, and not getting any easier as the years take their toll). Good quality makeup products are a must – they should not only achieve aforementioned miracle, but also stay in place all day, despite repeated rounds of cha cha and jive and forced beaming at judges, and ideally they should provide the perfect mask, hiding the fact that the dancer is exhausted, has screaming quads and is wondering why she didn’t taken up a sensible hobby, like birdwatching.
However even the best makeup needs to be applied smoothly and evenly, and without good brushes, a Mona Lisa can descend all too quickly into Van Gogh’s Sunflowers – beautiful in their own way of course, but those thick brush strokes just won’t cut it when one is trying to win a nice shiny trophy.
So I’m super excited to discover Glow & Restore makeup brushes. They’re designed by beauty influencer and MUA Lucinka Hodnett (@bylucinka) and really are rather special. As a professional makeup artist, Lucinka understands exactly how to design the perfect, high quality brush for a beautiful finished look.
All the Glow & Restore brushes are 100% vegan, with bio-responsive, precision gradient bristles. The round and slightly curved angle of the bristles enables the brush head to get around the contours of the face for a professional flawless finish and they feel so soft on the skin it’s like a gentle caress. They’re advertised to work in harmony with the skin’s natural elasticity for seamless buffing, sculpting, and blending, reducing irritation and micro-damage while maximising all-important glow – and they really do.
The range has a large range of brushes, of all shapes and sizes, for applying both cream/wet products and powder. A clever feature is the colour-coding – cream-coloured for wet products and cappuccino-coloured for powders, so it’s super easy to grab the right brush.
Having tried them I can confirm that the finish is so smooth – you can’t see any lines or flaws – just pure perfection. I tested the powder brush set – a large, a small and a blush brush, plus a really useful flat triangular powder puff and a sponge, worth £54 but currently on offer together at £40 the set which is excellent for such fabulous-quality brushes.
I really love that the Glow & Restore website has great information and advice on each of the different brushes – how and when to use them, so if you’re new to makeup, or even if you’re not, do take a look.
With Mother’s Day around the corner, these would make a fantastic treat for Mum. But don’t forget to treat yourself too – you deserve it – do head to the website.
By Dr K Thompson, award-winning author of From Both Ends of the Stethoscope: Getting through breast cancer – by a doctor who knows
Note: These articles express personal views. No warranty is made as to the accuracy or completeness of information given and you should always consult a doctor if you need medical advice
With rising temperatures and increasingly unpredictable weather patterns, book collectors are facing new challenges in preserving their treasured special editions. Rare books and limited editions are particularly vulnerable to environmental damage, with elements like humidity, heat, and insects posing serious threats to their condition and value.
“Collectors often don’t realise how quickly environmental factors can permanently damage special edition books,” explains Taskeen Ahmed, Founder ofAwesome Books, “The materials used in premium editions—from leather bindings to specialty papers—usually require more careful protection than standard books.”
So let’s move on to the Why and How of it: Why Special Editions Need Extra Protectionagainst insects, humidity, and extreme weather conditions.
Unlike mass-produced paperbacks, special edition books typically contain materials that are particularly susceptible to damage.
“Limited editions frequently include elements like handmade paper, leather bindings, specialty inks, and sometimes even fabric components,” Ahmed explains. “These materials can be magnets for various insects and are more sensitive to humidity and temperature fluctuations.”
The value of special editions can decrease significantly with even minor damage. Small insect holes, water stains, or warped covers can reduce a collector’s item from mint condition to fair or poor, potentially decreasing its value by 50% or more.
And now the How: Ahmed’s Tips For Protecting Your Special Editions
1. Control Temperature and Humidity. “The ideal environment for storing valuable books is cool, dry, and stable,” says Ahmed. “Aim for temperatures between 65-70°F (18-21°C) and relative humidity between 30-50%.” Fluctuations in temperature and humidity cause paper and binding materials to expand and contract, leading to warping and deterioration over time. Consider using a dehumidifier in damp areas or a humidifier in overly dry environments to maintain optimal conditions.
2. Shield From Direct Light. UV light causes fading and deterioration of book covers and pages, particularly affecting colorful dust jackets and illustrated pages. “Never display your valuable books in direct sunlight,” Ahmed advises. “Even artificial light can cause damage over time, so consider UV-filtering glass for display cases or protective book covers for items on open shelves.”
3. Use Acid-Free Materials. Regular cardboard boxes and standard plastic bags can release chemicals that damage books over time. “Always store special editions with acid-free materials,” recommends Ahmed. “Acid-free boxes, archival sleeves, and unbleached cotton or linen cloths are best for wrapping or storing valuable books. Avoid plastic containers, which can trap moisture and accelerate mould growth.”
4. Implement Pest Prevention Strategies. Insects like silverfish, booklice, and carpet beetles are attracted to the starch in book bindings and the protein in leather covers. “Regular inspection is your first line of defense,” Ahmed notes. “Look for small holes, tiny droppings, or shed insect skins. Keep food away from your collection area and consider natural deterrents like cedar blocks or lavender sachets, which many insects dislike but won’t damage your books.”
5. Create Air Circulation. Stagnant air creates conditions where mould can thrive, particularly in closed bookcases pushed against walls. “Position bookcases a few inches from walls and avoid overcrowding books on shelves,” says Ahmed. “This simple step improves air circulation and reduces the risk of mould growth, which can quickly spread through an entire collection.”
6. Use Proper Shelving Techniques. How books are positioned on shelves impacts their structural integrity over time. “Store books of similar size together and use bookends to keep them upright without leaning,” Ahmed advises. “Very large or heavy books should lie flat, but don’t stack too many on top of each other as this creates pressure on the bottom books. For particularly valuable editions, consider individual archival boxes that protect from light, dust, and physical damage.”
7. Prepare For Weather Emergencies. With extreme weather events becoming more common, collectors need emergency plans to protect their investments. “Keep valuable books on higher shelves to protect from potential flooding, and consider waterproof containers for your most precious items during storm seasons,” says Ahmed. “If you live in an area prone to extreme humidity or temperature fluctuations, investing in climate control equipment isn’t just a luxury—it’s essential protection for your collection.”
Taskeen Ahmed, Founder of Awesome Books, continued: “The preservation challenges facing book collectors are increasing as our climate changes. Higher average temperatures create more favourable conditions for book-damaging insects, while extreme weather events put collections at greater risk of water damage and humidity fluctuations. Taking preventative steps now is much more effective than trying to restore damaged books later.
“What many collectors don’t realise is that prevention doesn’t need to be complex or expensive. Simple measures like keeping books away from external walls, using proper shelving techniques, and implementing basic pest monitoring can dramatically extend the life of special editions. The key is consistency—regularly checking your collection for early signs of problems and maintaining stable environmental conditions.
“For those with particularly valuable collections, I recommend creating a preservation plan that includes both everyday care and emergency procedures. Knowing exactly what to do if you spot insect activity or face a sudden climate event can mean the difference between preserving your literary treasures and losing them forever.”
As the author of over 25 books, your editor should know these facts. Trust me, she didn’t, and thanks to Taskeen Ahmed (https://www.awesomebooks.com/) for tips that will serve for looking after books in general, but your precious collections in particular.
The concert began with a personal favourite of mine, namely the hauntingly beautiful, Prelude from Wagner’s Tristan and Isolde, the romanic tale of would be lovers, leaving Ireland by boat, the crashing of waves symbolising passion, as the waves rise and fall, ebb and flow, and the London Philharmonic did the piece justice. So much so, that I could happily have left at this point and counted the evening a success.
Thank goodness I didn’t, because Renee Fleming singing Four Last Songs, by Richard Strauss was an occasion not to miss.
Strauss sketched a setting for a poem, ‘At Sunset’ depicting an old couple, staring into the sunset, looking back over their long lives, and wondering ‘Can this perhaps be death’. He promptly wrote ‘At Sunset’ following up with three other songs, ‘Spring’, ‘September’ and ‘Going to Sleep.’ The songs were published posthumously as the ‘Four Last Songs.’
Renee Fleming, one of the most highly acclaimed singers of our time, graced the stage in a fitted pink and turquoise dress, subtly sparkling in the house lights. The dress may have sparkled, but could not compete with the thrilling voice of Miss Fleming, which captivated the audience from the outset. Each song seemed more beautiful than the last, and once or twice I could feel myself welling up. Put simply, this was a sublime performance, and we listened in awe to Fleming’s voice which cut like crystal – showing exactly why she is so revered.
We listened in worshipful silence to all four songs, but at the end of the last song, ‘At Sunset’ which is particularly poignant, such pent-up admiration for what we had just heard could not constrain the applause and cheers, which threatened to lift the roof. The applause would not die down quickly and it took three returns to the stage before we were treated to a final song, ‘Morgen’ – a perfect piece on which to leave the stage.
The conductor, Thomas Guggeis, was making his debut with the London Philharmonic Orchestra, and his youthful looks belied his skill, or perhaps that says more about me and my age. Oh for a scintilla of his talent. Guggeis conducts with dramatic energy, wielding his baton like a magic wand, urging the orchestra to ever new heights.
Wagner is something of a Marmite Composer, and people either love him or hate him. Fortunately, I fall into the former group, and so awaited the second part of the concert with great anticipation.
The Overture and Venusberg Music from Tannhauser is one of the most popular Wagnerian extracts in the concert hall and gloriously familiar. Venusberg incidentally is the underground realm of the Goddess Venus. The music transported us to a magical realm, about which the music pulsed and swirled in a frenzied orgiastic maelstrom.
The Prelude to Act 1 of Lohengrin is based on the Holy Grail, carried by a host of angels as it gradually materialises out of nowhere, and was summoned up in our imaginations by the violins and later the brass. The London Philharmonic Orchestra on top form, thrilling.
Finally the Overture to Die Meistersinger von Nurnberg, sumptuous. Magnificent brass and tympani dominated briefly but to great affect before giving way once again to the strings creating a sense of urgency. Utterly brilliant.
Image courtesy of London Philharmonic Orchestra.
Upcoming Concerts
Crossing Generations Wednesday 12 March 2025, 7.30pm – Queen Elizabeth Hall. Kevin John Edusei presents Zappa, Martinů and a new clarinet concerto with phenomenal Syrian clarinettist Kinan Azmeh.
Repertoire
Zappa – The Dog Breath Variations/Uncle Meat; Outrage at Valdez; G-Spot Tornado. Dinuk Wijeratne – Clarinet Concerto (European premiere). Martinů – Symphony No. 6 (Fantaisies symphoniques).
Mahler’s Fifth Wednesday 19 March 2025, 7.30pm – Royal Festival Hall. Robin Ticciati presents Mahler’s blockbuster journey from darkness to light.
Repertoire
R Schumann – Piano Concerto. Mahler – Symphony No. 5
Alina Ibragimova plays Prokofiev Wednesday 26 March 2025, 6.30pm – Royal Festival Hall. In a time of revolution, Prokofiev’s First Violin Concerto wove fairytale magic – and no-one makes it dance like Alina Ibragimova.
Tan Dun’s Water Concerto Saturday 29 March 2025, 7.30pm – Queen Elizabeth Hall. Eva Ollikainen rediscovers two modern classics, and Colin Currie – in the words of one critic, ‘surely the world’s finest and most daring percussionist’ – explores new ways of listening, with the extraordinary, culture-crossing Water Concerto by Crouching Tiger, Hidden Dragon composer Tan Dun.
Repertoire
Pärt – Symphony No. 1 (Polyphonic). Tan Dun – Water Concerto. Lutosławski – Symphony No. 3. Re. Easter, these are our April events up until the end of the season:
Jurowski conducts Lyatoshynsky Wednesday 2 April 2025, 7.30pm – Royal Festival Hall. ‘Peace Shall Defeat War’ wrote Boris Lyatoshynsky on the score of his Third Symphony, and the message of this great 20th-century Ukrainian composer has never felt more urgent or compelling. Vladimir Jurowski presents a programme of uncompromising emotional power.
The music: Prokofiev – Selection from Semyon Kotko. Mussorgsky (arr. Denisov) – Songs and Dances of Death. Lyatoshynsky – Symphony No. 3
Schubert’s unstoppable Ninth Symphony is known as ‘the Great’ – and with Vladimir Jurowski bringing all his insight and imagination, you’ll hear why.
The music. Beethoven – Coriolan Overture. R Schumann – Violin Concerto. Schubert – Symphony No. 9 (The Great)
Jan Lisiecki plays Beethoven Saturday12 April 2025, 7.30pm – Royal Festival Hall. There are few experiences in classical music more invigorating, or more stirring than Sibelius’s Second Symphony. For the young Finnish conductor Tarmo Peltokoski, Sibelius is a national hero. There’s another tale about memory to be told here, as Canadian pianist Jan Lisiecki takes centre stage to showcase the grandeur and glory of Beethoven’s mighty ‘Emperor’ Concerto.
The music. Sibelius – Pohjola’s Daughter. Beethoven – Piano Concerto No. 5 (Emperor).Sibelius – Symphony No. 2.
Daphnis and Chloé Wednesday 23 April 2025, 6.30pm – Royal Festival Hall. Wednesday 23 Apr 2025, 8.30pm – Royal Festival Hall. Ravel’s orchestral masterpiece is a ballet that resists staging, rarely being performed as a ballet. Enter Circa’s powerful acrobatics and aerials.
The music. Ravel – Daphnis et Chloé. Ravel – La valse
Mahler 8 Saturday 26 April 2025, 7.30pm – Royal Festival Hall is sold out.
Professional chefs will tell you that a correctly sharpened knife is crucial in the kitchen, and that blunt knives can be hazardous. So, whether cooking is your passion, your career, or both, you absolutely must get your hands on a Tormek T-1 Kitchen Knife Sharpener. It’s the first real knife sharpener for the home chef and, unlike simpler sharpeners or honing steels, it sharpens the entire bevel of the knife, achieving professional sharpness in minutes.
This Swedish company is well-known for absolute top quality – clearly illustrated by the T-1’s fine-grained diamond grinding wheel. And if you’re not an expert, do check out this fabulous short video, where Tormek’s CEO , Samuel Stenhem, (also Innovation Team member), and Head of Sales, Sébastien Ehnevid show you simply how to use the sharpener and take advantage of all the clever technical features. I love their use of a black marker pen (even included with your sharpener in case you don’t have one to hand) to make sharpening simple for everyone.
The T-1 can handle knives with blades 12–60 millimeters (0.5–2.4 inches) high and up to 5 millimeters (0.2 inches) thick, with unlimited length. Deeper blades and cleavers can be accommodated too, simply by removing the plastic clip from the angle guide (see the linked video).
My T-1 is Carbon-black. I love the quiet understated elegance, and it’s in pride of place on my work surface (carefully positioned to be the first thing any visitor spots). RRP is £335.
However the new limited edition Tormek T-1 Florentine Vibrant, the result of an exciting collaboration between Tormek and Florentine Kitchen Knives is stunning. It features a playfully colourful handle designed by Tomer Botner, founder of the Barcelona-based knife-making studio and it speaks for itself in the illustration below. Each handle is randomly assembled from a shared colour palette, meaning no two machines are identical – each one has its own unique “fingerprint.” RRP £370 from shop.tormek.co.uk. T-1 Kitchen Knife Sharpeners carry an 8 year warranty. Treat yourself – you deserve it.
Note: These articles express personal views. No warranty is made as to the accuracy or completeness of information given and you should always consult a doctor if you need medical advice.
Let me explain, but first for those of you who haven’t been to Blenheim Palace it is set in over 2,000 acres of ‘Capability’ Brown landscaped parkland and designed by Vanbrugh in the Baroque style, it was financed by Queen Anne, on behalf of a grateful nation, following the first Duke of Marlborough’s triumph over the French in the War of the Spanish Succession. Today it houses one of the most important and extensive collections in Europe, which includes portraits, furniture, sculpture and tapestries.
Frankly, it is stunning. I was fortunate to live fairly close by and loved going and it is worth remembering that Blenheim Palace is also the birthplace of one of Britain’s most famous leaders, Sir Winston Churchill, and it was his father who described the vista on entering the Estate from the village of Woodstock as the ‘finest view in England’.
And the good news is… roll of drums…. Visitors to Blenheim Palace can now enjoy personally tailored tours, thanks to a new state of the art app, ‘Archie – your interactive guide’, named in honour of the Palace’s former Administrator and first Chief Guide, Archie Illingworth, (such a touching tribute) , who worked there from 1950 to 1972, and retired after the death of the 10th Duke.
The new multimedia platform has been created through Culturati, a groundbreaking Horizon Europe RIA project, for which Britain’s Greatest Palace is the UK pilot site.
‘Archie – your interactive guide’ allows visitors to choose exactly what they would like to see and hear, and allows them to delve into over 300 years’ worth of stories – many of which have never been told before – with several of the narratives shared directly by staff members, giving authenticity and depth to the cultural heritage experience.
Some of the fascinating stories contained within the interactive guide include:
Learn how the Long Library was used as a convalescence hospital during World War I, for soldiers recovering from a variety of ailments and injuries, from gunshot and shrapnel wounds, to shock, pneumonia, and dyspepsia. It must have been a touch of heaven after the brutality of the Front.
Hear how the grounds of Blenheim Palace were used during World War II to test Spitfire fighter aircraft guns.
Imagine what it was like as Archie Illingworth shares his own memories of welcoming the House of Dior to Blenheim in 1954, for the first of two fundraising fashion shows organised by the 10th Duchess in aid of the Red Cross
The app not only harnesses cutting-edge digital technologies to deliver personalised content; it also uses sophisticated sensors at Blenheim Palace to monitor and manage visitor flow, helping to optimise the guest experience through strategic crowd management.
David Green, Head of Innovation at Blenheim Palace, who is also Culturati Project Manager, commented: “It is a real honour for Blenheim Palace to be the UK pilot site for this unique collaboration, which retells stories using the latest digital technologies with elements of AI.
“This innovative initiative aims to revolutionise how cultural heritage and arts content is collectively created and shared across Europe. With the more traditional audio guide, our visitors were able to listen to a description of what they saw before their eyes – and that description would be the same for everyone. With ‘Archie – your interactive guide’, every visitor can enjoy a bespoke, unique experience.”
Culturati is a collaboration between 14 European partners, bringing together an interdisciplinary consortium of computer scientists, cultural and creative industries professionals, academics from various disciplines including social sciences, SMEs, public authorities, and non-profit community organisations. The project is funded by the European Commission and coordinated by Bilkent University, with additional UK partner funding through Innovate UK. Blenheim Palace has also been working closely with Oxford Brookes University, which conducts comprehensive user research to enhance the platform’s effectiveness.
To experience ‘Archie – your interactive guide’, and tailor your own visit to Blenheim Palace, go to: culturati.blenheimpalace.com/ You will enjoy it immensely, and return often.
In 1969, in a dark room that smelled mostly, of stale cigarettes and musty papers, Michael Rowan, together with 15 or so other boys, waited for the arrival of the Music Master, Mr Phillips.
In the centre of the room a record player was balanced on some books, which were themselves stacked on a wooden chair. The Music Master arrived and began to explain the story of the Symphonie Fantastique before placing the needle on the vinyl and I became lost in the moment. I wonder if my 13-year-old self, would have ever believed that 50 plus years later, he would be sitting in the Royal Festival Hall, listening to the same piece, but this time without the crackles.
Back to 2025, where the evening began with the World Premier of ‘Sphinx’ written by British Composer David Sawyer, who was present at the concert. Sawyer explained that his inspiration had come from this mythical beast in the Greek, rather than the Egyptian form, that he had once seen in a picture and how he had considered the human head, (often a women) vertically erect moving left and right, up and down; the four legs and the rhythm of running; and finally, the wings giving flight.
The different sections of the orchestra at first heard quite bluntly, then changes, morphs and mixes together. At times sonorous and gentle and then abrupt and discordant this piece had a filmic quality, underscoring the drama. Not my favourite piece of the evening, as it was a little too discordant for my taste, but others in the audience were clearly enjoying it, and it is aways good to experience new things.
The second piece, Benjamin Britten’s Violin Concerto Op. 15 was breathtakingly good, soothing, brooding, and the soloist, Augustin Hadelich is described as one of the great violinists of our time. His playing, so beautiful at times made me well up, and according to the programme, he is renowned for his phenomenal technique, persuasive interpretations and ravishing tone, and based on this performance I wouldn’t argue with that.
If you get the opportunity to hear him, do whatever you must to get a ticket, you can thank me later. He plays a violin made in 1744 on loan from the Tarislo Trust, and you could see just how much he revered his instrument, and how he repays the compliment to the Tarislo Trust. The piece was hauntingly sorrowful, (hence the tears), deliciously soporific followed by a fast movement which was quite simply breathtaking.
At times Hadelich drew heartfelt notes from his violin that I have certainly never heard before. It was how I imagine the Pied Piper must have influenced the children of Hamlin, and at that point Hadelich’s audience would have followed him anywhere, hypnotised by the sound of his violin. At the end of his performance, much of the audience was on its feet and thunderous applause threatened to lift the roof.
Having been called back to the stage by his adoring fans, he performed a welcome encore. If you only take one thing from this review, it is to take any opportunity to hear Augustin Hadelich.
Berlioz’s Symphonie Fantastique was the first piece of classical music I ever heard. Described as the representation of an opium dream, where a young man faces rejection, and in his dream murders his beloved, later to be taken to his execution where he witnesses a Witches’ Sabbath. I don’t recall my music master going into such detail, but I do recall him asking us to imagine a man been taken to his execution, and the terrifying sight of Witches swirling overhead.
This was a performance in 3D, with notes of the flute soaring above the audience, a solo oboe playing from a box somewhere behind, and the haunting sound of bells ringing out. The music in each of the five movements had an intensity that left me wanting to soak up every note, and after each movement the urge to break out into applause grew stronger, but the wonderful conductor, Edward Gardner, was having none of it, driving the orchestra on, to ever greater feats.
The final movement ends in violent uproar, as the witches dance manically, and then abrupt silence, a silence broken only by the unleashed applause, of an impressed and grateful audience. The images conjured up by Gardner were no less vivid for the passing of more than 50 years, thanks to Berlioz, the London Philharmonic, and yes good old Mr Phillips. https://lpo.org.uk/tickets-and-discounts/
Saturday 1 Mar 2025, 7.30pm – Royal Festival Hall. Three very different composers, but in Omer Meir Wellber’s hands, they’re all part of the same unforgettable story. He is joined by another artist who strikes sparks – violinist Nikolaj Szeps-Znaider – for Tchaikovsky’s hugely popular Violin Concerto.
Repertoire
Mahler/Schnittke – Piano Quartet, arranged for piano and strings Haydn – Symphony No. 49 (La Passione) Tchaikovsky – Violin Concerto
Wednesday 5 Mar 2025, 7.30pm – Royal Festival Hall
‘Unforgettable’ was how one critic described Fleming’s 2022 Gala with the LPO, and tonight she returns to sing Richard Strauss’s radiant Four Last Songs. Music that never grows old, sung by one of the supreme voices of our time.
Repertoire
Wagner – Prelude and Liebestod from Tristan und Isolde. R Strauss – Four Last Songs. Wagner – Overture and Venusberg Music from Tannhäuser. Wagner – Prelude to Act I of Lohengrin. Wagner – Overture, Die Meistersinger von Nürnberg
Friday 7 Mar 2025, 6.30pm – St John’s Church, Waterloo
Six LPO players immerse themselves in the contemporary culture of Britain and America; hear them break away, jump for joy and hit the dancefloor in a concert of music by five composers who defy convention and genre to create some of the most original music of the 21st century.
Wednesday 12 Mar 2025, 7.30pm – Queen Elizabeth Hall. Kevin John Edusei presents Zappa, Martinů and a new clarinet concerto with phenomenal Syrian clarinettist Kinan Azmeh.
Repertoire
Zappa – The Dog Breath Variations/Uncle Meat; Outrage at Valdez; G-Spot Tornado. Dinuk Wijeratne – Clarinet Concerto (European premiere). Martinů – Symphony No. 6 (Fantaisies symphoniques)
Wednesday 26 Mar 2025, 6.30pm – Royal Festival Hal. In a time of revolution, Prokofiev’s First Violin Concerto wove fairytale magic – and no-one makes it dance like Alina Ibragimova.
Saturday 29 Mar 2025, 7.30pm – Queen Elizabeth Hall
Eva Ollikainen rediscovers two modern classics, and Colin Currie – in the words of one critic, ‘surely the world’s finest and most daring percussionist’ – explores new ways of listening, with the extraordinary, culture-crossing Water Concerto by Crouching Tiger, Hidden Dragon composer Tan Dun.
The London Philharmonic Orchestra with Principal Conductor Edward Gardner ⓒ Mark Allan
Another packed Royal Festival Hall. Classical music is certainly popular – and so it should be when the quality is this high. The Royal Philharmonic Orchestra’s 2024-25 season continues at a pace. This particular evening, under the title Symphonic Dances, presented three composers and challenged the whole orchestra.
Guest conductor Juraj Valčuha led the orchestra with an easy grace from the start, beginning with Alexander Glazunov’s Concert Waltz No.1, Op.47 – this was joyous in its swaying effortlessness, a whimsical jaunt at times like dandelion seeds on a gentle summer breeze, proving music can be ‘fun’ as well as challenging.
Juraj Valčuha ⓒ LPO
Glazunov’s piece was written in 1893, the year of Tchaikovsky’s mysterious premature death. And it was to this composer that perhaps the highlight of the evening belonged. Tchaikovsky’s Piano Concerto No.1 in B flat minor, Op.23 (written in 1874) – perhaps made famous to most people by Victor Borge’s hilarious sketch – has been used in many films and television commercials, yet seldom appreciated in its entirety. Played here by the incredible Boris Giltburg, the piece had power and energy in abundance. The orchestra excelled in the Concerto and Giltburg was absolutely astounding on the piano. For me, the brass was a little harsh, but overall, it was Giltburg’s sensitive and awe-inspiring interpretation that dazzled. After much adoration and cheering, he acknowledged the audience and played a short piano solo – Rachmaninov’s stunning Prelude in C sharp minor, Op.3 No.2. The ultimate party piece!
Boris Giltburg ⓒ Chris Gloag
After the interval, the second half belonged to Rachmaninov – from 1940, his Symphonic Dances, Op.45. The three movements are quite different in feel: the first has a pompous, marching content; the second, a melancholy yearning; the third has the feel of a film soundtrack composition – Rachmaninov did score some music for films. Focus should also be given to Lead Violinist Pieter Schoeman, who had a moment in the first movement as though straight out of a film, akin to John Williams’ Schindler’s List where the violin flies above the orchestra achingly seeking some kind of loving resolution.
The whole evening was led by Valčuha and it was a delight from start to finish. The audience left the Hall buzzing and smiling from yet another glorious LPO presentation.
The London Philharmonic Orchestra has a vast range of events at various venues around the country. Check out their website for details – https://lpo.org.uk/whats-on/ .
The London Philharmonic Orchestra conducted by Edward Gardner perform Barber: Medea’s Dance of Vengeance, Berlioz: The Death of Cleopatra (mezzo-soprano Joyce DiDonato) and Beethoven: Symphony No. 3 (Eroica) in the Royal Festival Hall on Wednesday 25 Sept. 2024.
Photos by Mark Allan
A mere five-minute walk from London’s Waterloo Station, overlooking the river Thames, stands the Royal Festival Hall. This is where the Royal Philharmonic Orchestra deliver some of their magnificent concerts. Their latest in a packed programme of concerts enchanted us with Glazunov – Concert Waltz No. 1,Tchaikovsky’s – Piano Concerto No. 1 and Rachmaninoff – Symphonic Dances. Glazunov’s Concert Waltz, is not often performed, so was something of a treat.
The stage was packed with strings, so much so, that I doubt there was space left, for so much as a single triangle, but goodness wasn’t it worth it? The music, so beautiful, even I believed that I could waltz. Sweeping sensual music enveloped the audience and soon we were transported in a dreamlike state, the bows of the string section, swaying in unison like blades of corn, caught by the breeze. Blissful.
All too soon the music, reached a crescendo, and then there was a few minutes for the delighted audience to take stock of what we had just heard, whilst a large section of the strings left the stage, to be replaced by a grand piano, as we prepared to listen to what might be described as a stellar performance by a true virtuoso of Tchaikovsky’s – Piano Concerto No. 1
Boris Giltburg c Chris Gloag
Boris Giltburg is a genius by any measure, and we were privileged to watch him perform his magic at such close range. Swooping over the keys, nose at times hovering just above the keys, this was a rare opportunity to see him tease and coax the notes from his piano. The piece, instantly recognisable, but the playing transcending any familiarity. It was like hearing it for the first time. At times, Giltberg’s fingers were a blur as they flew over the keys, at other time slow deliberate movements, but always mesmerising.
The applause said it all, and we were rewarded with an all too short encore, all this and we were only just at the interval. I should confess that I was unaware of Symphonic Dances, but I was pleased to have my musical education broadened. The piece was composed towards the end of Rachmaninov’s life, his last major piece was written in 1940.
The first movement is a forceful stylised march with brief powerful explosive elements. The middle section is much slower than the first movement with a languorous melody moving from elegance to melodic warmth. Hauntingly gentle, what I would call soul nourishing music. How could I not have come across this piece earlier? The final movement has a slow sombre introduction building a degree of urgency as the music rises and falls, building anticipation with frenetic percussion, and I was not alone to be disappointed, when all too quickly it drew to a close.
Juraj Valcuha conducted with brio and animation, demonstrating taut control, like the ultimate puppet master, bringing out the very best of a fantastically talented orchestra.
If you are near London, I would heartily recommend that you check out the concerts below, and if you are not perhaps this is a good time to plan that trip.
Fri 21 Feb 2025, 7.30pm – Royal Festival Hall No composer tells a story quite like Richard Strauss – or paints a picture in more fabulous sounds. So when he set out to depict the majesty of the Bavarian Alps, the results are spectacular.
Repertoire
Tania León – Pasajes
Grieg – Piano Concerto
R Strauss – An Alpine Symphony
Pre-concert event: In this free performance, LPO Junior Artists perform alongside Orchestra members, Foyle Future Firsts and Junior Artist alumni in a celebration of vibrant young talent.
Sat 22 Feb 2025, 6.30pm – St John’s Church, Waterloo. Time becomes space, sounds become colours and shapes, and the classical elegance of St John’s Waterloo floods with emotion that’s real enough to touch. It doesn’t take much: just the voices of the New London Chamber Choir and a handful of musicians who believe in every note.
Wed 26 Feb 2025, 7.30pm – Royal Festival Hall. Love, witchcraft, severed heads – it’s all here, painted in psychedelic colours by a supersized orchestra. Superb violinist Augustin Hadelich sets the scene with Britten’s powerful Violin Concerto, also including the world premiere of Sphinx by David Sawer.
