Latest news with #CityofBirminghamSymphonyOrchestra
The Guardian
02-08-2025
- Entertainment
- The Guardian
Lim/CBSO/Yamada review – wonderful Rachmaninov and a swirling Sinfonia
London's Koreans helped ensure a sold-out Royal Albert Hall for the Proms return of Yunchan Lim on Friday night, paired this time with the City of Birmingham Symphony Orchestra under Kazuki Yamada. But Lim doesn't just shift tickets. His huge social media following ensures waves of global attention for everything he does or that is written about him. This Prom will achieve this for an unusual reason. Soon after Lim began Rachmaninov's fourth piano concerto, a distant alarm started ringing in the Albert Hall. Red lights flashed high up. Yamada and Lim pressed on. At the end of the movement, Yamada left the podium and disappeared off-stage, leaving the musicians and audience uncertain. After about five minutes, though it felt longer, the red lights stopped, the alarm was silenced and Yamada returned, to applause and relief all round. By all accounts, Lim was laid-back about it afterwards. I bet the BBC was less relaxed. But it did not seem to affect the pianist himself, who often showed how naturally he can conjure a willing audience into silence with his range and touch. Lim's command of sound is wide, as his Korngold encore would also prove, but Rachmaninov's fourth is not an easy work to project, especially in a vast hall. It veers, sometimes vertiginously, between weighty and whispering, and there are hints of composers like Ravel. The playing was wonderful, but a bit more spaciousness in the interpretation would have made it even better. At the start, Yamada conducted a glisteningly clear account of John Adams's propulsive foxtrot The Chairman Dances, which showcased the excellence of the CBSO's wind and percussion sections. Then, after the interval, and in an already notably less crowded hall than before, came Berio's Sinfonia, with its swirling and microscopically fragmentary mix of styles and cultures, written amid the reckless intensities of 1968. Berio's score for orchestra and voices, some electronically enhanced, could once feel like an obsequy for a dying western culture, with its homage to Mahler, and its allusions to Martin Luther King and absurdist theatre. Yamada and his musicians captured the piece's hauntingly chaotic sound world and its troubled intensity. But, like so much else, Sinfonia has become a period piece now. It reconnects with an era in music that no longer exists, when composers and audiences were far more open to the disruptive and the new than they are now. The steady trickle of some remaining members of the audience towards the exits throughout the performance felt like testimony to that. Listen again on BBC Sounds until 12 October. The Proms continue until 13 September
Japan Forward
01-07-2025
- Entertainment
- Japan Forward
Berlin Philharmonic Welcomes Kazuki Yamada in Acclaimed Debut
Kazuki Yamada (46) made his debut with the prestigious Berlin Philharmonic, widely regarded as one of the world's finest orchestras, on June 12–14. He became the first Japanese conductor to lead one of its subscription concerts since Seiji Ozawa in 2016. The program featured works such as Camille Saint-Saëns' Symphony No.3 (known as the Organ Symphony). Yamada delivered a performance that captivated the audience and earned widespread acclaim. "I could feel the sheer propulsion in the Berlin Philharmonic's sound," he reflected. Yamada is now back in Japan, touring with the City of Birmingham Symphony Orchestra, with performances scheduled to begin on June 28. While Seiji Ozawa conducted the Berlin Philharmonic on many occasions, the orchestra hadn't invited a new Japanese conductor since Yutaka Sado in 2011. The program featured Ottorino Respighi's Fountains of Rome , Toru Takemitsu's "I Hear the Water Dreaming," and in the second half, Saint-Saëns' Symphony No. 3. Rather than featuring a German composer, the program's centerpiece was a French work — an inspired choice for Yamada. He brings extensive experience with French repertoire, having served as principal guest conductor of the Orchestre de la Suisse Romande and as artistic and current music director of the Monte-Carlo Philharmonic. Remarkably, it had been ten years since the Berlin Philharmonic last performed Saint-Saëns' Organ Symphony. The performance concluded with a standing ovation. Yamada described the experience as unforgettable. The Berlin Philharmonic, he said, played with an intensity he had never encountered before. "There was a kind of wildness to their sound — in the best possible sense," he noted. During the first day's intermission, concertmaster Daishin Kashimoto sent him a message. Yamada recalled replying, "The sound is rushing toward me. It's bearing down." The momentum of the music, he added, was something he could feel in his whole body. He went on to say, "It's a feeling I've only experienced once before, with the Dresden Staatskapelle. These two orchestras are in a league of their own." In April, it was announced that Yamada will assume the role of chief conductor and artistic director of the Deutsches Symphonie-Orchester Berlin (DSO), beginning in the 2026/27 season. Founded in 1946 as the orchestra of the American military's RIAS broadcast station in West Berlin, the DSO has a distinguished history. Former chief conductors include Ferenc Fricsay, Lorin Maazel, and Riccardo Chailly. Principal flutist Emmanuel Pahud performing a solo in a work by Toru Takemitsu. (© Bettina Stoess) Yamada has also made regular guest appearances with top-tier European ensembles. These include the Orchestra dell'Accademia Nazionale di Santa Cecilia, the Orchestre National du Capitole de Toulouse, and the Orchestre National de France. His international reputation continues to rise, with notable debuts at the Filarmonica della Scala, the Cleveland Orchestra, and the New York Philharmonic. Reflecting on his upcoming role with the DSO, Yamada described the orchestra as having a bold, traditionally German sound, yet one that is remarkably versatile. "They're incredibly adaptable and have a wide-ranging repertoire," he said. "It's an orchestra full of potential." After conducting the DSO in April 2024, he was soon invited to lead the Berlin Philharmonic. When he returned to the DSO, they asked him to become their chief conductor. "It all feels like a natural progression," Yamada said. Yamada credited his time with the City of Birmingham Symphony Orchestra as the turning point. "None of this would have happened if I hadn't poured myself into that work," he said with a laugh. In 2020, during the height of the COVID-19 pandemic, he was offered a chance to conduct in Birmingham. Although he had been adamantly against getting vaccinated, the opportunity changed his mind. "I got the shot immediately," he recalled. "My wife was stunned." The City of Birmingham Symphony Orchestra's Japan tour features eight concerts, with a rich and varied program. Highlights include Modest Mussorgsky's Pictures at an Exhibition in an early orchestration by Henry Wood, predating Joseph Maurice Ravel's more widely known version, and Edward Elgar's Cello Concerto , performed by rising star Sheku Kanneh-Mason, whom Yamada praises for his "heartfelt expression." The tour also reflects a strong commitment to community engagement. It includes an open call for assistant conductors and a seminar for young conductors. Additionally, it features a special collaboration with high school brass band students, who will join the banda (offstage ensemble) in Dmitri Shostakovich's Festive Overture . Yamada was recently honored with the 56th Suntory Music Award, with the ceremony taking place on June 25 at Suntory Hall's Blue Rose in Tokyo. Reflecting on the role of music in a post-pandemic world, Yamada noted how the value of live performance had come under scrutiny during COVID, when concerts came to a halt. "The necessity of music was questioned," he said. "It's our responsibility now to prove its value." He emphasized that simply touring Japan and delivering polished performances is no longer enough to engage audiences. "That alone won't grow the audience," he said. Since the pandemic, he observed, orchestras have generally fallen into three categories: those that lost their listeners, those that returned to pre-COVID levels, and those that adapted and succeeded. "The old, one-directional model just doesn't work anymore." Kazuki Yamada receives the 56th Suntory Music Award at the ceremony held on June 25 at Suntory Hall's Blue Rose in Tokyo. Yamada and the City of Birmingham Symphony Orchestra are also set to perform at the BBC Proms on August 1, the UK's largest music festival. All 7,000 seats have already sold out. Reflecting on his artistic evolution, Yamada recalled how, in his younger years, he was determined to stand out. "I had tremendous energy," he said, "but it was all just addition, just piling on more effort." He explained that pushing too hard rarely led to something greater. "As I've grown older, I've learned to ease off. Eventually, addition becomes multiplication." Now, he sees himself in a more fluid creative phase. "That's the loop I'm in," he said. "It's much easier. I tell everyone: do what you like. I'll take responsibility for the result." The City of Birmingham Symphony Orchestra's Japan performances include Tokyo Opera City Concert Hall on June 30, and Suntory Hall on July 1 and 2. For more details, visit the official websites. (Read the article in Japanese .) Author: Kazuo Ehara, The Sankei Shimbun
