Wigmore Hall lines up 200 UK musicians for 40 concerts
UncategorizedThe Wigmore Hall has unleashed a new wave of live free-streams from next week.
It involves UK-based singers, string quartets, choirs and small ensembles in 40 concerts until Easter.
The hall has raised close to £1 million to pay for the concerts
Here’s the soloist list:
James Baillieu (piano), Benjamin Baker (violin), Kristian Bezuidenhout (harpsichord), Julius Drake (piano), Danny Driver (piano), Kirill Gerstein (piano), Christopher Glynn (piano), Tim Horton (piano), Alina Ibragimova (violin), Steven Isserlis (cello), Jean Johnson (clarinet), Isata Kanneh-Mason (piano), Daniel Lebhardt (piano), Simon Lepper (piano), Bjørg Lewis (cello), Paul Lewis (piano), Petr Limonov (piano), Leon McCawley (piano), Joseph Middleton (piano), Mishka Rushdie Momen (piano), Steven Osborne (piano), Jennifer Pike (violin), Timothy Ridout (viola), Martin Roscoe (piano), Sean Shibe (guitar), Katherine Stott (piano), Llŷr Williams (piano)
Fabulous. You mention that this season involves singers, but one does not see one single singer in the list of soloists.
The list on Wigmore’s site also includes:
Alice Coote, Carolyn Sampson, Claire Booth, Kathryn Rudge, Ailish Tynan, Lucy Crowe, Ashley Riches, Ian Bostridge and Iestyn Davies.
Thank God for Wigmore Hall, where I have spent many a happy evening and Sunday morning, Sir John Gilhooly and the entire team there.
Bravo, John! Wonderful xx
Perhaps the currently stressed-out programme planners for the Edinburgh Festival, the BBC Proms and others should take a lead from this. Your chamber music series should be planned as normal and go ahead with or without an audience since they will at least be guaranteed a broadcast audience.
It still has to be financially viable for everyone and more than just another online service on a small screen for a fiver at home. Concerts and the performers themselves, particularly concert singers, need physical not invisible audiences.
Just heard a superb Wigmore recital of Pavel Kolesnikov playing the Goldberg Variations. Way better than Lang Lang’s.
So JB, let us have your unbridled detailed analysis of the way in which Kolesnikovs playing is better than Lang Langs interpretation. We await with baited breath!
Sounds like you have a lang lang ways to learn about the Goldberg. I suggest you read the scathing NYT review with which I concur 100%.
It was a joy to listen and to watch. I was very impressed with something like five camera angles, including one from the roof looking down which surprised me. The Wigmore Hall is a beacon of continuity in these troubled times for music (as for everything else).