Sorry no - I hate all that!
I like that too but it’s now just part of the set list, you’re not getting an encore at all.
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The first encore does feel scripted these days for alot of gigs, especially if it contains some of the well known tracks by the artist, much prefer the occasional second return where acts delve into the dark recesses of their catalog for some tunes that hardly get an outing.
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I once saw Ryan Adam’s at the Town and Country club, not over keen on him, really went to see Steve Wynn and the Miracle Three opening. He played for a little over an hour and I thought that’s not bad, must have misjudged him, then he came back for an encore of another hour, and I realised I was right the first time.
Wagner - Die Walküre
Elbphilharmonie Hamburg
Kent Nagano
Dresdner Festspielorchester
Concerto Köln
Derek Welton, Asa Jäger, Sarah Wegener, Maximilian Schmitt, Patrick Zielke et. al
Fantastic evening in Hamburg with an impressive performance of all participants. Grand Opera 
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Editors at The Leadmill, Sheffield
This was billed as a ‘warm up’ for their Brixton show tonight. I was planning on going and then this show was announced local to me. Happy days.
It certainly was warm! Great setlist with Picturesque, Strawberry Lemonade and Sugar all in the first few songs. The band seemed to enjoy the small venue (which was packed). Still no Blanck Mass for the live shows - hope he isn’t gone for good.
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Last night we saw Jane Weaver at Scala in King’s Cross London. I would give it maybe 7 out of 10. Ok I guess. Onwards and upwards though!
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I had again the pleasure to see Maestro Sokolov with his six encores live. His Bach playing was mesmerizing and brought me in a kind of trance state. Chopin and Schumann were good but less special. And in Chopin and Schumann one could notice that the maestro is getting older…, especially at the beginning.
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The London Symphony Orchestra/Antonio Pappano were in Brighton last night, in the opening week of this year’s Brighton Festival, to perform Barber’s Adagio, Ravel’s glittering Piano Concerto (with a French pianist, Bertrand Chamayou, as soloist), and Rachmaninoff’s hugely romantic Second Symphony.
The LSO really are a class band, and Pappano was clearly enjoying himself hugely.
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A memorable concert, Brad Mehldau and his team Felix Moseholm (bass) and Jorge Rossy (drums). Milan, Conservatorio, 5th May 2024.
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Now that is a good one to go to!
Last Thursday at the Cheltenham Jazz festival these ladies were on the free stage. I was meeting up with university friends who enjoy the festival more than I do. Belle Noir were accomplished.
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Springsteen in Cardiff. Wow, just wow. Keeps getting better and better.
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Simon Rattle/BRSO Mahler 6
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Rattle + co. has been touring the US with his new band Bavarian Radio Symphony.
This was the one of the best Mahler 6 live I have heard. The band was cohesive could turn on the dime and I got the feeling the musicians were really having a great time working with Sir Rattle. I could see all the smiles on their faces not to miss any cues from their newly appointed music director. They are going back to Europe after the US tour, if you have an opportunity to hear them I highly recommend it!
I hope to see them again!
Just about the only niggle was that the various sound effects added to the score off-stage by CSO percussionist sounded a bit disjointed and was not fully integrated into the score.
P.S. Interestingly he transposed Andante and Scherzo after the 1st movement and also I swear I could count three hammer blows!
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Elim Chan/CSO Scheherazade
Program
WeberOverture to Der Freischütz
Barber
Toccata festiva
There were a lot of positive buzz around this young female conductor so I decided to check her out in the Chicago debut.
I was not expecting much out of Scheherazade. I mean my reference is Reiner/CSO and Celibideche/Munchen which are pretty high bars. Also I do not think current Chicago first violin ( Robert Chen ) won’t be able to depict the ideal Scheherazade.
Chan was excellent, overall. She did nothing wrong. and the band delivered for her but here is the big but. What was missing was that flow and tension management was not quite good as the aforementioned set. So whilst it was a good looking piece, for me it did not delivered the sexy mysterious heroine. I mean even Beecham’s old recording did better in portraying voluptuous Scheherazade as she should. Instead I got super model Scheherazade.
Weber Overture of Der Freischuz also lacked a bit of suspense and build in the intro. I was listening to a 1931 recording of Mengelberg/Concertgebouw set prior and it had more thrill and exciting build than this live orchestra.
I think it’s good that there are more female conductors coming out and taking the center stage.
Barber’s Toccata Festiva was a sheer joy. This time around the CSO organ sounded sublime unlike the last time. Paul Jacob offered up a nice Bach encore, too.
CSO First Violin Robert Chan was absent so 2nd violinist Stephanie Jong took the spot. No joy. Her rendition of Scheherazade had no sex appeal.
And tiny bit off key on a high register sustained note.
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