Yamada conducts Bernstein

City of Birmingham Symphony Orchestra


  • Ravel La Valse, 13′
  • Korngold Violin Concerto, 24′
  • Ravel Valses Nobles et Sentimentales, 18′
  • Bernstein West Side Story: Symphonic Dances, 24′

“This young man is full of music from head to toe” said one critic about Kazuki Yamada, and he’s become a real favourite with audiences and orchestra alike. With Bernstein’s electrifying Symphonic Dances, delicious decadence from Maurice Ravel, plus another Birmingham favourite – Baiba Skride – in Korngold’s luscious Violin Concerto, his first concert as our new Principal Guest Conductor is pretty much guaranteed to set the ears tingling.     http://www.CBSO.co.uk


Review by Nick John Whittle, Bachtrack:

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[…]      “Of the final work of the evening a written description will not suffice. Rarely have I been more entertained at a classical concert than this by rendition of Bernstein’s Symphonic Dances from West Side Story. An augmented CBSO, complete with all manner of percussive instrument, delivered something that altogether rose above the basal definition of ‘music’.

Special mention must be made of the percussion section whose relentless hammerings constituted the strong, jagged backbone of the magnificent beast. Complex tempi were delivered with accuracy – a breathtaking example of how best to deliver beat and rhythm and, for the young students of the audience who may baulk at the idea of just ‘beating drums’, here was an insight into the beauty and sexiness of rhythm.

Yamada is no despot by any means. He is part of the Big Picture, the final ingredient in the chemical reaction that turns concerts into celebrations. His connection with the orchestra was apparent, and his rapport with each section and each player was as plain as day. By his own admission he feels a connection with the CBSO that is almost “telepathic”; that much was obvious at tonight’s concert.”


Review by Norman Stinchcombe, MidlandsMusicReviews:

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[…]      “The playing sparkled and mixed the musical ingredients perfectly; a rainbow of carefully shaded and crisply delivered rhythms, street-wise New York pizzazz and just a dash of schmaltz. There were magical moments too, like the pizzicato strings for Maria and the all stops out Mahler-on-the-Hudson orchestration of Somewhere. Every section took a fully-deserved bow and Yamada, a diminutive bundle of bobbing energy, got a rightly raucous reception.

Korngold’s violin concerto got a sniffy critical drubbing when it was premiered in 1947 – as did almost everything tonal and tuneful – but is now getting the recognition it deserves. Vilde Frang gave a fantastic fulsomely passionate performance here two years ago but Baiba Skride’s more inward and subtle interpretation was equally satisfying. She started daringly slow and quiet, a mere wisp of sound heard from afar – music as Wordsworth’s “emotion recollected in tranquillity” – the central Romance warm but not over-heated and the finale’s humorous high-jinks (with characterful brass and wind playing) were delightful. ”     […]




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