John Adams' Festival Brings a Dose of Dynamism to Manchester's Bridgewater Hall
The US composer's four-concert festival at the Hallé brought a level of energy that could power a small city. At 78, John Adams is still at the height of his powers, and his intricate orchestral scores - alongside his nine operas - are as complex and vibrant as ever.
Adams' presence was characteristically charming, with the composer praising performances he'd seen over the years and declaring himself "humbled" by the talent on show. The two concerts I attended showcased his mastery of texture and rhythm, with "Chamber Symphony" displaying a level of sophistication that held together miraculously despite its complex arrangements.
The Hallé conducted by Euan Shields delivered an impressive performance, with standout moments including the funky contrabassoon in the first movement and the virtuosic one-man percussion section driving the finale. The programme was fast-paced and frenetic, with "Hallelujah Junction" boasting luminous sound and impressive ensemble work from Eliza McCarthy and James McVinnie.
The latter part of the concert saw the Hallé extended on stage to accommodate additional percussion in "The Chairman Dances", with Adams himself conducting at the helm. The music was metrical and loose-limbed, but when it hit its stride, the trumpets soared amidst glittering percussion.
The festival also included the UK premiere of a Hallé co-commission, which promised a rhythmic groove and high-stakes counting, interrupted by huge thwacks of timpani. While not entirely underwhelming, this piece was somewhat overshadowed by the stunning performance of Scheherazade.2, with Leila Josefowicz delivering heartstopping moments of beauty as she took on Adams' most ferociously jagged orchestral textures.
In short, John Adams' festival brought a welcome dose of dynamism to Manchester's Bridgewater Hall, with the composer and his musicians proving that even at 78, they remain at the height of their powers.
The US composer's four-concert festival at the Hallé brought a level of energy that could power a small city. At 78, John Adams is still at the height of his powers, and his intricate orchestral scores - alongside his nine operas - are as complex and vibrant as ever.
Adams' presence was characteristically charming, with the composer praising performances he'd seen over the years and declaring himself "humbled" by the talent on show. The two concerts I attended showcased his mastery of texture and rhythm, with "Chamber Symphony" displaying a level of sophistication that held together miraculously despite its complex arrangements.
The Hallé conducted by Euan Shields delivered an impressive performance, with standout moments including the funky contrabassoon in the first movement and the virtuosic one-man percussion section driving the finale. The programme was fast-paced and frenetic, with "Hallelujah Junction" boasting luminous sound and impressive ensemble work from Eliza McCarthy and James McVinnie.
The latter part of the concert saw the Hallé extended on stage to accommodate additional percussion in "The Chairman Dances", with Adams himself conducting at the helm. The music was metrical and loose-limbed, but when it hit its stride, the trumpets soared amidst glittering percussion.
The festival also included the UK premiere of a Hallé co-commission, which promised a rhythmic groove and high-stakes counting, interrupted by huge thwacks of timpani. While not entirely underwhelming, this piece was somewhat overshadowed by the stunning performance of Scheherazade.2, with Leila Josefowicz delivering heartstopping moments of beauty as she took on Adams' most ferociously jagged orchestral textures.
In short, John Adams' festival brought a welcome dose of dynamism to Manchester's Bridgewater Hall, with the composer and his musicians proving that even at 78, they remain at the height of their powers.
. I mean, I'm loving John Adams' energy, he's still got it! His music is like a rollercoaster ride – you never know what's gonna hit you next 
. The Chamber Symphony was insane, all those strings and percussion going at once, like a symphony orchestra trying out for the X Factor 
. And that funky contrabassoon in Hallelujah Junction? Genius, pure genius 
. I'm so glad they included some of his operas too, like Scheherazade.2 – Leila Josefowicz is a total rockstar 
. Can't believe the composer was still on stage conducting with them 
. What's next, are they gonna invite him to tour on a Greyhound bus? 
their skills were wow what a treat to see scheherazade.2 live it's like john adams is still pushing the boundaries of music at 78 lol
I'm obsessed with John Adams' music! His ability to create complex yet vibrant scores is just incredible 
. The way he engages with his performers, praising their talent and humility - it's so inspiring 
. And the percussion in "The Chairman Dances" was insane 
eliza mccarthy's performance as leila josefowicz in scheherazade.2? mind blown 
! The guy is still a genius at 78 and his music is as captivating as ever - I mean, who needs sleep when you can have 4 hours of non-stop Adams-esque madness 
. Leila Josefowicz absolutely blew me away in Scheherazade.2 - that woman's got pipes for days and can tackle even the most jagged textures with ease 
! Adams' presence is always charming, but this time around he seemed particularly humbled by the talent on show. I loved how he praised performances he'd seen over the years and declared himself "humbled" by the Hallé's musicianship 
. Still, overall, John Adams' Festival brought a level of dynamism to Manchester's Bridgewater Hall that I've never seen before 
The virtuosic percussion section was insane too! And Leila Josefowicz's performance of Scheherazade.2 was just wow... I'm still reeling from the beauty and emotion of that piece