Norman Lebrecht on shifting sound worlds
Message from the superstar: I’m very excited to have been asked back to perform at the Classic BRIT Awards on October 2nd at Royal Albert Hall alongside Ludovico Einaudi, Amy Dickson and others.
Oh, dear. Makes you wonder what really turns him on.
Which artist isn’t “very excited” at any possible “amazing” gig nowadays?
He’s irritating before he even plays a note…artistic standards would have to be drummed down several notches before LL can ever be considered a “great” pianist…
Couldn’t agree more with Malcom’s comment. Being prodigiously gifted with keyboard skills does not make one a “great” pianist. Sad to contemplate all of the missed poetry of “lesser marketable” pianists we must endure as a collective culture due to the hegemony of this cartoonish glam-boy concertizer with his 60K fees per/appearence and his less-than-tacit support for a materialistic, consumerist based lifestyle.
I don’t even think LL is even prodigiously gifted.
I’ll grant that he’s got a decent enough technique, but when the going gets tough technically, he fudges the passage-work by garish interpretive tricks, not to mention his even more garish emoting from the keyboard.
And if he gets paid $60K per appearance, while many other, more talented musicians can’t get enough gigs to make a living, there is truly no justice in this world.
LL is a clown.
I find that in spite of the slapdash and the garish, he often actually sounds (in addition to looking) like he’s having a ball. His ability to please, and thus win over, some new and very young audiences to our fusty repertoire can’t be taken as an entirely bad thing.
Ah yes, that old quandary: how to attract new, younger audiences to classical music by coming across as hip and cool.
But LL is not even hip and cool…[redacted: abuse]
Let’s see how much longer he can sustain his career.
Am watching his Emperor with Eschenbach on Youtube. . . .
Author, novelist, broadcaster, cultural commentator.
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More Lebrecht @ normanlebrecht.com
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