Edinburgh’s stately Usher Hall, hosts a stirring evening with the London Philharmonic Orchestra under Edward Gardner. The programme offers up some delicious delights, a Rachmaninoff favourite and Holst’s undisputed masterpiece.
The concert opens though with Judith Weir’s Forest, a brief, fairytale‑tinged overture. But it’s the second work – Rachmaninoff’s 24‑variation Rhapsody on a Theme of Paganini – featuring pianist Beatrice Rana, that deeply moves me. From her first notes, Rana brings thoughtful nuance to each variation—gracefully shifting between melancholy and exuberance, tenderness and tempest. Key moments, like the haunting counterpoint of Variation XVIII and the sweeping climax at XIX, resonate with crystalline control and deep emotional weight. Her playing is both virtuosic and vulnerable, never showy, always sincere.
The evening is held together by the suave and magnetic presence of Edward Gardner. Dressed all in black, his silver hair gives him the air of a seasoned artist, yet his athletic, precise movements communicate both command and grace. He shapes each phrase with clarity and poise, drawing exceptional discipline and colour from the orchestra.
After the interval, the orchestra launches into Holst’s The Planets. The journey through the seven movements feels vivid and immersive. Mars crackles with ruthless energy—urgent rhythms, bold brass, and pounding percussion give a powerful sense of escalating conflict. Venus, bringer of peace, offers a shimmering contrast – gliding strings, sparkling harp and celesta create a dreamlike calm. Mercury brings a fleet, nimble change—woodwinds and strings flit by like quicksilver.
Jupiter blooms into jollity: triumphant melodies, bold timpani, but underlying it all the cleverly placed discordant chords signifying the ‘weirdness’ of space. There is also the instantly recognisable, “World in Union” theme which visibly stirs the audience, young and old alike.
Saturn feels more introspective—the pace steady, evoking the inexorable march of time. I sense both dignity and unease as the music expands and recedes.
Uranus fizzes with playful energy: sly brass and cheeky rhythms evoke a magician conjuring tricks. Finally, Neptune dissolves into mystery. The offstage women’s chorus hums with ethereal calm, their sound gradually vanishing into silence. It feels like the music fades not just into space, but into the soul.
In prime position a lucky hundred audience members are positioned behind the orchestra, encircling the stage in elevated seating. They must have a truly spectacular view – especially during the thunderous climaxes of Mars and Jupiter. Being so close to the drum and percussion sections must make the experience almost physical – the sound hitting from just metres away.
Throughout, I’m struck by the LPO’s superb ensemble balance and dynamic control. The Usher Hall’s rich acoustics support every nuance—nothing is lost, and every detail finds its place.
Together, the evening presents two emotional pillars: an intimate, emotionally resonant piano performance that lingers long after the final notes; and a sweeping orchestral suite that expands across the celestial sphere. One speaks to the heart, the other to the imagination.
It’s an evening of classical music that I won’t forget—Beatrice Rana’s profoundly moving Rachmaninoff and the LPO’s vivid Holst leave me exhilarated, contemplative, and grateful to have been there
Reviewer: Greg Holstead
Reviewed: 5th August 2025
North West End UK Rating:
Running time – 2hr
Surprisingly, the story of My Fair Lady, that most quintessentially British of musicals, has its…
Asif Khan’s adaptation of Zanib Man’s book first launched to the stars at the Leeds…
There are some works of art which one wishes were fiction and Camdenwalla is one…
An emotional and memorable evening was had at Pontefract Town Hall last night as Encore…
This is a play about the Christian religion, authority and the interpretation of the Bible.…
Hull Truck’s John Godber studio was all abuzz on Thursday evening, full of theatregoers eager…