Thursday, 25 September 2025

An impressive debut recording from Birmingham's chamber choir, The Elgar Scholars

The Elgar Scholars describe themselves as Birmingham’s newest pre-professional chamber choir, and is conducted by co-musical directors Jim Bate and Laura Bailie. Bate & Bailie are both graduates of The University of Birmingham’s choral conducting masters programme, and the singers are students and alumni from the university, the Royal Birmingham Conservatoire and elsewhere. As you would expect, therefore, they produce a sophisticated sound, with precise tuning and clear diction a given. What is more interesting perhaps on their short debut recording is the variety of contemporary styles across just eight tracks. 

One piece gives a nod towards their name, in John Cameron’s arrangement of Elgar’s ‘Nimrod’, as ‘Lux Aeterna’, but otherwise all the other pieces are by living composers. Starting with the Elgar, they take this at a good pace, avoiding any self-indulgence that can creep in, and they  keep their powder dry until the big climax, when the ringing sopranos really burst out of the texture, before retreating to deliver a touchingly fragile ending. There are two works here by ex-King’s Singer and composer Bob Chilcott (b.1955). Firstly, there is Even Such is Time, a setting of a Walter Raleigh text, with a falling repeated pattern that here leads towards a rich, full homophonic sound from the choir, and a beautifully pure-toned soprano solo line from Alice Martin. The other Chilcott piece comes from his Song of Harvest. Gratitude is a prayerful hymn, with a warm blend from the singers here. Judith Weir (b.1954) is represented here by Drop Down, Ye Heavens, From Above, her setting of the Rorate Coeli text, often set to plainsong for Advent matins. Weir starts with a bare sound of just two lines, then adds lines to the texture, building to a thicker homophonic texture, with a particularly richly dense chord on the word Fear. There is an eery wedding anthem, And I Will Betroth You, from Michael Zev Gordon (b.1963), once again relatively homophonic in texture, but with closely clashing parts requiring precision of tuning and balance from the singers, and they sustain the long-held chords with impressive steadiness. The album’s title, Finding Your Home, comes from Millicent B James’ work, which was commissioned by the National Youth Choir. James was a member of their Young Composer Scheme in 2023, and this piece demonstrates a highly impressive command of a variety of choral techniques, moving from jazzy close harmony into a more playful rhythmically driven style, with improvisatory solo lines and finger-clicking creating a joyful and richly textured celebration, and the singers clearly had fun with this one. 

But the two highlights here for me include Laura Mvula’s (b.1986) own choral arrangement of her song Sing To The Moon, originally composed with Steven James Brown who sadly passed away in 2024 for Mvula’s debut studio album in 2013. Mvula also studied composition at the Royal Birmingham Conservatoire, and this choral arrangement was performed by the BBC Singers at the Last Night of the Proms in 2019. The choruses have simpler, thicker harmony, with a glorious solo rising above from soprano Evelyn Byford, whilst the verses allow for more interesting textures from individual lines and falling figures from the sopranos. And my other highlight is Jonathan Dove’s (b.1959) In Beauty May I Walk. It was written as a present for Anthony Whitworth-Jones on leaving Glyndebourne Festival Opera, where Whitworth-Jones had been General Director and had commissioned various works by Dove, including his opera Flight. It uses anonymous Navajo text, translated by Jerome K Rothenberg, and Dove expertly combines chanting with repeating figures and layering of parts to create a haunting piece. Here The Elgar Scholars basses rise up slowly beneath the busier upper parts, their slow scale underpinning the build to the work’s climax, before falling away to a quiet, delicate conclusion. It is in these more complex works, the Dove, Mvula and James pieces in particular, that The Elgar Scholars demonstrate their assured command, and conductors Bailie and Bate have clearly worked hard with them to create a highly accomplished choir that I look forward to hearing more from.

 

Wednesday, 10 September 2025

Beauty of sound dilutes the passion in Welser-Möst and the Vienna Philharmonic's Tchaikovsky

Franz Welser-Möst
© BBC/Chris Christodoulou

Vienna Philharmonic
Franz Welser-Möst (conductor)

BBC Proms
7.30pm, Sunday 31 August, 2025
Royal Albert Hall, London


Mozart, Wolfgang Amadeus (1756-1791): Symphony No. 38 in D major, K504 'Prague'
Tchaikovsky, Pyotr Ilyich (1840-1893): Symphony No. 6 in B minor, Op. 74 'Pathétique'



The Vienna Philharmonic at the BBC Proms
© BBC/Chris Christodoulou
'It almost goes without saying that the Vienna Philharmonic sounded exquisite at all times, the orchestra never knowingly emitting anything uneasy on the ear'.

Mozart:
'Welser-Möst was the epitome of restrained poise, with razor-sharp ensemble from the offbeat violins, before they fizzed in the Allegro'.

'Despite impressive agility from the woodwinds ... and skittering violins, there was not much to get the heart racing here'.

Tchaikovsky:
'Welser-Möst kept a lid on things until build to the climax, with violins and woodwinds swirling into the tutti march, one of the evening’s first truly spectacular moments'.

'At least a handful of grit in the mix would have better captured the symphony’s “Pathétique” essence'.

Read my full review on Bachtrack here.


Monday, 8 September 2025

Bampton Classical Opera have fun with Salieri at The Barn, Old Walland

Siân Dicker (Mirandolina) & Samuel Pantcheff (Fabrizio)
© Bampton Classical Opera
Andrew Griffiths (Conductor)
Jeremy Gray (Director/Designer)
Harriet Cameron (Assistant Director)
Karen Halliday (Movement Director)
Pauline Smith, Anne Baldwin (Costumes)
Ian Chandler (Lighting)
Alex Norton (Répétiteur)

Siân Dicker (Mirandolina)
Samuel Pantcheff (Fabrizio)
Osian Wyn Bowen (The Baron Ripafratta)
David Horton (The Count of Albafiorita)
Aidan Edwards (The Marquis of Folimpopoli)

The Orchestra of Bampton Classical Opera

6.00pm, Saturday 6 September, 2025



Antonio Salieri (1750-1825): La locandíera (The Landlady)
(libretto by Domenico Poggi () after Carlo Goldoni (1707-1793), translated by Gilly French and Jeremy Gray) 
arr. Giorgio Croci, by arrangement with Casa Musicale Sonzogno di Piero Ostali

Osian Wyn Bowen (Baron Ripafratta) & Siân Dicker (Mirandolina)
© Bampton Classical Opera
My third visit now to Bampton Classical Opera in the beautiful setting of The Barn at Old Walland, deep in the High Weald, was once again a delight. On a lovely late summer evening, BCO brought their joyous production of a hitherto unknown (to me) jolly romp by Salieri, La locandiera (The Landlady), having given three other performances at Bampton and Westonbirt, with one more to come at Smith Hall, London on 16 September.

In the 200th anniversary year of Salieri’s death, it is a good point to be reassessing a composer who was remarkably successful and popular in his lifetime, yet pretty universally neglected thereafter. Pushkin’s play Mozart and Salieri and of course, Peter Shaffer’s play Amadeus and its film version, did a great deal to embed the myth of Salieri’s jealousy and even murderous conspiracy to bring down his young rival, despite there being no real evidence for this. And despite Salieri’s subsequent reputation for being more pedestrian than the younger ‘genius’, it’s interesting to note that in La locandiera, Salieri is exploring the somewhat revolutionary territory of servants getting one over on the noblemen that Mozart’s Le nozze di Figaro is credited with, some thirteen years earlier than his rival.

 

So in La locandiera, we have the strong female lead, landlady Mirandolina, getting one over on not just one but three noblemen. The Count and the Marquis are straightforward suitors, whilst the Baron claims to eschew all women, immediately riling Mirandolina with his misogynistic behaviour and demands. Mirandolina resolves to trick him by winning him over, before ultimately unmasking him as a fool. Understandably this confuses her servant Fabrizio, who is in love with her, and he becomes enraged as she turns her charms on the Baron. After three acts of shenanigans, all is resolved, and Mirandolina chooses Fabrizio over the three supposedly ‘better prospects’. Now of course the behaviour of the male characters is made fun of, and ultimately they are defeated – but there still a sense that their unwanted approaches, bordering on harassment, are just a bit of fun. And despite her strength and rejection of their misogyny, Mirandolina still ends up with Fabrizio, who has exhibited several outbursts of red-flag jealousy. But putting these twenty-first century qualms to one side, it is still the women that come out clearly on top at the end, with even the maidservant Lena getting a final opportunity to take charge of her fate. 

 

David Horton (Count) & Aidan Edwards (Marquis)
© Bampton Classical Opera
Gilly French and Jeremy Gray, BCO’s artistic directors, provided the translated libretto, and it was full of their playful humour that I’ve seen in previous productions here. Lots of great rhymes (custard/flustered, behaviour/gave ya, bile/style – not quite sure about chicken/kick-in though…) support the humour, and memorable lines emphasise the subversion. The Baron likes ‘her forthright manner’, which ‘disturbs the status quo’, and Mirandolina is given the strong statement ‘I’m a woman and women are tough’.

 

Siân Dicker excelled as the feisty Mirandolina, her powerful voice suiting the larger-than-life character, filling the small space. Yet Mirandolina isn’t one dimensional, and in her Act 2 aria, when she repeats that phrase ‘I’m a woman and women are tough’, Dicker shifted between angry confidence and moments of self-doubt, as Salieri’s music also shifts into darker harmonies. Samuel Pantcheff’s Fabrizio was also multi-dimensional, portraying well confusion and jealousy at Mirandolina’s actions, as well as genuine warmth and affection, and Pantcheff & Dicker’s final love duet was touchingly beautiful. Pantcheff also had great fun with the sight gag of delivering ever more ridiculous eggs for the Baron in Act 1.

 

Osian Wyn Bowen’s Baron was suitably uptight and pernickety, and his clear-toned tenor gave us a range from initial arrogance, through to softening warmth as he succumbed to Mirandolina’s charms (with a particularly lyrical aria in Act 2), then finally to angry frustration and humiliation. Aidan Edwards’ Marquis and David Horton’s Count formed a great double act, Horton’s wiry tenor and wily confidence contrasting well with Edwards’ warm baritone and comic buffoonery. Their non-sensical sporting costume changes (tennis/table tennis, to golf, to croquet?) added a fun counterpoint to the Baron’s natty formal dress. Rosalind Dobson’s Lena was lightly playful, her bright soprano and her mischievous asides providing dashes of additional humour, particularly in the final moments. Ensemble pieces had great energy and fine-tuned balance, and the sextets at the end of Acts 2 and 3 were highly impressive.


Rosalind Dobson (Lena)
© Bampton Classical Opera
The production was tight and pretty polished, considering the limited space they had in The Barn. When the full cast of six were all on stage, it was more than a little cosy, and there were one or two props that almost came a cropper. But despite this, they made convincing use of the one set, which shifted between serving as the Baron’s room and other spaces in the inn. Costumes were simple yet bright, and lighting equally straightforward, with just occasional shifts of tone and colour. 

 

Andrew Griffiths conducted the 11 piece band with energy and elegance, and the balance was mostly assured, with the horns off to one side avoiding overly dominating the light strings. Alex Norton on harpsichord gave delicate support in the recitatives, and Griffiths kept everything moving along at a jolly pace throughout.

 

BCO have talked about focussing on semi-staged and concert performances in coming years. Here’s hoping that these lightly staged yet joyful performances at The Barn continue to be a part of their offering in the future.


Bampton Classical Opera
© Nick Boston
The Barn at Old Walland
© Nick Boston

Wednesday, 3 September 2025

Musical resilience from Pekka Kuusisto and Katarina Barruk at the Proms

Pekka Kuusisto &
members of the Norwegian Chamber Orchestra
© Andy Paradise

Arnljot Nordvik (guitar)
Christer Jørgensen (drums)
Pekka Kuusisto (violin/director)

BBC Proms
7.30pm, Sunday 31 August, 2025
Royal Albert Hall, London





Katarina Barruk
© Andy Paradise
Barruk, Katarina (b.1994): Ruhttuo intro
                                          Miärraládda (arr. Sonstad, Øystein (b.1970)/Nordvik, Arnljot)
                                           Niäguoh (arr. Stangness, Christo, orch. Sonstad, Øystein)
                                           Sådna jahttá - Part 2: Maadter-aahka (arr. Nyman, Marzi (b.1979))
                                           Ij gåssieke (arr. Sonstad, Øystein/Nordvik, Arnjlot)
                                           Dállie (arr. Buene, Eivind (b.1973))
Tippett, Michael (1905-1998): Divertimento on Sellinger's Round - A Lament (2nd movement)
Philip Glass (b.1994): String Quartet No. 3, 'Mishima', 5. Blood Oath (arr. Kuusisto, Pekka (b.1976))
Kendall, Hannah (b.1984): Weroon Weroon (UK premiere)
Bach, Johann Sebastian Bach (1685-1750): Chorale prelude 'O Mensch, bewein dein Sünde gross', BWV 622 (arr. Reger, Max (1873-1916))
Shaw, Caroline (b.1982): Plan & Elevation, 5. The Beech Tree (arr. Murphy, Ben/Shaw, Caroline)
Pärt, Arvo (b.1935): Fratres - version for solo violin, string orchestra and percussion
Shostakovich, Dmitri (1906-1975): Chamber Symphony, Op. 110a (arr. of String Quartet No. 8 by Barshai, Rudolf (1924-2010))
Encore:
Lennon, John (1940-1980): Imagine (arr. Kuusisto, Pekka)

Katarina Barruk
© Andy Paradise
Barruk:
'Barruk’s striking voice shifted from pure tone to nasal growls, then high and wispy, across a huge range'.

'Barruk’s voice rose high over lamenting strings, then fell into low creaks, with a clear exhortation to never surrender'.

Kendall:
'Kuusisto’s glassy rapid tremolo buzzed and scraped, emitting strange harmonics, and rising and falling in dynamic, before grinding to a halt, adding to the evening’s diversity of sound worlds'.

Pärt:
'NCO moved together with instinctive ensemble, the violins swaying as one. Kuusisto’s solo variations sang out with clarity and improvisatory expression'.

Shostakovich:
'Kuusisto and the NCO let rip with the fourth movement’s violent stabbing knocks ... The second movement's DSCH motif and wild dance and the third's macabre waltz were suitably terrifying'.

Read my full review on Bachtrack here.
Pekka Kuusisto & the Norwegian Chamber Orchestra
© Nick Boston