tag:blogger.com,1999:blog-32158520989407099482024-03-18T09:56:48.015-07:00Classical NotesReflections on classical music, recordings and performancesnicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.comBlogger357125tag:blogger.com,1999:blog-3215852098940709948.post-49364511310032138072024-03-16T05:23:00.000-07:002024-03-16T05:23:52.687-07:00A triumphant Esther from Cummings at the London Handel Festival's Spring Awakenings<span style="font-family: arial; font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVIpAvxSHEBHx9h0kEPUnYkHFmjGX0RtXXFsV7BZ93-JsFucebwFwZN2R_lJv8HK9WjvxtMMTLh0vqUuCFpXFd2wu_H6IoE1Y0fUew0oDFhNwmxCprlzo9Sdk6a_jjhPd9_KaPdxpWHBdPCOaeRtF5Od_4Y4Vzo-dOSMlfimALqXDeQSsYCzrqdvqafLxU/s2133/360358-esther-8.webp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="2133" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVIpAvxSHEBHx9h0kEPUnYkHFmjGX0RtXXFsV7BZ93-JsFucebwFwZN2R_lJv8HK9WjvxtMMTLh0vqUuCFpXFd2wu_H6IoE1Y0fUew0oDFhNwmxCprlzo9Sdk6a_jjhPd9_KaPdxpWHBdPCOaeRtF5Od_4Y4Vzo-dOSMlfimALqXDeQSsYCzrqdvqafLxU/w400-h300/360358-esther-8.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><i>Esther</i> at London Handel Festival<br />© Sisi Burn</span></td></tr></tbody></table><a href="https://www.rayfieldallied.com/artists/laurence-cummings">Laurence Cumming</a>s (Director)</span><div><span style="font-family: arial; font-size: medium;"><a href="https://www.intermusica.com/artist/Nardus-Williams">Nardus Williams</a> (Esther)</span></div><div><span style="font-family: arial; font-size: medium;"><a href="https://www.tim-mead.com">Tim Mead</a> (Ahasuerus)</span></div><div><span style="font-family: arial; font-size: medium;"><a href="https://www.jessdandycontralto.com">Jess Dandy</a> (Mordecai)</span></div><div><span style="font-family: arial; font-size: medium;"><a href="https://www.florian-stoertz.com">Florian Störtz</a> (Hanan)</span></div><div><span style="font-family: arial; font-size: medium;"><a href="https://rachelredmondsoprano.com">Rachel Redmond</a> (Israelite Woman & Second Israelite)</span></div><div><span style="font-family: arial; font-size: medium;">Laurence Cummings (First Israelite)</span></div><div><span style="font-family: arial; font-size: medium;">John Bowen (Habdonah)</span></div><div><span style="font-family: arial; font-size: medium;"><a href="https://www.edmundhastings.com">Edmund Hastings</a> (An Officer)</span></div><div><span style="font-family: arial; font-size: medium;">London Handel Singers</span></div><div><span style="font-family: arial; font-size: medium;"><a href="https://www.londonhandelplayers.co.uk">London Handel Players</a></span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">7pm, Thursday 14 March 2024</span></div><div><a href="https://www.london-handel-festival.com"><span style="font-family: arial; font-size: medium;">London Handel Festival</span></a></div><div><span style="font-family: arial; font-size: medium;">St George's, Hanover Square, London</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;"><span style="font-family: arial;"><span face="-webkit-standard" style="background-color: white;">★</span><span face="-webkit-standard" style="background-color: white;">★</span></span><span style="background-color: white; font-family: arial;">★</span><span style="background-color: white; font-family: arial;">★</span></span></div><div><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;">George Frideric Handel (1685-1759): <i>Esther, HWV50 (1732 version)</i></span></span></div><div><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><i><br /></i></span></span></div><div><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvr-fsyuIum_5IUZFpE5o7f6lbKhnNELPwyPkE91DkZ5W8LiKlBj1tQLslgRwFxB5_4YY9dCYBC8seODmjNmc8LovTeoscLPg6P2y0HiI93QRv3TA_YgYm3PqBw6smRG41nbvmQ58QxnXqRZDP02w8rjlZedjdN7D6Z6AXhES8Zt_ALG8HW2M7CcGTO4wa/s4000/IMG_20240314_215316.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3000" data-original-width="4000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvr-fsyuIum_5IUZFpE5o7f6lbKhnNELPwyPkE91DkZ5W8LiKlBj1tQLslgRwFxB5_4YY9dCYBC8seODmjNmc8LovTeoscLPg6P2y0HiI93QRv3TA_YgYm3PqBw6smRG41nbvmQ58QxnXqRZDP02w8rjlZedjdN7D6Z6AXhES8Zt_ALG8HW2M7CcGTO4wa/w400-h300/IMG_20240314_215316.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">The London Handel Festival<br />© Nick Boston</span></td></tr></tbody></table>'Cummings set the tone, launching the overture at a sprightly pace, with a bright, joyful sound from the tight ensemble. As expected, there were some cracking speeds this evening, but there was also tenderness and grace, with deft string work, elegant woodwind and gleaming brass'. </span></span></div><div><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;">'Nardus Williams' Esther had powerful presence, delivering her opening virtuosic “Alleluia” from the pulpit with assertive brilliance'.</span></span></div><div><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;">'Jess Dandy give us deeply fruity tones as Mordecai, as well as opening up expressively in her upper registers in “So much beauty, sweetly blooming”'.</span></span></div><div><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;">'The London Handel Singers showed their skill throughout, expertly delivering the key dramatic mood shifts'. </span></span></div><div><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;">'Tim Mead’s Alleluias in the final chorus ... were breathtaking in their virtuosic display. Combined with glorious brass and triumphant choral singing, joined at the very end by all the soloists, they brought the evening to a stupendous finish'.</span></span></div><div><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><br /></span></span></div><div><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;">Read my full review on Bachtrack <a href="https://bachtrack.com/review-handel-esther-london-handel-festival-cummings-williams-march-2024">here</a>.</span></span></div><div><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><span style="font-family: Helvetica, Arial, sans-serif; font-size: 16px;"><br /></span></span></span></div>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-56549752076488839622024-03-10T08:09:00.000-07:002024-03-10T08:18:51.769-07:00Mighty River: A powerful celebration of women composers from Joanna MacGregor and the Brighton Philharmonic Orchestra to mark International Women's Day<div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYQPOUgkML1FQY06sP210Gr_gZaZ2A9t6UIMIwHO0j2mBwGh05oiFYZ_V8LVn5sNl-uBMKHnraZ7ikv-rBsrt-JvWSWrWO87tTDHupIO96UgxHeJuoye2IOzFC-KQU4TmtUvrzCnERo7GtafuqD4qh-4hnfrmcm5UY71QuY7YfPAuRidsXzYvl3O-GoSUn/s3832/IMG_20240310_143407.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1950" data-original-width="3832" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYQPOUgkML1FQY06sP210Gr_gZaZ2A9t6UIMIwHO0j2mBwGh05oiFYZ_V8LVn5sNl-uBMKHnraZ7ikv-rBsrt-JvWSWrWO87tTDHupIO96UgxHeJuoye2IOzFC-KQU4TmtUvrzCnERo7GtafuqD4qh-4hnfrmcm5UY71QuY7YfPAuRidsXzYvl3O-GoSUn/w640-h326/IMG_20240310_143407.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Joanna MacGregor <br />& the Brighton Philharmonic Orchestra<br />© Nick Boston</span></td></tr></tbody></table><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">Joanna MacGregor (Conductor & Piano)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.ayannamusic.com">Ayanna Witter-Johnson</a> (Cello & Singer)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.brightonphil.org.uk">Brighton Philharmonic Orchestra</a></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.ruthrogers.net">Ruth Rogers</a> (Leader)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">7.30pm, Friday 8 March, 2024</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://brightondome.org">Dome Concert Hall</a>, Brighton</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span face="Arial, sans-serif" style="font-size: medium;"><span style="font-family: arial;"><span face="-webkit-standard" style="background-color: white;">★</span><span face="-webkit-standard" style="background-color: white;">★</span></span><span style="background-color: white; font-family: arial;">★</span><span style="background-color: white; font-family: arial;">★</span></span></div><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"><br /></span></p><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Meredith Monk (b.1942): <i>Ellis Island<br /></i></span><span style="font-family: arial;">Nina Simone (1933-2003): <i>Good Bait, </i>arr. Joanna MacGregor<br /></span><span style="font-family: arial;">Eleanor Alberga (b.1949): </span><i style="font-family: arial;">Clouds for Piano Quintet: Scudding<br /></i><span style="font-family: arial;">Errollyn Wallen (b.1958): </span><i style="font-family: arial;">Mighty River<br /></i><span style="font-family: arial;">Ayanna Witter-Johnson (b.1985): </span><i style="font-family: arial;">Ain't I a Woman?<br /></i><span style="font-family: arial;"><i><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> Colour War<br /></span></i></span><span style="font-family: arial;">Sam Cooke (1931-1964): </span><i style="font-family: arial;">A Change is Gonna Come, </i><span style="font-family: arial;">arr. Ayanna Witter-Johnson<br /></span><span style="font-family: arial;">Ayanna Witter-Johnson: </span><i style="font-family: arial;">Unconditionally</i></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Florence Price (1887-1953): <i>The Mississippi River</i></span></span></div><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"><i><br /></i></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"><i><br /></i></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;">The Brighton Philharmonic Orchestra’s Music Director, Joanna MacGregor took back the baton following Sian Edwards’ visit last month for their concert marking <a href="https://www.internationalwomensday.org">International Women’s Day</a>, <i>Mighty River: Celebrating Women. </i>And this was another great example of imaginative and brave programming, with music most if not all unfamiliar to their audience, who gave enthusiastic responses throughout.<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikEMVR-crBzM7QQzFMHBtYT8p134OYMclPVGFlluubhlQz9DOckFolVFCr7zedhmvzCEdAC_dsbtzifKurm1oetsmhKBVuqppRBZj7kdg7b9QqEK7PPeRs7wLHuiEWVHGzajwRVhW-6fTRd-4bi1K6GDEGYvmFJ05zWE0mHHT8tmuCESD3c2xG5fwLDMHB/s3800/Meredith%20Monk%20Julieta%20Cervantes.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2280" data-original-width="3800" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikEMVR-crBzM7QQzFMHBtYT8p134OYMclPVGFlluubhlQz9DOckFolVFCr7zedhmvzCEdAC_dsbtzifKurm1oetsmhKBVuqppRBZj7kdg7b9QqEK7PPeRs7wLHuiEWVHGzajwRVhW-6fTRd-4bi1K6GDEGYvmFJ05zWE0mHHT8tmuCESD3c2xG5fwLDMHB/w400-h240/Meredith%20Monk%20Julieta%20Cervantes.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Meredith Monk<br />© Julieta Cervantes</td></tr></tbody></table><span style="font-family: arial; font-size: medium;">But before taking to the podium, MacGregor opened the concert with two solo piano works. First came <a href="https://www.meredithmonk.org">Meredith Monk</a>’s watery miniature, <i>Ellis Island, </i>originally written to accompany her 1981 film compiled from footage of immigrants arriving in the USA in the 1900s. MacGregor made the minimalist cascades flow with a fluid lilt, and allowed the brief fragments of melodic material to emerge from the textures, whilst keeping everything atmospherically quiet, particularly at its pianissimo conclusion. She followed this with her own arrangement of Nina Simone’s <i>Good Bait</i>, from her 1958 debut album. From the Bach-like opening, it quickly morphs its bluesy melodic line into jazzier lines over walking bass lines, and then the rhythms and rolling textures intensify, building to a virtuosic, Lisztian conclusion. MacGregor is in her element in this repertoire, and these two striking solo works from two contrasting women composers and performers from the twentieth century (although Monk is of course still composing and performing, now in her eighties) provided a strong opening. <o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigmBKS1TsE6BgueEVcO0clajav8HWzD6FJMsFDVwMnv62GZCjHDBbJqqiLDnUwCQCJDtcuZoex6kQxENBjNyQyeUjpOpPuN-oU-XDq7Q39s6Dw4tmflZH-eGTU1VrR9_RXN2wnt0ARVsmHnAQY0BZJpm2b3orjOJvcKuT8pzMucqm6J7i8pcehkA1g9n57/s300/Eleanor%20Alberga.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="300" data-original-width="300" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigmBKS1TsE6BgueEVcO0clajav8HWzD6FJMsFDVwMnv62GZCjHDBbJqqiLDnUwCQCJDtcuZoex6kQxENBjNyQyeUjpOpPuN-oU-XDq7Q39s6Dw4tmflZH-eGTU1VrR9_RXN2wnt0ARVsmHnAQY0BZJpm2b3orjOJvcKuT8pzMucqm6J7i8pcehkA1g9n57/w320-h320/Eleanor%20Alberga.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Eleanor Alberga</td></tr></tbody></table><span style="font-family: arial; font-size: medium;">MacGregor remained at the keyboard, and was joined by the four BPO string principals, for the opening movement from Jamaican born composer, <a href="https://eleanoralberga.com">Eleanor Alberga</a>’s <i>Clouds for Piano Quintet</i>, composed in 1984. <i>Scudding </i>conjures up wide skyscapes and shifting clouds, with its sliding, almost sultry solo lines, first from the cello, and then viola. The complex rhythms develop, and at one point, the pizzicato strings sounded reminiscent of the West African kora. There are lots of intricate moments here, and the players clearly enjoyed the challenge of their offbeat rhythms. The music builds and speeds up to an exciting coda with a rapidly repeated pattern – they might not have quite nailed the finish together, but their energy brought this fascinating piece to a lively conclusion. I will definitely have to check out the rest of the Piano Quintet on the back of hearing this.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdLz-Dzl8fRvE8gAaGVnGP5p_ESOEn3ZIDE4n3pfGYp89sX7GaEx2hLuHjzDc5cs70QTMs1loOJiemao1oPtF92nmthguJiGEwUZd7xQV8POrxbdsiDF3DHDQ30FzfMeOAoLqXi1IwtaiufMD23xi55nG_yDFCoy6iT8U-EbjaTNJntKId0_cmG6agfcFx/s502/Errollyn3-Edit%20Azzurra%20Primavera.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="502" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdLz-Dzl8fRvE8gAaGVnGP5p_ESOEn3ZIDE4n3pfGYp89sX7GaEx2hLuHjzDc5cs70QTMs1loOJiemao1oPtF92nmthguJiGEwUZd7xQV8POrxbdsiDF3DHDQ30FzfMeOAoLqXi1IwtaiufMD23xi55nG_yDFCoy6iT8U-EbjaTNJntKId0_cmG6agfcFx/s320/Errollyn3-Edit%20Azzurra%20Primavera.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Errollyn Wallen<br />© <span style="background-color: white; caret-color: rgb(51, 51, 51); color: #333333;">Azzurra Primavera</span></td></tr></tbody></table><span style="font-family: arial; font-size: medium;">There was then a brief hiatus as the stage was reset for the full BPO’s arrival (and a rather long wait for the first violins to join – the Music Director shouldn’t have to go off stage to fetch them!), for Errollyn Wallen’s <i>Mighty River</i>. This orchestral work from 2007 was composed to mark the bicentenary of the abolition of slavery, and Wallen blends the spirituals Amazing Grace and Deep River into a rich tapestry of orchestral colours. It opens with a horn solo on Amazing Grace, and whilst this was relatively secure, the tuning when the horn was joined by piccolo and then clarinet could have been purer. However, once the strings began their rhythmic pulsing, with flutters from woodwind and brass, the orchestral sound settled. In the faster, more energetic sections, MacGregor danced through the joyful rhythms, but the orchestra as a whole felt a little cautious in these sections, perhaps as a result of limited rehearsal time, preventing full ownership of the piece. Yet Macgregor managed the frequent rhythmic transitions smoothly, successfully keeping the strings at bay later on as fragments of the spirituals were passed around the orchestra, and the concluding horn solo was much more secure, this time accompanied by the djembe drum, played with impressive attack by Donna-Maria Landowski. <o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-qGP6JLoNDL9aciPYlTryuVL0rJapTv5QODgAZ1-lRKBYowV5tvyjq9QL9mIJn7EXRxPxhmy97Ufb7-joUXlTxLDvecLMIWn6VXOkQSEy-YXxDtE_Q47SWfCG50kt2KdvFfdMIJh3xPE0dexj90_wdEsaXPW2Ce31KrvZXTZgMKWQtahdKKxuA2GUw_6r/s1920/Ayanna_Witter-Johnson_BT102-1920x1080-1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-qGP6JLoNDL9aciPYlTryuVL0rJapTv5QODgAZ1-lRKBYowV5tvyjq9QL9mIJn7EXRxPxhmy97Ufb7-joUXlTxLDvecLMIWn6VXOkQSEy-YXxDtE_Q47SWfCG50kt2KdvFfdMIJh3xPE0dexj90_wdEsaXPW2Ce31KrvZXTZgMKWQtahdKKxuA2GUw_6r/w400-h225/Ayanna_Witter-Johnson_BT102-1920x1080-1.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ayanna Witter-Johnson</td></tr></tbody></table><span style="font-family: arial; font-size: medium;">After the interval, came a real departure for the BPO, and a welcome injection of something completely different in the programme. <a href="https://www.ayannamusic.com">Ayanna Witter-Johnson</a> is a singer, cellist and composer from London, and performed four songs, accompanying herself on the cello. Her opening number, <i>Ain’t I a Woman?</i>, based on abolitionist and activist Sojourner Truth’s 1851 speech demanding equal rights for women, showed off her incredibly soulful voice, as well as a virtuosic ability to make the cello sound like a blues guitar. <i>Colour War </i>also had rhythmic pizzicato pulsing accompaniment underpinning her mellow, soulful voice, and her cover of Sam Cooke’s <i>A Change is Gonna Come</i> was incredibly powerful, the pared back sound adding strength to this classic protest against injustice and racism. And finally, <i>Unconditionally</i> took her percussive use of the cello to a new level, with the Cuban rumba clave providing the bass for her vocal dexterity to shine out. Her latest EP, including two of these tracks, was released today – more info <a href="https://www.ayannamusic.com/shop/">here</a>. Including such an exciting performer in their concert is another testament to MacGregor and the BPO’s innovative and adventurous programming.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"> </span></p><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span face="Arial, sans-serif"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNaCAhZvG8NdIlBb4oHhdQRiggXRq29h6z9Sf__WPC2b9knhJCWuB2uTz3lZWq_doTVCmumaLgkbe_cW39ddSM8Q0U92GFyTDCgkBXkamdmxz1fQmp9Aeo1qM9FLofPlFs-3mSOXh-drhdd1qj4jGtxNI7ArE24k4OEmmMmw_rVW6Y22NEJZPRRG7hlWbD/s1365/IMG_20240310_143304.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="889" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNaCAhZvG8NdIlBb4oHhdQRiggXRq29h6z9Sf__WPC2b9knhJCWuB2uTz3lZWq_doTVCmumaLgkbe_cW39ddSM8Q0U92GFyTDCgkBXkamdmxz1fQmp9Aeo1qM9FLofPlFs-3mSOXh-drhdd1qj4jGtxNI7ArE24k4OEmmMmw_rVW6Y22NEJZPRRG7hlWbD/s320/IMG_20240310_143304.jpg" width="208" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Ayanna Witter-Johnson<br />© Nick Boston</span></td></tr></tbody></table>Another hiatus for stage reorganisation (this really needs to get a little slicker), the evening concluded with a majestic performance of Florence Price’s</span><span face="Arial, sans-serif"> </span><i>The Mississippi River</i><span face="Arial, sans-serif">. As epic as the river itself, this large scale orchestral work combines four spiritual tunes, an Indigenous American song, ragtime music, and a Creole tune, all flowing one into the other, just like the rapid river. The opening section is full of pastoral woodwind, followed by moving brass chorales, and immediately one sensed the BPO were in a more confident mood here. There were moments of lush Hollywood, and some glorious harp moments (<a href="https://www.ram.ac.uk/people/alexander-rider">Alex Rider</a> deserves a special mention here, and for his deft contribution in the Wallen earlier in the evening), and there was some remarkably delicate rapid work from the bassoons too. Nothing stays still for long in this piece as we move on down the river, and the build up to the climax was powerfully delivered, before the wind down to the solo trumpet’s Deep River fragment – but the final word was given to more delicate work from Alex Rider on the harp, over glistening, watery strings.</span><span face="Arial, sans-serif"> </span> </span></div>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-50466398439765777822024-02-26T07:49:00.000-08:002024-02-26T07:49:06.786-08:00Sian Edwards and the Brighton Philharmonic Orchestra bring jazz and cabaret to the Corn Exchange<div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMuNh0boq0oEfgUkwDfTwSnn-__lDACY4Tb2KUs3WV_LqM1yTZy4CIyz3S5l0Q0O_757TRIPZS_gBIUGYvN47LE-d4T-Ap1UWjBhN-HPMkGVeXtlr2I9g1EpnJNyOMbWjfnDHeLsnXzmu9AuocUlULfohKijvglISPD3VU_-LEGaJMeMY3dtph-0gxpIN_/s3182/IMG_20240226_124852.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1593" data-original-width="3182" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMuNh0boq0oEfgUkwDfTwSnn-__lDACY4Tb2KUs3WV_LqM1yTZy4CIyz3S5l0Q0O_757TRIPZS_gBIUGYvN47LE-d4T-Ap1UWjBhN-HPMkGVeXtlr2I9g1EpnJNyOMbWjfnDHeLsnXzmu9AuocUlULfohKijvglISPD3VU_-LEGaJMeMY3dtph-0gxpIN_/w640-h320/IMG_20240226_124852.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Sian Edwards and the Brighton Philharmonic Orchestra<br />© Nick Boston</span></td></tr></tbody></table><a href="https://www.grovesartists.com/artist/sian-edwards/">Sian Edwards</a> (Conductor)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="http://highfieldproductions.com/alistair-mcgowan/">Alistair McGowan</a> (The Devil)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.coliseum.org.uk/cast/jo-castleton/">Jo Castleton</a> (Narrator)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.mkas.uk">Max Keeble</a> (Soldier)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://claireguntrip.wixsite.com/portfolio">Claire Guntrip</a> (Princess)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.arts.ac.uk/colleges/central-saint-martins/people/richard-williams">Richard Williams</a> (Director)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.brightonphil.org.uk">Brighton Philharmonic Orchestra</a></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.ruthrogers.net">Ruth Rogers</a> (Leader)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.trinitylaban.ac.uk/study/teaching-staff/fiona-cross/">Fiona Cross</a> (Clarinet)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://soundcircus.com">Joanna MacGregor</a> (Music Director)</span></div><div style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><span>7.30pm, Sunday 25 February 2024<br /></span><span><a href="https://brightondome.org/corn-exchange/">Corn Exchange</a>, Brighton<br /></span></span><span style="font-family: arial;"><span face="-webkit-standard" style="background-color: white;"><br /></span></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><span face="-webkit-standard" style="background-color: white;">★</span><span face="-webkit-standard" style="background-color: white;">★</span></span><span style="background-color: white; font-family: arial;">★</span><span style="background-color: white; font-family: arial;">★</span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial; font-size: medium;">Igor Stravinsky (1882-1971): <i>Ebony Concerto</i></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="background-color: white; font-family: arial;">Darius Milhaud (1892-1974): </span><i style="background-color: white; font-family: arial;">La Création du monde, Op. 81a</i></span></div><div style="text-align: left;"><span style="font-size: medium;"><span face="Calibri, sans-serif" style="background-color: white; font-family: arial;">Kurt Weill (1900-1950): </span><i style="background-color: white; font-family: Calibri, sans-serif;">Kleine Dreigrochenmusik: Suite from the Threepenny Opera</i><span face="Calibri, sans-serif" style="background-color: white; font-family: arial;"> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="background-color: white; font-family: arial;">Igor Stravinsky (1882-1971): </span><i style="font-family: arial;">Histoire du soldat</i></span></div><div style="text-align: left;"><span style="font-size: medium;"><i style="font-family: arial;"><br /></i></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial;"><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSYNFUGLNYUlxh6aYMXrfg1uoF65bsFSwdA2hX-7R4XcIajHXxMzxLaGkzKPk7n4PCwyrAf6-xybgWh_78O9N9a38T6knO1peXltF3qzuwfD26Va-I2PMEivdmYETxviZxKggjvUS6sl7x8ML1i8bsaZgidig8ip4QhpG9TNIa6Yq7Bjox2q1dxxkbsEE_/s3990/IMG_20240226_125128.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2140" data-original-width="3990" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSYNFUGLNYUlxh6aYMXrfg1uoF65bsFSwdA2hX-7R4XcIajHXxMzxLaGkzKPk7n4PCwyrAf6-xybgWh_78O9N9a38T6knO1peXltF3qzuwfD26Va-I2PMEivdmYETxviZxKggjvUS6sl7x8ML1i8bsaZgidig8ip4QhpG9TNIa6Yq7Bjox2q1dxxkbsEE_/w400-h215/IMG_20240226_125128.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Sian Edwards, Joanna McGregor <br />& the Brighton Philharmonic Orchestra<br />© Nick Boston</span></td></tr></tbody></table><span style="font-size: medium;">Sian Edwards returned to Brighton to conduct members of the Brighton Philharmonic Orchestra in a fascinating programme of early twentieth century works, showing the powerful influence of New York and Parisian jazz and Berlin cabaret on composers of the time. </span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial;"><span style="font-family: Calibri, sans-serif; font-size: large;"> </span><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">Stravinsky began and ended the evening. His striking and substantial theatre piece, <i>The Soldier’s Tale</i> formed the second half of tonight’s concert. But proceedings opened with something altogether more playful, his brief <i>Ebony Concerto</i>, written for Woody Herman and his band. As Sian Edwards pointed out in one of her brief informative chats with Joanna MacGregor during stage resets, the works on tonight’s programme are somewhat rarities on the concert platform, mainly due to their unusual scorings, mostly for wind and brass. The clarinet features most in the final of the Concerto’s three short movements, and Fiona Cross’ virtuosity and ease with the idiom here (as throughout the whole concert programme) was impressive. The mournful central movement had a suitably bluesy feel, although the saxophones were a little jagged in places, although the virtuosic perpetual motion set up by a saxophone in the finale was smoothly secure, and the ringing final chords set up an appropriately jazzy feel for the evening.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">Milhaud first heard American jazz in London, but soon after headed off to New York to explore jazz music in Harlem, and then emersed himself in the jazz bars of Paris, embracing what he referred to as the ‘jazz idiom’ in his compositions. <i>La Création du monde</i>, a short ballet work written for the Ballet Suédois in Paris, is a case in point. Written for solo strings (although no viola – this part being replaced by the alto saxophone) and woodwind, brass and percussion, it is a gloriously atmospheric piece, with an African creation myth as its scenario. The original ballet wasn’t a huge success, but the music stands alone as an inventive concert piece. The BPO players relished the opportunity for ample solo spotlights with the complex textures, although some appeared more at home in that ‘jazz idiom’ than others. A few tutti moments felt a little over counted, with some rhythms rocking as players interpreted the degree of swing differently, the percussion in particular pushing ahead once or twice. I expect all are still getting used to the newly, beautifully refurbished Corn Exchange’s acoustic, with some balance issues needing to be ironed out, such as cello and percussion significantly louder in the mix, as opposed to rather muffled flutes at the back of the stage. However, Edwards steered them all safely through, and the central joyful riot of creation and desire came across well, as well as the springtime return to calm, with slinky horn and oboe and buzzing flutes and muted trumpets to finish.</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p><span style="font-size: medium;"> </span></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">Weill’s <i>Kleine Dreigrochenmusik</i> takes us from the Paris jazz bars to Berlin’s cabaret scene, bringing some of the music from his opera with Bertolt Brecht to the concert hall. Set in Victorian London, the opera cast a harsh satirical eye on Weimar Germany of the 1920s, with its array of antiheros, led by Mack the Knife, and was a huge success at home, as well as spreading around Europe and to the USA. The Suite includes ‘hits’ such as the <i>Ballad of Mack the Knife,</i> and <i>Polly’s Song</i>, as well as the sensual <i>Tango-Ballade </i>and the dark <i>Kanonen-Song</i>, and is scored for wind, brass, percussion and piano, with banjo and guitar. The BPO players were strongest in the march-like sections, with strong rhythmic drive provided by Joanna MacGregor on the piano, although the darker sections could have taken more force from all to accentuate the dark satirical mood. Edwards had a challenge to bridge the distance on stage between the piano and percussion at either side, and the final accelerando into the chorale was in danger of coming loose, but enthusiastic energy carried things along, with some strong moments from the swirling clarinet and sultry saxophone, and a particularly chilling chorale over the tolling bells to finish.</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p><span style="font-size: medium;"><br /></span></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4rISy4kErxqLhDsOo9Vn5D6ZRY5sxhhzPswlRiKBrXfQhAxRajIMKDVktAggnOHpymhWAAOquvHHeNB1d9el8RghA0QvBpGm3aDPWcDGfFweqHVnroaNGHZt_wZzPPihN_3_SvOvntQ3uRgioROc-VHKuJgHvZaDrKiuKWdPv6zmSwwp9OvJMdftiTHD3/s3527/IMG_20240226_124752.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2720" data-original-width="3527" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4rISy4kErxqLhDsOo9Vn5D6ZRY5sxhhzPswlRiKBrXfQhAxRajIMKDVktAggnOHpymhWAAOquvHHeNB1d9el8RghA0QvBpGm3aDPWcDGfFweqHVnroaNGHZt_wZzPPihN_3_SvOvntQ3uRgioROc-VHKuJgHvZaDrKiuKWdPv6zmSwwp9OvJMdftiTHD3/w400-h309/IMG_20240226_124752.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Alistair McGowan, Max Keeble, Jo Castleton, <br />Claire Guntrip, Sian Edwards & the BPO</span></td></tr></tbody></table></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">And so to Stravinsky’s <i>The Soldier’s Tale. </i>This is a curious piece, part theatre, part chamber work, with even some dance thrown into the mix, and it feels somewhat of its time. That said, the music is full of vivid colour, and the darkly comedic tale of a soldier being duped by the devil is entertaining and succinctly told with humour in the libretto by Stravinsky’s friend C F Ramuz (here translated from the original French). There are three readers, with the Devil, in a variety of guises, played here by Alistair McGowan, with understated humour and an impressive array of accents. The Narrator, who drives the story along as well as providing snappy interactions with the cast to liven things up was delivered with commanding ease by Jo Castleton, and the bumbling soldier was charmingly played by Max Keeble. Richard Williams’ direction was light and unfussy, with simple staging elements not getting in the way of the musical performance, yet using the space on stage effectively. Dancer Claire Guntrip brought elegance to the non-speaking role of Princess, and the sequence of persuading and teaching the initially clumsy soldier to dance worked well with the music’s sequence of Tango, Waltz and Ragtime dances. As the soldier’s fiddle is central to the tale, there is lots for the first violin to do here, and Ruth Rogers’ devilish dances had real spark and flourish. The Royal March heralding the Princess’ entrance and the final Triumphant March of the Devil had great energy and solid ensemble from the full band, perhaps the tightest formation of players of the evening. Ultimately, a curio of the repertoire not destined for frequent performance, but given a persuasive performance here tonight by all.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p><span style="font-size: medium;"> </span></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">Once again, Joanna MacGregor and friends have demonstrated a real creative approach to bringing varied programmes to BPO audiences, and it was great to see the new Corn Exchange full for such an eclectic mix of rarely performed works.</span><o:p></o:p></p></span></div>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-30350613047748513962024-02-13T10:24:00.000-08:002024-02-13T10:27:53.990-08:00Intensity, virtuosity and life-affirming energy from the Pavel Haas Quartet's all-Czech evening<div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEJyBUnYfOLiL7MVBwXxpR639FAPXjzDMIF81en9Zju0W3zimsZmciF14hAzj5gnEcYfnKmFaA0fXRo65njXkz9eXAJG8rRqlLW7YJoR2hyphenhyphenvVO9EV423SfGHBGNIc-a8TZp35cTSYvewtpHGyxTmE3-kWPZSR48gRDGbLgMO6PdZaH9ao26ZMpEsB-ym8c/s1040/355855-240212-pavelhassquartet-19-38-25-23.webp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="680" data-original-width="1040" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEJyBUnYfOLiL7MVBwXxpR639FAPXjzDMIF81en9Zju0W3zimsZmciF14hAzj5gnEcYfnKmFaA0fXRo65njXkz9eXAJG8rRqlLW7YJoR2hyphenhyphenvVO9EV423SfGHBGNIc-a8TZp35cTSYvewtpHGyxTmE3-kWPZSR48gRDGbLgMO6PdZaH9ao26ZMpEsB-ym8c/w400-h261/355855-240212-pavelhassquartet-19-38-25-23.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">The Pavel Haas Quartet<br />© The Wigmore Hall Trust, 2024</span></td></tr></tbody></table><a href="https://www.pavelhaasquartet.com/en/home/">Pavel Haas Quartet</a></span></div><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">Veronika Jarůšková (violin)<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">Marek Zwiebel (violin)<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">Šimon Truszka (viola)<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">Peter Jarůšek (cello)<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p><span style="font-size: medium;"> </span></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">7.30pm, Monday 12 February 2024<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><a href="https://www.wigmore-hall.org.uk">Wigmore Hall</a>, London<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><span style="font-family: arial;"><span face="-webkit-standard" style="background-color: white;">★</span><span face="-webkit-standard" style="background-color: white;">★</span></span><span style="background-color: white; font-family: arial;">★</span><span style="background-color: white; font-family: arial;">★</span></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p><span style="font-size: medium;"> </span></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p><span style="font-size: medium;"><br /></span></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p><span style="font-size: medium;"><br /></span></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p><span style="font-size: medium;"><br /></span></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><br /></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;">Bohuslav Martinů (1890-1959): <i>String Quartet No. 3<o:p></o:p></i></span></p><p class="MsoNormal" style="margin: 0cm;"><i><span style="font-family: arial; font-size: medium;"> </span></i></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;">Vitězslava Kaprálová (1915-1940): <i>String Quartet No. 1, Op. 8<o:p></o:p></i></span></p><p class="MsoNormal" style="margin: 0cm;"><i><span style="font-family: arial; font-size: medium;"> </span></i></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"><span>Antonín Dvořák (1841-1904): </span><i><span>String Quartet in C major, Op. 61</span><o:p></o:p></i></span></p><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><i><span><br /></span></i><span style="background-color: white;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Gf_zCspVI9RpasKzGEaXmcSA4fs1XyAZaZQdl6Gw_GXtx-_l20WfljnWONCDgUbeTmOjCkzujE1zryOKZ0618jsaX5CroIa2sJMXGgr_7DEurPoespmIoTKqYT9hZgufwPwSLbBYIv-Fk1i06C59WNeOmGBFnTRaMUhv0NTNAvF1LufPer56UuGhH717/s2400/355858-240212-pavelhassquartet-19-37-16-10.webp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1350" data-original-width="2400" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Gf_zCspVI9RpasKzGEaXmcSA4fs1XyAZaZQdl6Gw_GXtx-_l20WfljnWONCDgUbeTmOjCkzujE1zryOKZ0618jsaX5CroIa2sJMXGgr_7DEurPoespmIoTKqYT9hZgufwPwSLbBYIv-Fk1i06C59WNeOmGBFnTRaMUhv0NTNAvF1LufPer56UuGhH717/w400-h225/355858-240212-pavelhassquartet-19-37-16-10.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">The Pavel Haas Quartet<br />© The Wigmore Hall Trust, 2024</span></td></tr></tbody></table>'Now in their 22nd year, the Pavel Haas Quartet </span><span style="background-color: white;">continue to impress with their sheer dedication and virtuosic intensity, and tonight was no exception'.</span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white;"><br /></span><span style="background-color: white;">Martinů:<br /></span><span style="background-color: white;">'Truszka gave a richly sensuous tone to the slow movement’s bluesy solo, as well as driving the setup for the finale’s dance'.</span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white;"><br /></span><span style="background-color: white;">Kaprálová:<br /></span><span style="background-color: white;">'... after a tender conclusion to the slow movement, the finale danced away, building to a joyful climax, the Haas players proving powerful advocates for this strikingly individual quartet'.</span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span><span style="background-color: white;"><br /></span></span><span style="background-color: white;">Dvořák:<br /></span><span style="background-color: white;">'</span><span style="background-color: white;">The players’ flowing momentum, with some especially poised birdlike calls from Jarůšková, and their sheer enjoyment in the rousing lead into the recapitulation communicated perfect elegance and style, before subsiding into its quiet final chords'.</span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white;"><br /></span><span style="background-color: white;">'The Pavel Haas Quartet performed throughout with such ease of command, never overstated yet full of life and commitment, making for a joyous celebration of these three fine works'.</span></span></div><p class="MsoNormal" style="margin: 0cm; text-align: left;"><i><span style="font-family: arial; font-size: medium;"><br /></span></i></p><p class="MsoNormal" style="margin: 0cm; text-align: left;"><span style="font-family: arial; font-size: medium;">Read my full review on Bachtrack <a href="https://bachtrack.com/review-pavel-haas-quartet-martinu-vitezslava-dvorak-wigmore-hall-february-2024">here</a>.</span></p>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-35696988193119443042024-02-08T04:40:00.000-08:002024-02-08T05:09:54.829-08:00Chromosphere - arresting performances of Woodwind orchestral music from Shea Lolin and the Czech Philharmonic Wind Ensemble.<div><span style="font-family: arial; font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhONen5DNw2K7Md7Jx1jz_8XIAOnFeEVWunJevZUURqvdWejgOzEdLAsT1PSjQwt3KOvTCWP7T8Slru5FIDVL4k9Iej1QXrHXhGEXv368Kp3odbULPvHxG_LcTjhoiaetKQqkOJjhMLGzq_Sl2U5NZzvflms-4IioPIrZi3KXpwMWSBz-LD580rONY_GJoV/s2560/cover21117-scaled.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2560" data-original-width="2560" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhONen5DNw2K7Md7Jx1jz_8XIAOnFeEVWunJevZUURqvdWejgOzEdLAsT1PSjQwt3KOvTCWP7T8Slru5FIDVL4k9Iej1QXrHXhGEXv368Kp3odbULPvHxG_LcTjhoiaetKQqkOJjhMLGzq_Sl2U5NZzvflms-4IioPIrZi3KXpwMWSBz-LD580rONY_GJoV/w400-h400/cover21117-scaled.jpg" width="400" /></a></div>Conductor <a href="https://www.shealolin.co.uk">Shea Lolin</a> and the <a href="https://www.ceskafilharmonie.cz/en/">Czech Philharmonic Wind Ensemble</a> have recently recorded <i>Chromosphere</i>, a delightful selection of contemporary works (all first recordings) showcasing the ‘symphonic colours of the woodwind orchestra’, as the album’s subtitle describes them.</span></div><div><span style="font-family: arial; font-size: medium;"><br />They kick off with <a href="https://keironanderson.co.uk">Keiron Anderson’s (b.1955)</a> joyous <i>Alice in Wonderland</i>, which beautifully exploits the variety of textures and moods of the woodwinds. There is humour in the frenetic <i>White Rabbit,</i> and the craziness of <i>A Tea Party</i> and the <i>Lobster Quadrille</i>, yet the dreamy opening, <i>Alice and Her Sister</i> is full of pastoral tenderness. Meanwhile, <i>The Trial</i> brings dramatic tension, before the <i>Return to the Garden</i> brings things to a spirited conclusion. The episodic nature of the piece means that none of the ideas stick around for long, but that adds a sense of forward momentum and story-telling pace. And right from this opening piece, the clarity of articulation and precision of the players is in evidence. <br /><o:p> <br /></o:p>With <a href="https://composersedition.com/judithbingham/">Judith Bingham’s (b.1952)</a> <i>Mozart’s Pets</i>, we are still in the realms of fantasy to some extent, albeit based on some truth, in terms of Mozart’s fondness for his pets.<br /><i>Miss Bimperl, Fox Terrier</i> has a slightly stuttering rhythm, with snappy saxes contrasting against the scurrying upper winds, whilst <i>A London Cat</i> uses the saxes again, this time in more sultry, feline mood. <i>Dawn Chorus in a Viennese Bird-seller’s Shop</i> is cleverly packed with quotes and hints at motifs, repeated like birdcall, and gradually building to a fabulous chattering chorus from the flutes, whilst <i>The Grasshopper</i> has fluttering keys against flighty, jumpy movement. <i>A Canary Sings by Mozart’s Death Bed</i> has thick, mournful textures from the bassoons and saxes, making the frantic crying song of the canary on the piccolo, left alone at the end, almost painfully moving. <br /><o:p> <br /></o:p><a href="https://www.charlottehardingmusic.com">Charlotte Harding (b.1989)</a> contributes <i>Bright Lights</i>, a two movement work, originally written for smaller wind band forces, capturing the excitement of moving to a new city. The first movement, <i>Luminous</i>, is bright and atmospheric, but also full of mystery and a sense of discovery. The cor anglais makes a notable appearance, and there are flashes of colour from the flutes and piccolo amidst the glowing chordal texture, with everything building to a final flashing of lights, again led by the flutes and piccolo. <i>Energetic, Colourful</i> does what it says on the tin, with bright energy and sparkle throughout, and the players excel in bringing out all of the detail, with Lolin managing the rapidly shifting tempi and complex rhythms with evident command, building to an impressive climactic finish.<br /><o:p> <br /></o:p>The programming on the disc comes into its own here too, with the frenetic energy of <i>Bright Lights</i> immediately subdued by the darkly atmospheric <i>Domes</i> from <a href="http://www.kamranince.com">Kamran Ince (b.1960)</a>. Straight away, the falling, entwined flutes create a sense of awe and calm, occasionally disturbed by rapid interjections, the piece contrasting the ancient city skylines of Rome and Constantinople. As it develops, the ideas combine and clash more and more, with fiddling movement layered over the insistent falling lines and thick chordal textures. There is also frequent use of silence, the breaks accentuating the drama but also constantly reinforcing the calm, yet Lolin maintains the momentum, and the balance between the chordal textures and more energetic movement. The Pärt-like falling lines return at the end, picked up with tenderness by the clarinets, creating a rather beautiful, if somewhat poignant ending.<br /><o:p> <br /></o:p>The disc concludes with <a href="https://www.christopherhussey.co.uk">Christopher Hussey’s (b.1974)</a> <i>Child of the Wandering Sea</i>. Having recently been fortunate to be involved with <a href="https://www.brighton16.co.uk">Brighton16</a> in a recording of one of his choral pieces, <i>Songs from the Temple</i>, this work is a fascinating contrast to that work’s more transparent (but equally evocative) writing, a demonstration of Hussey’s compositional range. It is vivid and atmospheric, and in its three sections, Hussey explores marine life at increasing depths of the ocean. So <i>Sunlight</i> is busy and literally full of life, with trilling clarinets and a plethora of melodic material for mostly upper instruments competing for attention. The energy gradually builds, and <i>Twilight</i> quickens the pace, with more virtuosic demands on the players, and the precision and articulation here is as bright as ever, with Lolin clearly steering proceedings with confidence. After a wild climax, the tempo and mood subside into the darkness of <i>Midnight</i>, the deepest part ocean where there is no light. The weighty chords have a disturbing quality, and a final brief outburst notwithstanding, we are left in solitary darkness.<br /><o:p> <br /></o:p>As an exceptional demonstration of the often neglected range that wind music can deliver, and with such commandingly expert performances from Lolin and the Czech Philharmonic Wind Ensemble, this has to be highly recommended. </span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-size: x-small;"><span style="font-family: arial;"><a href="https://divineartrecords.com/recording/chromosphere-symphonic-colours-of-the-woodwind-orchestra/">Various. 2024. <i>Chromosphere - symphonic colours of the woodwind orchestra. </i>Czech Philharmonic Wind Ensemble, Shea Lolin. Compact Disc & Download. </a></span><span style="font-family: arial;"><a href="https://divineartrecords.com/recording/chromosphere-symphonic-colours-of-the-woodwind-orchestra/">Divine Art Records DDX 21117</a>. </span></span></div><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p></o:p></p>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-76814760357669871192024-01-29T04:51:00.000-08:002024-01-29T04:51:15.039-08:00'Wagner's Dream' - the Brighton Philharmonic Orchestra on great form, with Geoffrey Paterson conducting<div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUUgUcFjYlclulDAGJDUdYi_bcQlDEsmRyjOEqy1TJYeN78W5RINky7q6pb8ei4ETIYGQcZqJ0jfsnc6nf5ATZBc1f8H7OHqKxVC1JmyP7Oxf0JMmQfborQqbZtMWJPmdJ7rxRL3KOFNx4E5M-Fvg5XEYSDkh2Uu0Erdc81TuxS3HbCM3vkAFLYTWdKcgS/s2500/Lotte+Betts+Dean+4+i%CC%88%C2%BF%C2%BD+Ben+Ealovega.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1666" data-original-width="2500" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUUgUcFjYlclulDAGJDUdYi_bcQlDEsmRyjOEqy1TJYeN78W5RINky7q6pb8ei4ETIYGQcZqJ0jfsnc6nf5ATZBc1f8H7OHqKxVC1JmyP7Oxf0JMmQfborQqbZtMWJPmdJ7rxRL3KOFNx4E5M-Fvg5XEYSDkh2Uu0Erdc81TuxS3HbCM3vkAFLYTWdKcgS/w400-h266/Lotte+Betts+Dean+4+i%CC%88%C2%BF%C2%BD+Ben+Ealovega.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Lotte Betts-Dean<br />© Ben Ealovega</span></td></tr></tbody></table><div style="text-align: left;"><span style="font-size: medium;"><a href="https://www.lottebettsdean.com" style="font-family: Calibri, sans-serif;">Lotte Betts-Dean</a><span face="Calibri, sans-serif"> (Mezzo-soprano)</span></span></div><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><a href="https://www.brightonphil.org.uk">Brighton Philharmonic Orchestra</a><o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><a href="https://geoffreypaterson.co.uk">Geoffrey Paterson</a> (Conductor)<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><a href="https://soundcircus.com">Joanna MacGregor</a> (Music Director)</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p><span style="font-size: medium;"> </span></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">7.30pm, Saturday 27 January 2024<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">Dome Concert Hall, Brighton<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p><span style="font-size: medium;"> </span></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span face=""Segoe UI Symbol", sans-serif" style="background: repeat white;"><span style="font-size: medium;">★★★★<o:p></o:p></span></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="background: repeat white;"><o:p><span style="font-size: medium;"> </span></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white;">Györgi Ligeti (1923-2006):</span><span style="background-color: white;"> </span><i>Atmosphères</i></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white;">Luciano Berio (1925-2003):</span><span style="background-color: white;"> </span><i><span> Folk Songs</span></i></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white;">Richard Wagner (1813-1883):</span><span style="background-color: white;"> </span><i>The Ring: An Orchestral Adventure</i></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="background: repeat white;"><span style="font-size: medium;"><span style="font-family: arial;">arranged by Henk de Vlieger (b.1953)</span><span style="font-family: Calibri, sans-serif;"><o:p></o:p></span></span></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="background: repeat white;"><o:p><span style="font-size: medium;"> </span></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: left;"><span style="background: repeat white;"><span style="font-size: medium;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEb87DzNKT0oI9DDAo81SrZkEuXAWhngKY_gTFxeAqf_YnPQPavUOhnPQtKtEqkeWjE0YR7ijnuVj1Nl4yEhC87bE34xmmxW53ClzxldvDhsn8gTNrBvgaOp8UqIvJJ9tG-ClT5aPoFbADgBKx4GyFJ4VpWI4tID11kraNS-gEY-DMvUKpDA6DZsy3Gjt7/s2560/extraforcarousel2-web-scaled.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1707" data-original-width="2560" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEb87DzNKT0oI9DDAo81SrZkEuXAWhngKY_gTFxeAqf_YnPQPavUOhnPQtKtEqkeWjE0YR7ijnuVj1Nl4yEhC87bE34xmmxW53ClzxldvDhsn8gTNrBvgaOp8UqIvJJ9tG-ClT5aPoFbADgBKx4GyFJ4VpWI4tID11kraNS-gEY-DMvUKpDA6DZsy3Gjt7/w400-h266/extraforcarousel2-web-scaled.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Geoffrey Paterson</span></td></tr></tbody></table><p></p><div><span style="background: repeat white;"><span style="font-size: medium;">The Brighton Philharmonic Orchestra were back at the Dome in their relatively new Saturday night slot, and whilst the concert hall wasn’t completely full, they had a good audience for one of their most ambitious programmes in recent years. The main draw for most will have bee Henk de Vlieger’s crazy arrangement of Wagner’s Ring Cycle (yes, all four operas, around 15 hours of music) into one orchestral concert work, coming in at around an hour and ten minutes. But more of that later. </span></span><span style="background: repeat white;"><o:p><span style="font-size: medium;"> </span></o:p></span></div><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="background: repeat white;"><span style="font-size: medium;">In the understandably short first half, the BPO gave us two challenging and highly contrasting twentieth century works, and there was no sense of these being there purely as filler. Ligeti’s <i>Atmosphères</i> may be known to some from its appearance in Kubrick’s <i>2001: A Space Odyssey</i>, where it provides an other-worldly sense of suspension in time and space. Consisting of dense cluster chords of up to fifty or more pitches at once, these ‘sound masses’ create that sense of suspension, and what movement there is, is almost indiscernible within the density of textures, with the dynamic only rising above quiet on a couple of occasions. Conductor Geoffrey Paterson took the BPO through this with taut control, and by and large, they successfully achieved the desired effect. There were shimmering, strange oscillations and glassy strings, with the woodwind leading one of the crescendi up to four strikingly shrill piccolos. Towards the end two percussionists sweep and stroke the strings inside the piano, adding to the ethereal effect, as well as providing a little extra on-stage interest.<o:p></o:p></span></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="background: repeat white;"><o:p><span style="font-size: medium;"> </span></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: left;"><span style="background: repeat white;"><span style="font-size: medium;"></span></span></p><div><span style="background: repeat white;"><span style="font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaRqzL8t3Al49jdnPRCLm1Hbv7ul6OdP3xojmKFdQVdQBdRsgebsoVU7TkiAiAfLUbfLu6kMlUNfY0xn-lXRp9V90OKAp4yfY5JhsJcYAf1GCwzfXvmrIJ-ZptEbHPgd67pBQHO_nDmS1VsfiPGnEJFdVa3KXuZqVJ7Y5A712mNVrnJKdkUfA7hOVaRz2p/s994/IMG_20240128_101735.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="809" data-original-width="994" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaRqzL8t3Al49jdnPRCLm1Hbv7ul6OdP3xojmKFdQVdQBdRsgebsoVU7TkiAiAfLUbfLu6kMlUNfY0xn-lXRp9V90OKAp4yfY5JhsJcYAf1GCwzfXvmrIJ-ZptEbHPgd67pBQHO_nDmS1VsfiPGnEJFdVa3KXuZqVJ7Y5A712mNVrnJKdkUfA7hOVaRz2p/w200-h163/IMG_20240128_101735.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Lotte Betts-Dean, <br />Geoffrey Paterson & the BPO<br />© Nick Boston</span></td></tr></tbody></table>This was followed by Luciano Berio’s <i>Folk Songs</i>, a set of eleven songs, drawn from eight different countries or regions, in as many different languages, written for and dedicated to his muse and wife at the time, Cathy Berberian. The BPO were joined tonight by the Australian mezzo-soprano, Lotte Betts-Dean, who gave us an incredibly assured and engaging performance. I have to confess, you’ll be surprised to hear, to having little Armenian, Sicilian or Genoese dialect, or Azerbaijani, Sardinian or Occitan for that matter, but none of these linguistic challenges appeared to phase Betts-Dean, and in every song, there was a clear sense of communication and variety of tone. Her range is impressive, from the gracefully held higher notes in <i>Loosin yelav </i>right down to the almost bluesy, yearning low notes of <i>A la femminisca</i>. And she also demonstrated nimble virtuosity in the <i>La la las</i> of <i>Ballo</i>, as well fluid expression over the droning cellos in <i>Lo fiolaire</i>. Paterson and the BPO enjoyed the lighter textures, from just two violas and harp at the start of <i>Black is the Colour</i>, to the orchestral woodwind and trumpet colours in the gently lilting <i>La donna ideale</i>. Only in a couple of places did Paterson allow the orchestra to get a little too loud, risking overpowering Betts-Dean, particularly in her lower range. But overall, this was a characterful performance from all of this delightful and engaging set of songs.</span></span></div><div><span style="background-color: white; font-family: Calibri, sans-serif; font-size: large;"> </span></div><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="background: repeat white;"><span style="font-size: medium;">And so to Wagner. Despite the risk of being dismissed as a bit of a ‘greatest hits’ compilation, Henk de Vlieger’s arrangement nevertheless manages to include most of the major musical themes and motifs, with some vocal lines covered instrumentally, obviously, but also keeps much of the orchestral textures preserved, meaning that overall, this does actually work as a stand-alone orchestral piece. Here, programme notes taking us through the synopsis of the four operas, distilled by de Vlieger into fourteen sections, were supplemented by somewhat sketchy surtitles. The orchestra may well have been the largest iteration of BPO, certainly that I’ve ever seen, with a mammoth brass section including eight horns (four of whom doubled on Wagner tubas) – oh, and of course, the anvils. Paterson steered them through the adventure with remarkable energy and drive – this is definitely a feat of stamina, and to their credit, they kept the energy levels high right through. The frolicking Rhinemaidens were joyous, and the flowing Rhine itself from the strings had suitably swirling, watery atmosphere. On the whole, the brass delivered, particularly glorious when evoking the World’s Light appearing as Siegfried wakes Brünnhilde with a kiss, and Siegfried’s subsequent riding away on her steed. Inevitably with so much reliance on the brass, there were some lapses in precision later on, but overall, the excitement and commitment made up for the occasional lack of shine and finesse. The BPO woodwinds continue to show their proficiency, with some particularly evocative birds in the forest, and desperate cries at the death of Siegfried, whilst the string sound was rich and ensemble tight throughout. Hagen’s stabs that kill Siegfried could have had a little more strength and violence, but the final climactic fire of Valhalla, followed by the majestic overpowering by the Rhine brought things to a suitably exhilarating conclusion. Hats off to all concerned for an impressively dramatic performance – an orchestral adventure it certainly was!<o:p></o:p></span></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="background: repeat white;"><span style="font-size: medium;"><br /></span></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijSyGp9si6boiQOuDg7iSelc95p4GG2O0BFlWaaSBinkq39B_ZDwAqmu7H1mRdillbTM6mLjtPaDgAB3MEVZUt9yM1IiIeENklOkS0FW9khgHjxgLmQjHW5_xDmc8hnXFNlWOyJtCQroKaE93Gi1NgNJOhQD2aY9rQUNUHdKLtQohxwREsYLU1p3SiTt35/s3968/IMG_20240128_101838.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="2169" data-original-width="3968" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijSyGp9si6boiQOuDg7iSelc95p4GG2O0BFlWaaSBinkq39B_ZDwAqmu7H1mRdillbTM6mLjtPaDgAB3MEVZUt9yM1IiIeENklOkS0FW9khgHjxgLmQjHW5_xDmc8hnXFNlWOyJtCQroKaE93Gi1NgNJOhQD2aY9rQUNUHdKLtQohxwREsYLU1p3SiTt35/w400-h219/IMG_20240128_101838.jpg" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Geoffrey Paterson & the Brighton Philharmonic Orchestra<br />© Nick Boston</span></td></tr></tbody></table><span style="font-size: medium;"><br /></span><span style="background: repeat white;"><br /></span><p></p>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-21662274789779276852024-01-23T03:16:00.000-08:002024-01-23T03:16:41.660-08:00Energetic Scottish Symphony lifts a weighty evening of the Schumanns and Mendelssohns<p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCJpdgFyUeyXOAaZOI4Ry21xwboJwDG-TRPzfBbb0hINa-OAsQrzzintgS3AVmBm_EacmPXOkhsL3R7O2H_D22VcqLXTwTeVTRCHz8FpxhefUR2qZBPo8LLeMzCukxWog6LGrM-ceK3okyq1maKlF_EI0KJDotcCc9QF_AfuzZY3rhTsyH_wH4jIAN7MnD/s1040/352155-natalia-ponomarchuk-credit-alina-harmash-small.webp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="680" data-original-width="1040" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCJpdgFyUeyXOAaZOI4Ry21xwboJwDG-TRPzfBbb0hINa-OAsQrzzintgS3AVmBm_EacmPXOkhsL3R7O2H_D22VcqLXTwTeVTRCHz8FpxhefUR2qZBPo8LLeMzCukxWog6LGrM-ceK3okyq1maKlF_EI0KJDotcCc9QF_AfuzZY3rhTsyH_wH4jIAN7MnD/w400-h261/352155-natalia-ponomarchuk-credit-alina-harmash-small.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Natalia Ponomarchuk<br />© Alina Harmash</span></td></tr></tbody></table><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><a href="https://www.impresariat-simmenauer.de/en/artist/alexander-melnikov/">Alexander Melnikov</a> (piano)</span></p><span style="font-size: medium;"><o:p></o:p></span><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><a href="https://lpo.org.uk">London Philharmonic Orchestra</a><o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><a href="https://ponomarchuk.org">Natalia Ponomarchuk</a> (conductor)<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: arial; font-size: medium;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"><o:p></o:p></span></p><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">7.30pm, Saturday 20 January 2024</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span face="Calibri, sans-serif"><a href="https://brightondome.org">Brighton Dome</a></span> </span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><span face="-webkit-standard" style="background-color: white;">★</span><span face="-webkit-standard" style="background-color: white;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">Fanny Hensel, née Mendelssohn (1805-1847): <i>Overture in C major<o:p></o:p></i></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">Clara Schumann (1819-1896): <i>Piano Concerto in A minor, Op. 7<o:p></o:p></i></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">Robert Schumann (1810-1856): <i>Introduction and Allegro for piano and orchestra, Op. 134<o:p></o:p></i></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">Felix Mendelssohn (1809-1847): <i>Symphonhy No. 3 in A minor (Scottish)</i><o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><i><span style="font-size: medium;"><br /></span></i></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">Fanny Hensel:</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">'<span style="background-color: white; font-family: Helvetica, Arial, sans-serif;">The LPO's violins responded to the horn’s quiet opening with lyricism, although their pick-up following the introduction was a little imprecise'.</span></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;"><br /></span></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">Clara Schumann:</span></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">'Melnikov was most at home in the lyrically rhapsodic slow movement, joined by guest principal cellist, Waynne Kwon, beautifully complementing Melnikov’s lyricism with warmth and depth'.</span></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;"><br /></span></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">Robert Schumann:</span></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">'Melnikov’s chromatic scales swirled and the orchestra surged appropriately in response. He was assured in the delicate intricate passagework, but occasionally, in the more bombastic moments, attention to detail was surprisingly matter of fact, with more than a few imprecisions creeping in'.</span></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;"><br /></span></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">Felix Mendelssohn:</span></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">'Here the LPO winds came into their own, with a flowing clarinet opening and fizzing articulation from them all, complemented well by the joyful string filigree passages'.</span></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;"><br /></span></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">'Once at full pelt, Ponomarchuk elicited rich and expressive drama. The finale had immediate attack, and the fugal sections here were tight. Clarinet and bassoon gave a delightfully expressive duet, and then the transformed ‘Holyrood’ delivered stately grandeur, with glorious horns to finish'. </span></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><i><span style="font-size: medium;"><br /></span></i></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><i><span style="font-size: medium;"><br /></span></i></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: medium;">Read my full review on Bachtrack <a href="https://bachtrack.com/review-ponomarchuk-melnikov-london-philharmonic-brighton-january-2023">here</a>.</span></p></div>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-82911714038546779122024-01-12T07:46:00.000-08:002024-01-12T07:46:34.624-08:00Atmospheric and expressive piano works from Hugh Shrapnel performed with virtuosic command by the Ivory Duo Piano Ensemble<p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p></o:p></p><div style="text-align: left;"><span style="font-family: Calibri, sans-serif;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbVfPdjxuA1P_sDp6zzS6VggbJs9nuABGvu413PpVt9LGJHiKxXT_VVYneTRwawZkvZ84YY4tkrA79Iu5DhO-Mwrzc_A-RjbKHilkWCCSoND79MgptW18NZS148As4LWp2xL2qhN1Se_1cM3GOOhoxdDtPjd2Rmm0FaIesEOaFxS5YAIb05u-Nrotx7kYF/s1024/CR087-Cover-1024.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbVfPdjxuA1P_sDp6zzS6VggbJs9nuABGvu413PpVt9LGJHiKxXT_VVYneTRwawZkvZ84YY4tkrA79Iu5DhO-Mwrzc_A-RjbKHilkWCCSoND79MgptW18NZS148As4LWp2xL2qhN1Se_1cM3GOOhoxdDtPjd2Rmm0FaIesEOaFxS5YAIb05u-Nrotx7kYF/w400-h400/CR087-Cover-1024.png" width="400" /></a></div><span style="font-size: medium;">I reviewed a recording from the <a href="https://www.ivoryduopiano.com">Ivory Duo Piano Ensemble</a> (pianists <a href="https://www.city.ac.uk/about/people/research-students/natalie-tsaldarakis">Natalie Tsaldarakis</a> and <a href="https://conviviumrecords.co.uk/artist-profile/panayotis-archontides/">Panayotis Archontides</a>) performing piano music by composers John Lewis (b.1947) and <a href="http://hughshrapnel.com/home">Hugh Shrapnel (b.1947)</a> back in 2020 (<a href="https://nicks-classical-notes.blogspot.com/2020/10/cd-reviews-october-2020.html">here</a>), and I very much enjoyed their atmospheric yet virtuosic performances. They’re back, with <i>Piano Works, </i>this time just by Hugh Shrapnel. On the previous recording, I was struck by the variety of Shrapnel’s mostly miniature pieces, from moody and atmospheric to energetic and at times even aggressive, and this new recording confirms that variety in Shrapnel’s writing for the piano. Again, there are few pieces here longer than a few minutes, yet within this miniature form, Shrapnel captures a mood instantly. A pecking <i>Robin</i>, a weird unidentified creature (insect? small rodent?) in<i> Jump</i>, or comedic, even slightly chaotic <i>Jugglers</i>, all feature in his <i>Piano Set No. 1</i>, alongside the darker, more introspective moods of <i>Shade</i> and <i>Wood at Night</i>. On this disc, in fact there are only two pieces for the duo – the rest are works for solo piano, and they are split fairly evenly between Tsaldarakis and Archontides. So Tsaldarakis takes the <i>Piano Set No. 1,</i> and captures beautifully those mood swings from one momentary movement to the next, some under a minute long. There is a lazy, bluesy tiredness to <i>Small Hours</i>, and <i>Red Queen’s</i> minimalist running on the spot is delivered effortlessly. Archontides plays Shrapnel’s <i>Sonatina</i>, ostensibly more formally structured, but still with now familiar elements such as rippling movement and subtly shifting harmonies, but Archontides also captures the lilting yet plangent mood of the central movement, written as a memorial to Shrapnel’s father. Archontides also takes <i>Love-Hate</i>, contrasting an almost violent opening with more introspective, reflective passages, and his tone is rich and resonant, with a deep tolling bass. And in <i>Esquisse mécanique</i>, written for a volume of piano music inspired by Alkan, Archontides’ virtuosity shines through, its playful, perpetual 5/8 rhythms rippling along without much let up, and exploiting the extreme registers of the keyboard. He also takes two of the three movements of <i>Le Temps Perdu,</i> giving the second movement’s slightly sarcastic, tango-esque rhythms quite dramatic weight, contrasting with the calmer yet darker mood of the slower third movment. Tsaldarkis’ opening movement of this set is playful with hints at dance rhythms within a jazzy, cabaret-style mood. Tsaldarkis performs <i>Sphinxes</i> (drawing on the sets of cryptogram notes Schumann laid out in the middle of Carnival), which is full of silence and hanging resonance, with just a brief moment of outburst adding to the mystery. <i>Premonition</i> is full of foreboding, with its contrary motion between the hands and tolling bells, and <i>For Bob</i>, a tribute to Robert Coleridge, a friend and colleague of Shrapnel’s, shares some of the same bell-like tolling, with repeating falling cries, which later become more chordal in texture, possibly even slightly angry in tone. The players join for just two pieces. In <i>Follow me up to Carlow, </i>Shrapnel pays tribute to his composition teacher Cornelius Cardew, drawing on an old Irish tune celebrating victory over English soldiers at the Battle of Glenmalure. The longest track here, at nearly eight minutes, this is a piece full of dramatic rhythmic energy, and its cross-rhythms build in intensity over insistent rumblings in the bass. The two pianists circle each other in the virtuosic sections, yet retreat into a more reflective mood, before everything comes together for a slightly frenzied climax, before subsiding into ringing chords and tolling bass notes. And they end the disc with <i>For an Alternative</i>, another piece honouring Cardew, with clamorous, resonant bells to open, before driving rhythmic energy takes hold, and here the duo’s virtuosic timing is particularly impressive. This is a great showcase for the variety of expression and mood in Shrapnel’s piano writing, as well as for the virtuosic command of these two pianists, alone or as a duo.</span></span><span style="font-family: Calibri, sans-serif;"><span style="font-size: medium;"> </span></span></div><div style="text-align: left;"><span style="font-family: Calibri, sans-serif;"><br /></span></div><div style="text-align: left;"><span style="font-size: x-small;"><a href="https://conviviumrecords.co.uk/product/hugh-shrapnel-piano-works/"><span style="font-family: Calibri, sans-serif;">Shrapnel, H. 2023. </span><i style="font-family: Calibri, sans-serif;">Hugh Shrapnel: Piano Works. </i></a><span style="font-family: Calibri, sans-serif;"><a href="https://conviviumrecords.co.uk/product/hugh-shrapnel-piano-works/">Ivory Duo Piano Ensemble.<i> </i>Compact Disc. Convivium Records. CR087</a>.</span></span><span style="font-family: Calibri, sans-serif;"> </span> </div>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-59477552031617168792023-12-22T06:42:00.000-08:002023-12-22T06:42:19.403-08:00Passionately committed Brahms from Janine Jansen and friends at Wigmore Hall<div style="text-align: left;"><span style="font-family: arial;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKSwdxElm30pz17TRaI2N3ZxJP9YTIpcFxoM3aPeHGFBDPJZIP4SZE7dC8rRdkM_yVRv15HcYnhnIpdisbi7_YPeCXi-6_ZJO3JfnGLkrSAT98rpqNbbIMhZJdf8rK1_Iwlr3VrbN_tr4RARTEWysCvW8JO0iEtBxAvMWgsMeynR4eXB5JSm6tNCzqn29-/s1040/349615-janine-jansen-16-credit----wiener-konzerthaus--fot.webp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="680" data-original-width="1040" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKSwdxElm30pz17TRaI2N3ZxJP9YTIpcFxoM3aPeHGFBDPJZIP4SZE7dC8rRdkM_yVRv15HcYnhnIpdisbi7_YPeCXi-6_ZJO3JfnGLkrSAT98rpqNbbIMhZJdf8rK1_Iwlr3VrbN_tr4RARTEWysCvW8JO0iEtBxAvMWgsMeynR4eXB5JSm6tNCzqn29-/w400-h261/349615-janine-jansen-16-credit----wiener-konzerthaus--fot.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Janine Jansen<br />© Lukas Beck</span></td></tr></tbody></table><br /><span style="font-size: medium;"><a href="https://www.janinejansen.com">Janine Jansen</a> (violin)</span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.timothyridout.com">Timothy Ridout</a> (viola)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://sion-violon-musique.ch/en/daniel-blendulf-en/">Daniel Blendulf</a> (cello)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://deniskozhukhin.com">Denis Kozhukhin</a> (piano)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">7.30pm, Thursday 21 December 2023</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.wigmore-hall.org.uk">Wigmore Hall</a>, London</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-family: arial;"><span style="font-family: arial;"><span face="-webkit-standard" style="background-color: white;">★</span><span face="-webkit-standard" style="background-color: white;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial;"><span style="font-size: medium;">Johannes Brahms (1833-1897): <i>Violin Sonata No. 2 in A major, Op. 100</i></span></span></div><div style="text-align: left;"><span style="background-color: white;"><i><span style="font-size: medium;"><span style="font-family: arial;"> </span><span style="font-family: arial;"> </span><span style="font-family: arial;"> </span><span style="font-family: arial;"> </span><span style="font-family: arial;"> </span><span style="font-family: arial;"> </span><span style="font-family: arial;"> </span><span style="font-family: arial;"> </span><span style="font-family: arial;"> </span><span style="font-family: arial;"> </span><span style="font-family: arial;"> </span><span style="font-family: arial;"> </span><span style="font-family: arial;"> Viola Sonata No. 2 in E flat major, Op. 120 No. 2</span><br /></span></i></span></div><div style="text-align: left;"><span style="background-color: white;"><i><span style="font-family: arial; font-size: medium;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> Piano Quartet No. 3 in C minor, Op. 60</span><br /></span></i></span></div><div style="text-align: left;"><span style="background-color: white;"><i><span style="font-family: arial; font-size: medium;"><span><br /></span></span></i></span></div><div style="text-align: left;"><span style="background-color: white;"><span style="font-family: arial; font-size: medium;">Violin Sonata:</span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">'Jansen and Kozhukhin contrasted well the intimate, almost prayerful opening with playful bounce in the offbeat rhythms that followed'.</span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">'Beautiful pianissimo playing from Jansen always retained a warmth of contact, never airy or breathy in tone'.</span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgojov0QloqsUpsBTO3EUCRBBHjE0VmnVmcfldas7m_ZYF8Z53g0fAjSChpY_6Ph8UdbrHG5JpS2DxrlMsLZZrGcbWbZ8_ljvJYBMmCLBbnwxfm2u54XnNJEynI6thEqdSRr8XlFqmfj2JqXXHyZIQWV3Kpz7QXlWM3mmRlesrLRewaBkbrwSmCbrwgAQ0r/s1270/IMG_20231222_143446.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1075" data-original-width="1270" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgojov0QloqsUpsBTO3EUCRBBHjE0VmnVmcfldas7m_ZYF8Z53g0fAjSChpY_6Ph8UdbrHG5JpS2DxrlMsLZZrGcbWbZ8_ljvJYBMmCLBbnwxfm2u54XnNJEynI6thEqdSRr8XlFqmfj2JqXXHyZIQWV3Kpz7QXlWM3mmRlesrLRewaBkbrwSmCbrwgAQ0r/s320/IMG_20231222_143446.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Jansen, Ridout, Kozhukhin & Blendulf<br />© Nick Boston</span></td></tr></tbody></table>Viola Sonata:</span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">'Ridout has a quietly commanding presence, and right from the opening singing melody, he showed that he had the lyricism to convey Brahms’ long lines, but it was the ebb and flow of joint proceedings with Kozhukhin that drove this opening movement forward'. </span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">Piano Quartet:</span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">'Right from Kozhukhin’s thundering opening to the Third Piano Quartet, and the dark string response, it was clear this would be a totally committed performance from all four musicians'.</span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;">'All four galloped through the strange rhythms of the second movement, with its gloriously startling major conclusion, then Blendulf stepped into the limelight with a beautifully lyrical opening to the </span><em style="font-family: Helvetica, Arial, sans-serif;">Andante</em><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;">, Kozhukhin providing a gentle pulse'. </span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">Read my full review on Bachtrack <a href="https://bachtrack.com/review-jansen-ridout-blendulf-kozhukhin-brahms-wigmore-hall-december-2023">here</a>.</span></span></div>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-38026425724258491432023-12-15T09:44:00.000-08:002023-12-31T02:19:34.004-08:00Bye bye, Miss Hope Springs, Hello Ty Jeffries!<span style="font-family: arial; font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-ppiXXn_vEWc_cL34JktEwPypzW5kfQ3G3QcJDdubHn_vA4MhuklsPwgvcynKacNjE2cWHZumoFGhYX8ySmpCEOSAhSWrDYA00f1emveN3BpZ3A15vygBQ21N_viu6Bv3KlT2NGs8a3yTktTryAsg82_Ce6aQ2XxTekm6EURyHqzd5g1EQy1WtRXlaZ7D/s1602/Ty_Jeffries_Portrait.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1602" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-ppiXXn_vEWc_cL34JktEwPypzW5kfQ3G3QcJDdubHn_vA4MhuklsPwgvcynKacNjE2cWHZumoFGhYX8ySmpCEOSAhSWrDYA00f1emveN3BpZ3A15vygBQ21N_viu6Bv3KlT2NGs8a3yTktTryAsg82_Ce6aQ2XxTekm6EURyHqzd5g1EQy1WtRXlaZ7D/w300-h400/Ty_Jeffries_Portrait.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Ty Jeffries</span></td></tr></tbody></table>Despite <a href="https://www.tyjeffries.com">Ty Jeffries</a> having performed as his alter ego, Miss Hope Springs for many years now, I have to confess to coming somewhat late to the party. Ty performed a lunchtime concert in Brighton in 2022 as himself, his first in fact, and it was there that I came across his hauntingly beautiful piano music, as well as some of his poignantly witty songs. Of course, I then had to see the larger than life legend that is Miss Hope Springs, and just in the nick of time, as it turns out. After nearly 30 years performing as Miss Hope, Ty has decided to shed the costume and perform as himself, putting his beloved character into cryogenic suspension for one hundred years. He has numerous recitals planned coming up next year, including one at the Wigmore Hall in London, and with two previously recorded albums of his piano music, he hopes to record more. </span><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">So how to describe his piano music? Well, think jazz and 1920s cabaret mixed in with the sadness and expressionism of Satie and Debussy. Throw in some sixties film music, hints of Brel and Michel Legrand, and you’re getting the idea. But having written so many songs for Miss Hope and others, his melody writing shines through, and there is always a strong lyricism running through. Many pieces conjure up instant atmosphere and a sense of place just from their titles – <i>Waltz Buenos Aires, Dusk in the Luxembourg Gardens, St Petersburg,</i> for example. Ty says that they are not intentionally directly descriptive of places, more a mood – as Rodin said, ‘the work of art is already within the block of marble’ – and for Ty, the pieces come out more or less fully formed as a result. In fact several tracks on his albums were improvised on the spot, and that improvisatory feel runs through. Yet one readily projects full back stories onto some –<i> Miss Dickinson is not at Home <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjALysoDnaHjOOqLnSMyx1xDIKNksWo0IyHxlOAOCS2lbXZlRwJs2tmoqs2_BicVd6cRitlGjYIDxEwcDjGbiCmxbiBZCc0_dh3733T1gnsIhhWvPw8D9qTDGSOH8S9LLPkRSnhdlUk4JHyGBJF86y4kMZZSZyLe3EOo7Q9wEr3l_B2eiO-ibAKJIg9-61p/s590/ty-and-hope.jpg.webp" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="350" data-original-width="590" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjALysoDnaHjOOqLnSMyx1xDIKNksWo0IyHxlOAOCS2lbXZlRwJs2tmoqs2_BicVd6cRitlGjYIDxEwcDjGbiCmxbiBZCc0_dh3733T1gnsIhhWvPw8D9qTDGSOH8S9LLPkRSnhdlUk4JHyGBJF86y4kMZZSZyLe3EOo7Q9wEr3l_B2eiO-ibAKJIg9-61p/w400-h238/ty-and-hope.jpg.webp" width="400" /></a></div></i>is a case in point, with its nursery rhyme-like melody full of achingly nostalgic and mysterious sadness. A hint of Satie-esque Gymnopedie is given a lilt in <i>Yekatarinberg,</i> and <i>St Petersburg</i>, with its fin de Siècle waltz has a flavour of Satie’s Gnossiennes, whereas <i>Brazilian Waltz</i> evokes Chopin, but also Cuban pianist composer, Cevantes. But none of these references imply pastiche or imitation – there is a distinctive style that is Ty’s, and it is probably that nostalgic, filmic lyricism that is the common thread. The sounds of waves and seagulls bookend the <i>Last Summer at Terijoki</i> album, from its opening, lapping <i>La Mer</i> to the closing rippling, almost minimalist figures of <i>And the Tide Comes in Like Glass. </i></span><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><o:p><span style="font-family: arial; font-size: medium;"> </span></o:p></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglgCvSfDF3jKbvE8B0_XHmkOlOx4IDgc39pOIoc2Wx-gFVWW7PEiHn0PD8SOe4ZeCDqn-UAeg5pMPR91eOF64W-WKycRJWEqXd5FYK1OTfvbHhyMvyKvqJQBldD7ZGTi_NdGdeyXRgG3rME87ypBsBKQmE9_BDFqEMpvhLnMKfRDuIGLylGepkKB2EjBAn/s2610/IMG_20231211_175733.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2610" data-original-width="2298" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglgCvSfDF3jKbvE8B0_XHmkOlOx4IDgc39pOIoc2Wx-gFVWW7PEiHn0PD8SOe4ZeCDqn-UAeg5pMPR91eOF64W-WKycRJWEqXd5FYK1OTfvbHhyMvyKvqJQBldD7ZGTi_NdGdeyXRgG3rME87ypBsBKQmE9_BDFqEMpvhLnMKfRDuIGLylGepkKB2EjBAn/s320/IMG_20231211_175733.jpg" width="282" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Miss Hope Springs</span></td></tr></tbody></table><span style="font-family: arial; font-size: medium;">Ty tells me he began playing the piano aged 5, on a Steinway that had somehow found its way into the family potting shed. As the son of actor and director Lionel Jeffries and actor Eileen Walsh, the household was frequented by many great names from the world of acting and music. Ty clearly had a gift at the piano that was spotted by the like of Sir John Mills (who taught him jazz chords) and Elmer Bernstein, as well as later being mentored by Vangelis. He studied at The Purcell School of music, and from there played keyboards for Billy Mackenzie and The Associates in the 1990s, also working with Neneh Cherry and Chaka Khan. He has written songs (of course, many to be performed by Miss Hope Springs) and piano pieces ever since, and now finally feels it is time to focus on this side of his talent. </span></div><div><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJzlcUuK0lIZB9AdCIsQ-1Q2Dira7KY1dIpQMcQufHpnJpFV82HpAxuRQ4bmnuD3H_ECvTt2__PQSwBad4kpyEyc41HV0sheElLtZdU6oGaKdXIAxYaRRodZytwJR0vKdO8BABpKvnTjt2wMZm3XXoNmJUQ6t7RlpK0UfitC3eeOY3gUVlcwuJfxPz8SVw/s2000/ZQZALZpFDkm.format-webp.width-3200_Nf8rydYzZ9zulFah.webp" style="margin-left: auto; margin-right: auto;"><span style="font-family: arial; font-size: medium;"><img border="0" data-original-height="2000" data-original-width="1334" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJzlcUuK0lIZB9AdCIsQ-1Q2Dira7KY1dIpQMcQufHpnJpFV82HpAxuRQ4bmnuD3H_ECvTt2__PQSwBad4kpyEyc41HV0sheElLtZdU6oGaKdXIAxYaRRodZytwJR0vKdO8BABpKvnTjt2wMZm3XXoNmJUQ6t7RlpK0UfitC3eeOY3gUVlcwuJfxPz8SVw/s320/ZQZALZpFDkm.format-webp.width-3200_Nf8rydYzZ9zulFah.webp" width="213" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Ty Jeffries</span></td></tr></tbody></table><p></p></div><span style="font-family: arial; font-size: medium;">So I would highly recommend you check out his piano music, with two albums available on <a href="https://tyjeffriespiano.bandcamp.com">Bandcamp</a>, and numerous tracks available on <a href="https://www.youtube.com/@TyJeffriesComposerLyricist">YouTube</a> and elsewhere. And look out for performances in the New Year, when he will be performing selections of his solo songs and piano music. Ty returns to <a href="https://www.brasseriezedel.com/crazy-coqs/">Crazy Coqs</a> in London (where he had a very successful 12 year residency as Miss Hope) on <a href="https://www.brasseriezedel.com/events/ty-jeffries-sings-ty-jeffries-3/">Friday 22 March</a> and <a href="https://www.brasseriezedel.com/events/ty-jeffries-sings-ty-jeffries-3/">Saturday 27 April</a>, and he will also be performing at the <a href="https://www.wigmore-hall.org.uk">Wigmore Hall</a> at 10pm on <a href="https://www.wigmore-hall.org.uk/whats-on/202406072200">7 June</a>. He is also giving a fundraising performance for <a href="https://ledcen.org.uk">The Ledward Centre</a> in Brighton on Saturday 13 January - details <a href="https://www.crowdfunder.co.uk/p/tlcfitout?fbclid=IwAR1UHZtoiCjBQW1gbU0SuVdTbn07mXcijbvGoXYWzTZ49Zaj-_yT7v-6Xpc">here</a>. </span><span face="Calibri, sans-serif"><o:p></o:p></span><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/4424RGjaqvo" width="320" youtube-src-id="4424RGjaqvo"></iframe></div><br /><span style="font-family: arial; font-size: medium;"><br /></span></div>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-70544733514137524932023-11-28T04:56:00.000-08:002023-11-28T04:58:45.469-08:00Järvi and the Philharmonia hammer home the terrors of war in Prokofiev 6<div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-dVJ0MHaRak5w3FDU_pM5Zq1RRW_dqXr_BXbBkWEeJACDICrDD_NEf3xCPDVLWpPfP4icxK9tbqzVdugEVU0c9EKE9Vuc_h8Ln33Gy4_zNNp5I1nnYIX4D6UA12-iRCqu8PgEmtdXGI6IwI2Yno2J-67gMpM_oojiuKHFjTt7eXqyRZQ4PggJfRTjdOM2/s1040/345921-365--m--james-ehnes-nov-2012--c--b-ealovega.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="680" data-original-width="1040" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-dVJ0MHaRak5w3FDU_pM5Zq1RRW_dqXr_BXbBkWEeJACDICrDD_NEf3xCPDVLWpPfP4icxK9tbqzVdugEVU0c9EKE9Vuc_h8Ln33Gy4_zNNp5I1nnYIX4D6UA12-iRCqu8PgEmtdXGI6IwI2Yno2J-67gMpM_oojiuKHFjTt7eXqyRZQ4PggJfRTjdOM2/w400-h261/345921-365--m--james-ehnes-nov-2012--c--b-ealovega.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">James Ehnes<br />© Benjamin Ealovega</span></td></tr></tbody></table><a href="https://www.jamesehnes.com">James Ehnes</a> (violin)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://philharmonia.co.uk">The Philharmonia</a></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://paavojarvi.com">Paavo Järvi</a> (conductor) </span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><div><span style="font-family: arial; font-size: medium;">3pm, Sunday 26 November 2023</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;"><a href="https://www.southbankcentre.co.uk/venues/royal-festival-hall?">Royal Festival Hall</a>, London</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-family: arial;"><span face="-webkit-standard" style="background-color: white;">★</span><span face="-webkit-standard" style="background-color: white;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span></div><div><span style="font-size: medium;"><span style="background-color: white; font-family: arial;"><br /></span></span></div><div><span style="font-size: medium;"><span style="background-color: white; font-family: arial;"><p class="MsoNormal" style="margin: 0cm;"><br /></p><p class="MsoNormal" style="margin: 0cm;"><br /></p><p class="MsoNormal" style="margin: 0cm;"><br /></p><p class="MsoNormal" style="margin: 0cm;"><br /></p><p class="MsoNormal" style="margin: 0cm;"><br /></p><p class="MsoNormal" style="margin: 0cm;">Claude Debussy (1862-1918): <i>Prélude à l’après-midi d’un faune</i></p><p class="MsoNormal" style="margin: 0cm;">Pyotr Ilyich Tchaikovsky (1840-1893): <i>Violin Concerto in D major, Op. 35</i></p><p class="MsoNormal" style="margin: 0cm;">Encore:</p><p class="MsoNormal" style="margin: 0cm;">Eugene Ysaÿe (1858-1931): <i>Sonata for Solo Violin in D minor 'Ballade', Op 27 No. 3</i></p><p class="MsoNormal" style="margin: 0cm;">Sergei Prokofiev (1891-1953): <i>Symphony No. 6 in E flat minor, Op. 111</i></p><p class="MsoNormal" style="margin: 0cm;"><i><br /></i></p><p class="MsoNormal" style="margin: 0cm;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA3OPTbcSkb2jVbkl8hSkVHbxPKKtxQU1BIxCbu96mwhTkKUyazeO3F8AkTYwUnd8mWzYr_RLRQgTHJvOtGUUKQNY7oBWcWSoZimn00XkuRpe8Hzl91rr5sFFJpRX7EwUP2K2I2FKaOTeb4iwSHkU9ihUvkzlhhneUBsUXZdKnfy8JOD-5s1myG9IMcHiV/s1040/345920-paavo-jarvi-kaupokikkas-02638.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="680" data-original-width="1040" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA3OPTbcSkb2jVbkl8hSkVHbxPKKtxQU1BIxCbu96mwhTkKUyazeO3F8AkTYwUnd8mWzYr_RLRQgTHJvOtGUUKQNY7oBWcWSoZimn00XkuRpe8Hzl91rr5sFFJpRX7EwUP2K2I2FKaOTeb4iwSHkU9ihUvkzlhhneUBsUXZdKnfy8JOD-5s1myG9IMcHiV/w400-h261/345920-paavo-jarvi-kaupokikkas-02638.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Paavo Järvi<br />© Kaupo Kikkas</span></td></tr></tbody></table>Debussy:<p></p><p class="MsoNormal" style="margin: 0cm;">Järvi’s take on <em>Faune</em> was languorous and warm, yet with a kind of mystical reverence.</p><p class="MsoNormal" style="margin: 0cm;"><br /></p><p class="MsoNormal" style="margin: 0cm;">Tchaikovsky:</p><p class="MsoNormal" style="margin: 0cm;">'Ehnes’ unquestionable virtuosity is such that this performance felt almost understated, in a good way. Nothing appeared to be any effort at all, so even in the craziest runs every note was clearly articulated'.</p><p class="MsoNormal" style="margin: 0cm;"><br /></p><p class="MsoNormal" style="margin: 0cm;">'Järvi et al had great fun with the finale’s rustic drones, and Ehnes’ gunshot spiccato got faster and faster, with a frankly crazy but exhilarating race to the end'.</p><p class="MsoNormal" style="margin: 0cm;"><br /></p><p class="MsoNormal" style="margin: 0cm;">Prokofiev:</p><p class="MsoNormal" style="margin: 0cm;">'Järvi put the Philharmonia through their paces, with some particularly unforgiving tempo, especially in the finale, but they were up to the challenge'.</p><p class="MsoNormal" style="margin: 0cm;"><br /></p><p class="MsoNormal" style="margin: 0cm;">'This was surely Prokofiev’s anger at the horrors of war, and Järvi and the Philharmonia duly delivered the required sense of terror'. </p><p class="MsoNormal" style="margin: 0cm;"><br /></p><p class="MsoNormal" style="margin: 0cm;">Read my full review on Bachtrack <a href="https://bachtrack.com/22/296/view/25897">here</a>.</p></span></span></div><div style="font-family: -webkit-standard;"><span style="background-color: white; font-family: arial; font-size: medium;"><br /></span></div></span></div>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-18989052463050572412023-11-17T03:54:00.000-08:002023-11-17T04:16:12.591-08:00'A Million Little Diamonds' - engaging performances of Anthony Cæsar's settings of children's verse from Amy Carson & Nicola Rose<div style="text-align: left;"><span style="font-size: medium;"><span face="Calibri, sans-serif"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqmnvCAhpg9LzaX4KiZUVh8gWtxIfSUn-7KEEuqCVTr-Fo1DeBeMsg9lDfmtfjU8mXMlaehwnbBzojjgMWN2xuDcc3-UzF7V7V2JKOSxrQv4DX4sunLmrKZoEIzaqW4KevCoxLZL6cyhtuUHqPQCiS5mEzkg1SGeBsZWN-_IKQcm4fbAvbyZj8qMAP0JT-/s1024/CR082-Cover-1024.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqmnvCAhpg9LzaX4KiZUVh8gWtxIfSUn-7KEEuqCVTr-Fo1DeBeMsg9lDfmtfjU8mXMlaehwnbBzojjgMWN2xuDcc3-UzF7V7V2JKOSxrQv4DX4sunLmrKZoEIzaqW4KevCoxLZL6cyhtuUHqPQCiS5mEzkg1SGeBsZWN-_IKQcm4fbAvbyZj8qMAP0JT-/w400-h400/CR082-Cover-1024.jpg" width="400" /></a></div><span style="font-family: arial;">Anthony Cæsar (1924-2018) was formerly Chaplain to Queen Elizabeth II, but also composed, best known for his</span></span><span style="font-family: arial;"><span face="Calibri, sans-serif"> </span><i>Missa Brevis Capella Regalis</i><span face="Calibri, sans-serif">. Soprano <a href="https://www.amycarsonsoprano.com">Amy Carson</a> and pianist <a href="https://www.rwcmd.ac.uk/staff/nicola-rose">Nicola Rose</a> have released a short recording of his short set of eight songs,</span><span face="Calibri, sans-serif"> </span><i>A Million Little Diamonds</i><span face="Calibri, sans-serif">. The songs are setting of poems from</span><span face="Calibri, sans-serif"> </span><i>A Treasury of Verse for Little Children</i><span face="Calibri, sans-serif">, and this recording is a bit of a family affair. Cæsar wrote the set in 1908 for his niece Judith, and the songs had not been heard until Carson (a cousin of Judith) was approached to record them. They are light numbers, but with joyful and playful setting of the simple texts, and Carson delivers them with and bright and clear tone. There are hints in the writing of that early twentieth century English pastoral style, and the harmonic language is pretty straightforward, but there is a charm in their simplicity.</span><span face="Calibri, sans-serif"> </span><i>Evening Song</i><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">that ends the set has more poignant nostalgia, but otherwise they are mostly light in mood. Carson has performed with The Sixteen, the Monteverdi Choir and the Gabrieli Consort, and specialises more in Baroque repertoire, but the lightness of touch she brings here is very much suited to these pretty songs. Nicola Rose, </span><span face="Calibri, sans-serif">who works as a repetiteur for various opera companies, including Welsh National Opera and Longborough Festival Opera,</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">provides smoothly flowing accompaniments, and brings out well the few moments of less expected harmonic movement, as well as bouncing along the more rhythmic accompaniments of songs such as</span><span face="Calibri, sans-serif"> </span><i>The Four Winds</i><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">and</span><span face="Calibri, sans-serif"> </span><i>I Would Like You for a Comrade</i><span face="Calibri, sans-serif">. They both enjoy the light humour of</span><span face="Calibri, sans-serif"> </span><i>The Clocking Hen</i><span face="Calibri, sans-serif">, yet give the briefly glistening</span><span face="Calibri, sans-serif"> </span><i>Winter Jewels</i><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">a pretty shine. Whilst relatively small scale overall, the set would sit nicely within a longer recital, and the performances here are touchingly engaging.</span><span face="Calibri, sans-serif"> </span></span></span></div><div style="text-align: left;"><span face="Calibri, sans-serif" style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span face="Calibri, sans-serif"><span style="font-family: arial; font-size: x-small;"><a href="https://conviviumrecords.co.uk/product/anthony-caesar-million-little-diamonds/">Cæsar, A. 2023. <i>A Million Little Diamonds. </i>Amy Carson, Nicola Rose. Compact Disc or Download. Convivium Records CR082</a>.</span></span></div><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p></o:p></p>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-73647704915427372042023-11-16T08:20:00.000-08:002023-11-17T04:15:14.488-08:00An engaging and effective evocation of the night in Night Fragments from Richard Carr and the American Contemporary Music Ensemble<div style="text-align: left;"><span style="font-size: medium;"><span face="Calibri, sans-serif"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjniDuBMoAnOHtPtIMM_-nBGb4l1uQXnFpC-QleEbNX7_1ylwl2KIrroi2qmUXND2GjW8CDWZgk0oT3raQ57KnT6xcQSpZZJAMXagyBkrS43ZOhhKz1ikp_6snime6Hb033rWpMOUvm26pfwmgMZ4GrqlZMkoJFAphX-79HWBg1AL0vp0vCMuZ73B_TsD8c/s1024/CR073-Cover-1024.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjniDuBMoAnOHtPtIMM_-nBGb4l1uQXnFpC-QleEbNX7_1ylwl2KIrroi2qmUXND2GjW8CDWZgk0oT3raQ57KnT6xcQSpZZJAMXagyBkrS43ZOhhKz1ikp_6snime6Hb033rWpMOUvm26pfwmgMZ4GrqlZMkoJFAphX-79HWBg1AL0vp0vCMuZ73B_TsD8c/w400-h400/CR073-Cover-1024.jpg" width="400" /></a></div><span style="font-family: arial;"><a href="https://sites.google.com/site/richardcarrviolinorg/home">Richard Carr</a> is a New York-based violinist, pianist and composer, and together with a string quartet drawn from the <a href="https://www.acmemusic.org">American Contemporary Music Ensemble</a>, he has recorded a haunting album of atmospheric reflections on the space ‘between the gloaming and dawn’, in</span></span><span style="font-family: arial;"><span face="Calibri, sans-serif"> </span><i>‘Night Fragments’</i><span face="Calibri, sans-serif">. ACME have worked with the likes of Wayne McGregor, Meredith Monk and Max Richter, to name just a few, and Carr has worked with artists such as Bill Laswell, Bootsy Collins and Sly & Robbie, as well as numerous recordings in his own right. The sound world is improvisatory and rhapsodic, with many tracks combining scored parts for the string quartet beneath Carr’s flights on the violin, although he also plays piano, hammer dulcimer and makes use of electronics on other tracks. A common element is slow moving chords, often in the string quartet, whilst a solo line adds flourishes and folksy melodic lines on top. As a result, many of the tracks have a slower overall tempo, although</span><span face="Calibri, sans-serif"> </span><i>The Ghost of a Flea,</i><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">with its rapid perpetual string motion brings a little more rhythmic energy, with its minimalist influenced repetition, which slowly becomes more jerky and lively.</span><span face="Calibri, sans-serif"> </span><i>A Twist in the Mist </i><span face="Calibri, sans-serif">gives the improvisation to the strings, whilst the piano provides the shadowy, introspective grounding. And there’s an eerie piano opening to the</span><span face="Calibri, sans-serif"> </span><i>ACME Nocturne</i><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">(named in honour of the ensemble), and Carr cites Morton Feldman as an influence here. When the strings join, they add further atmosphere with mysterious shifting chords and shimmering effects. Use of electronics is sparse in</span><span face="Calibri, sans-serif"> </span><i>Thunder Asunder</i><span face="Calibri, sans-serif">, providing extra texture to the pizzicato strings at the start evoking the increasing raindrops, and Carr’s violin has folk tinges in its melodic lines. However,</span><span face="Calibri, sans-serif"> </span><i>Deep in the Cloisters</i><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">makes more significant use of electronics, with Carr playing violin and adding all the electronics here. It open with Pärt-like glassy strings, but then develops with low electronic drones and swelling waves, creating a very rich soundscape. Electronics feature again in</span><span face="Calibri, sans-serif"> </span><i>Slightly Fitful</i><span face="Calibri, sans-serif">, along with Carr on both piano and hammer dulcimer, creating a lighter, more meditative mood.</span><span face="Calibri, sans-serif"> </span><i>Nocturnal Entomology</i><span face="Calibri, sans-serif">adds string improvisations to piano and dulcimer rhythmic backing, conjuring up cicadas, katydids and tree crickets. And finally,</span><span face="Calibri, sans-serif"> </span><i>Just Before Dawn</i><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">again puts string improvisations alongside Carr’s piano, here again showing the influence of Feldman, and there is a real sense here of those last nocturnal moments before a new day dawns, with increasing intensity and expectation over a tolling low piano bass note. Overall, there is a similar feel to many of the tracks here, but Carr’s use of different textures through addition of piano, dulcimer or electronics adds enough variety to sustain interest. The performances are clear and precise throughout, and the recorded sound is atmospherically warm and resonant, resulting in an engaging and effective evocation of the mysterious world of the night.</span></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span face="Calibri, sans-serif" style="font-family: arial;"><br /></span></span></div><div style="text-align: left;"><span face="Calibri, sans-serif"><span style="font-family: arial; font-size: x-small;"><a href="https://conviviumrecords.co.uk/product/richard-carr-night-fragments/">Carr, R. 2023. <i>Night Fragments. </i>Richard Carr, American Contemporary Music Ensemble. Compact Disc. Convivium Records CR073</a>.</span></span></div><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p></o:p></p>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-57385125762018228462023-11-14T02:55:00.000-08:002023-11-14T02:55:43.378-08:00Confusion clouds any central critique in Clément's Don Giovanni at Glyndebourne<div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI7SpK8AjYL2Vz8dvjsrZ0qY1g71k5vh-HlqmKGY6A5E4usvdcY_kl7tbbKhXR8J8uRRPsAO2Tf_PUpQcLFGBXsKIPZ209D7iPIDBChd_oJ5vblFDaPKofdFEnEybtTLQpAaX_UwsyoKSwWa9o6WgrQfyvko-nFoio8bOGkwWcmunJflsvCHbW9bo3Amwv/s5000/DonGiovanni_091123_photoRichardHubertSmith-3970.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3333" data-original-width="5000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI7SpK8AjYL2Vz8dvjsrZ0qY1g71k5vh-HlqmKGY6A5E4usvdcY_kl7tbbKhXR8J8uRRPsAO2Tf_PUpQcLFGBXsKIPZ209D7iPIDBChd_oJ5vblFDaPKofdFEnEybtTLQpAaX_UwsyoKSwWa9o6WgrQfyvko-nFoio8bOGkwWcmunJflsvCHbW9bo3Amwv/w400-h266/DonGiovanni_091123_photoRichardHubertSmith-3970.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Andrei Bondarenko (Don Giovanni), Michael Ronan (Masetto), <br />Charlotte Bowden (Zerlina) and Chorus<br /><span style="text-align: start; text-decoration: none;">© Glyndebourne Productions Ltd. Photo: Richard Hubert Smith</span></span></td></tr></tbody></table><a href="https://stephaniechildress.com">Stephanie Childress</a> (Conductor)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://mariameclement.net">Mariame Clément</a> (Director)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://regentsopera.com/paul-higgins-director">Paul Higgins</a> (Revival Director)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.teatroreal.es/en/artista/julia-hansen">Julia Hansen</a> (Designer)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://berndpurkrabek.com">Bernd Purkrabek</a> (Lighting Designer)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.salzburgerfestspiele.at/en/a/etienne-guiol">Étienne Guiol</a> (Projection Designer)</span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><a href="https://www.keithwallis.com">Keith Wallis</a> (Fight Directo</span><span style="font-family: arial;">r)</span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><a href="https://www.glyndebourne.com/about-us/who-we-are/our-orchestras-and-chorus/the-glyndebourne-sinfonia/" style="font-family: arial;"><span style="font-size: medium;">The Glyndebourne Sinfonia</span></a></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">Richard Milone (Leader)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://about.me/bensanlau">Ben-Sau Lau</a> (Fortepiano continuo)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://jonathantunnell.com">Jonathan Tunnell</a> (Cello continuo)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.glyndebourne.com/about-us/who-we-are/our-orchestras-and-chorus/the-glyndebourne-chorus/">The Glyndebourne Chorus</a></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.aidanoliver.co.uk">Aidan Oliver</a> (Chorus Director)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPGQ6mnaVKQntfiV1V276F93m41eRHLX0AoJU0g7kgWMC3FpDkGNOrkKBTlqodF7n0hqyzMxW5S4b85RMql4C6fihEKS1uNX8ZLqkIT9X-iKnE6dEZCHVFFpXr6Y75kI2MHjK8J5099iOSpsI8FF3awRDK8g0JJ0vV_xF2XxMtBR6o5Y6QIgnjvEZovwmF/s5000/DonGiovanni_091123_photoRichardHubertSmith-8892.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3333" data-original-width="5000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPGQ6mnaVKQntfiV1V276F93m41eRHLX0AoJU0g7kgWMC3FpDkGNOrkKBTlqodF7n0hqyzMxW5S4b85RMql4C6fihEKS1uNX8ZLqkIT9X-iKnE6dEZCHVFFpXr6Y75kI2MHjK8J5099iOSpsI8FF3awRDK8g0JJ0vV_xF2XxMtBR6o5Y6QIgnjvEZovwmF/w400-h266/DonGiovanni_091123_photoRichardHubertSmith-8892.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Andrei Bondarenko (Don Giovanni) & Sam Carl (Leporello)<br /><span style="text-align: start;"> © Glyndebourne Productions Ltd. Photo: Richard Hubert Smith</span></span></td></tr></tbody></table><span style="font-size: medium;">4pm, Sunday 12 November 2023</span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.glyndebourne.com">Glyndebourne Opera House</a>, Glyndebourne</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial;">★</span><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial;">★</span><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial;">★</span></span></div><div style="text-align: left;"><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial; font-size: medium;"><a href="https://www.samcarlbassbaritone.com">Sam Carl</a> (Leporello)</span></div><div style="text-align: left;"><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial; font-size: medium;"><a href="https://www.kseniiaproshina.com">Kseniia Proshina</a> (Donna Anna)</span></div><div style="text-align: left;"><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial; font-size: medium;"><a href="https://www.askonasholt.com/artists/andrei-bondarenko/">Andrei Bondarenko</a> (Don Giovanni)</span></div><div style="text-align: left;"><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial; font-size: medium;"><a href="https://www.mennicken-pr.com/eng/stanchev.html">Ivo Stanchev</a> (The Commendatore)</span></div><div style="text-align: left;"><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial; font-size: medium;"><a href="https://www.nicodarmanin.com">Nico Darmanin</a> (Don Ottavio)</span></div><div style="text-align: left;"><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial; font-size: medium;"><a href="https://www.alexandralowe.co.uk">Alexandra Lowe</a> (Donna Elvira)</span></div><div style="text-align: left;"><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial; font-size: medium;"><a href="https://www.charlottebowdensoprano.com">Charlotte Bowden</a> (Zerlina)</span></div><div style="text-align: left;"><span style="color: #222222; font-family: arial; font-size: medium;"><span style="background-color: white;"><a href="https://jerwoodarts.org/artist/michael-ronan/">Michael Ronan</a> (Masetto)</span></span></div><div style="text-align: left;"><span style="color: #222222; font-family: arial; font-size: medium;"><span style="background-color: white;"><br /></span></span></div><div style="text-align: left;"><span style="color: #222222; font-family: arial; font-size: medium;"><span style="background-color: white;">Wolfgang Amadeus Mozart (1756-1791): <i>Don Giovanni</i></span></span></div><div style="text-align: left;"><span style="color: #222222; font-family: arial; font-size: medium;"><span style="background-color: white;">(libretto by Lorenzo Da Ponte (1749-1838))</span></span></div><div style="text-align: left;"><span style="color: #222222; font-family: arial; font-size: medium;"><span style="background-color: white;"><br /></span></span></div><div style="text-align: left;"><span style="color: #222222; font-family: arial; font-size: medium;"><span style="background-color: white;"><span style="caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica, Arial, sans-serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5qAR4kXMWEpjxYavy-N0j6egGH_L_GhrpYgsQCHjBKouir7xxEHX-ye1GZaB6EHaX3ec8osLT-wqZilp1e1t8xGRO1GHH1Z0B_yeeaHzI4qL8kTWkdjAbWyXosuVAtdNM-EHFfnHJyZ4Cpjw2u5WGheAFxJjftBTw2BNY45ZkALL8ShTTR_ZFT8ReGjWt/s5000/DonGiovanni_091123_photoRichardHubertSmith-4476.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3333" data-original-width="5000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5qAR4kXMWEpjxYavy-N0j6egGH_L_GhrpYgsQCHjBKouir7xxEHX-ye1GZaB6EHaX3ec8osLT-wqZilp1e1t8xGRO1GHH1Z0B_yeeaHzI4qL8kTWkdjAbWyXosuVAtdNM-EHFfnHJyZ4Cpjw2u5WGheAFxJjftBTw2BNY45ZkALL8ShTTR_ZFT8ReGjWt/w400-h266/DonGiovanni_091123_photoRichardHubertSmith-4476.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Kseniia Proshina (Donna Anna) & Nico Darmanin (Don Ottavio)<br /><span style="text-align: start;"> © Glyndebourne Productions Ltd. Photo: Richard Hubert Smith</span></span></td></tr></tbody></table>'There is so much going on here – keys standing in for gravestone inscriptions (why?), dead body chalk outlines flashing up in lights, rapist masks and a rotting 10-foot high cake topped with the number 2075 (again, why?), to name but a few'.</span></span></span></div><div style="text-align: left;"><span style="color: #222222; font-family: arial; font-size: medium;"><span style="background-color: white;"><span style="caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica, Arial, sans-serif;"><br /></span></span></span></div><div style="text-align: left;"><span style="color: #222222; font-family: arial; font-size: medium;"><span style="background-color: white;"><span style="caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica, Arial, sans-serif;">'Bondarenko was nimble in voice and tone throughout. Sam Carl’s Leporello (complete with Columbo mac) was equally convincing vocally'.</span></span></span></div><div style="text-align: left;"><span style="color: #222222; font-family: arial; font-size: medium;"><span style="background-color: white;"><span style="caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica, Arial, sans-serif;"><br /></span></span></span></div><div style="text-align: left;"><span style="color: #222222; font-family: arial; font-size: medium;"><span style="background-color: white;"><span style="caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica, Arial, sans-serif;">'Proshina showed the full range of emotions, with fear and anger uppermost, with impressively steely coloratura in Act 2. Lowe by contrast gave us real despair and anguish in her tone'.</span></span></span></div><div style="text-align: left;"><span style="color: #222222; font-family: arial; font-size: medium;"><span style="background-color: white;"><br /></span></span></div><div style="text-align: left;"><span style="color: #222222; font-family: arial; font-size: medium;"><span style="background-color: white;"><span style="caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica, Arial, sans-serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5qg1T_qMrgaOutjh9u60JlMCeYjkKUs2o2i62InQVFpT0bv17oDdpNeLxoZduF_HDe1PqCMiwAHCPqEmUirhv1rliZsbrT5IwD8wtLTl6R51WW-5Q0PocLROe5J2cC6JQJZb91jubdhPhUfTffyf_DPkH0g5u-kZSMaKB1T7kGYQEogq2OnOonPNbpCdu/s5000/DonGiovanni_091123_photoRichardHubertSmith-3628.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3333" data-original-width="5000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5qg1T_qMrgaOutjh9u60JlMCeYjkKUs2o2i62InQVFpT0bv17oDdpNeLxoZduF_HDe1PqCMiwAHCPqEmUirhv1rliZsbrT5IwD8wtLTl6R51WW-5Q0PocLROe5J2cC6JQJZb91jubdhPhUfTffyf_DPkH0g5u-kZSMaKB1T7kGYQEogq2OnOonPNbpCdu/w400-h266/DonGiovanni_091123_photoRichardHubertSmith-3628.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Sam Carl (Leporello), Andrei Bondarenko (Don Giovanni) <br />& Ivo Stanchev (Commendatore)<br /><span style="text-align: start;"> © Glyndebourne Productions Ltd. Photo: Richard Hubert Smith</span></span></td></tr></tbody></table>'Stephanie Childress conducted with energy and panache, and on the whole, ensemble was tight, and the complex sextets, septets and chain finales were given strong energy and drive'.</span></span></span></div><div style="text-align: left;"><span style="color: #222222; font-family: arial; font-size: medium;"><span style="background-color: white;"><span style="caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica, Arial, sans-serif;"><br /></span></span></span></div><div style="text-align: left;"><span style="color: #222222; font-family: arial; font-size: medium;"><span style="background-color: white;"><span style="caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica, Arial, sans-serif;">'Musically strong performances all round, but ultimately too much extraneous detail undermined what could have been a strong critique for our times'.</span></span></span></div><div style="text-align: left;"><span style="color: #222222; font-family: arial; font-size: medium;"><span style="background-color: white;"><br /></span></span></div><div style="text-align: left;"><span style="color: #222222; font-family: arial; font-size: medium;"><span style="background-color: white;">Read my full review on Bachtrack <a href="https://bachtrack.com/review-don-giovanni-clement-bondarenko-carl-proshina-glyndebourne-november-2023">here</a>.</span></span></div><div style="text-align: left;"><br /></div>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-82047660606454645142023-11-13T08:19:00.000-08:002023-11-13T08:30:37.938-08:00Another joyful Glyndebourne return for Annabel Arden's fizzy Elisir d'amore<div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><span style="margin-left: auto; margin-right: auto;"><a href="https://www.adamhickoxconductor.com"><img border="0" data-original-height="3099" data-original-width="4302" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghbco9kNf-0tTeZzR3nvOodsZ_CVePoKS_AI0Y5Awws5UjsldYN7dt21mu4kvBF5Yu0d7OnB9Cygwrv0Diy0Ny2iqCbF81rzCenYEwte0M74SF9ypOPO-gL6Z2WsguJRQI8sYf-92-8krtu8rVeJ_v2VLQ-iEdfGU50eSrPnqtVdJz9k4zyH_nPqOP4M1q/w400-h289/L_elisir%20d_amore-08-11-23-Glyndebourne-2650.jpg" width="400" /></a></span></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Maxime Nourissat (Dulcamara's Assistant) & Filipe Manu (Nemorino)<br /><span style="text-align: start; text-decoration: none;">© Glyndebourne Productions Ltd. Photo: Tristram Kenton</span></span></td></tr></tbody></table><div style="text-align: left;"><a href="https://www.adamhickoxconductor.com">Adam Hickox</a> (Conductor)</div></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://owlartistmanagement.co.uk/talents/annabelarden/">Annabel Arden</a> (Director)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://new-adventures.net/profile/lez-brotherston#overview">Lez Brotherson</a> (Designer)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="http://www.performing-arts.co.uk/leah-hausman/">Leah Hausman</a> (Movement Director)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.lyricopera.org/about/company/artists-musicians/giuseppe-di-iorio/">Giuseppe Di Iorio</a> (Lighting Designer)</span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.glyndebourne.com/about-us/who-we-are/our-orchestras-and-chorus/the-glyndebourne-sinfonia/">The Glyndebourne Sinfonia</a></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">Richard Milone (Leader)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://matthewfletcherpiano.com">Matthew Fletcher</a> (Fortepiano continuo)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.glyndebourne.com/about-us/who-we-are/our-orchestras-and-chorus/the-glyndebourne-chorus/">The Glyndebourne Chorus</a></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.aidanoliver.co.uk">Aidan Oliver</a> (Chorus Director)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg38VMC-4NXZ7qbnVyHeLeCMMuN6Ml4S7fs7u3QhIosuhRNLELiYKFIjAyajD3cVTI-vv37AM4JnJEvRt9YZ16rEoktCrCbug6XJzIosMhmfH1uxqRYRE4ZmypyzMi1fWMkFQs_V0TnOrLzX9zxENB2yaNDL-bsGjOksmTG5BZcDQiblBgEJHfaETYkemVq/s3423/L_elisir%20d_amore-08-11-23-Glyndebourne-6715.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2667" data-original-width="3423" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg38VMC-4NXZ7qbnVyHeLeCMMuN6Ml4S7fs7u3QhIosuhRNLELiYKFIjAyajD3cVTI-vv37AM4JnJEvRt9YZ16rEoktCrCbug6XJzIosMhmfH1uxqRYRE4ZmypyzMi1fWMkFQs_V0TnOrLzX9zxENB2yaNDL-bsGjOksmTG5BZcDQiblBgEJHfaETYkemVq/w400-h311/L_elisir%20d_amore-08-11-23-Glyndebourne-6715.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Mariam Battisteri (Adina) & Tiziano Bracci (Dr Dulcamara)<br /><span style="caret-color: rgb(0, 0, 0); text-align: start;">© Glyndebourne Productions Ltd. Photo: Tristram Kenton</span></span></td></tr></tbody></table><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.mariambattistelli.com">Mariam Battistelli</a> (Adına)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://mwamanagement.com/filipe-manu">Filipe Manu</a>/<a href="https://www.instagram.com/rhysbatt/?hl=en">Rhys Batt</a> (Nemorino)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.theodoreplatt.com">Theodore Platt</a> (Belcore)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://teatrwielki.pl/en/people/tiziano-bracci/">Tiziano Bracci</a> (Dr Dulcamara)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://ffionedwards.com">Ffion Edwards</a> (Gianetta)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.laphil.com/musicdb/artists/7435/maxime-nourissat">Maxime Nourissat</a> (Dulcamara's Assistant)</span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial; font-size: medium;">4pm, Saturday 11 November 2023</span></div><div style="text-align: left;"><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial;"><a href="https://www.glyndebourne.com">Glyndebourne Opera House</a>, Glyndebourne</span><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial;"> </span></span></div><div style="text-align: left;"><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial; font-size: medium;"><br /></span></div><span style="font-size: medium;"><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial;">★</span><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial;">★</span><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial;">★</span></span><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial; font-size: large;">★</span><div><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial; font-size: medium;"><br /></span></div><div><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: arial; font-size: medium;">Gaetano Donizetti (1797-1848): <i>L'elisir d'amore</i></span></div><div><span style="color: #222222; font-family: arial; font-size: medium;"><span style="background-color: white; caret-color: rgb(34, 34, 34);">(libretto by Felice Romani (1788-1865))</span></span></div><div><span style="color: #222222; font-family: arial; font-size: medium;"><span style="background-color: white; caret-color: rgb(34, 34, 34);"><br /></span></span></div><div><span face="Helvetica, Arial, sans-serif" style="background-color: white;"><span style="font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo35qFoYYYomvox6G6F0qNIstdolEvTWES8N-EuaSpBnEwsxUbaG-jqP_pD2ZosS0f34lCYcEAr5S3VUXOr1H6NS5lE7v3VGlkZGAPToksI6WZo9WeVpdGyf7zM4ele_Sem8cijMC6hR8AVkTxofAMbvMGp800SEcGbENDSTz1ta4MpAywZWOMKHPHraK_/s4219/L_elisir%20d_amore-08-11-23-Glyndebourne-1667.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2929" data-original-width="4219" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo35qFoYYYomvox6G6F0qNIstdolEvTWES8N-EuaSpBnEwsxUbaG-jqP_pD2ZosS0f34lCYcEAr5S3VUXOr1H6NS5lE7v3VGlkZGAPToksI6WZo9WeVpdGyf7zM4ele_Sem8cijMC6hR8AVkTxofAMbvMGp800SEcGbENDSTz1ta4MpAywZWOMKHPHraK_/w400-h278/L_elisir%20d_amore-08-11-23-Glyndebourne-1667.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: arial;">Filipe Manu (Nemorino) & Mariam Battistelli (Adina)<br /></span><span style="text-align: start;"><span style="font-family: arial;">© Glyndebourne Productions Ltd. Photo: Tristram Kenton</span></span></span></td></tr></tbody></table>'The single setting makes perfect sense and, as a result, we are immediately drawn into this small yet vibrant world'. </span></span></div><div><br /></div><div><span style="font-size: medium;"><span style="background-color: white;"><span face="Helvetica, Arial, sans-serif">'The Nemorino ‘team’ carried us through the second act remarkably convincingly, and his (Rhys Batt's) '</span><i style="font-family: Helvetica, Arial, sans-serif;">Una furtiva lagrima'</i></span><em style="font-family: Helvetica, Arial, sans-serif;"> </em><span face="Helvetica, Arial, sans-serif" style="background-color: white;">was astonishing'.</span></span></div><div><span face="Helvetica, Arial, sans-serif" style="background-color: white;"><span style="font-size: medium;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: arial;">'Mariam Battistelli’s<span style="background-color: white;"> </span></span><span face="Helvetica, Arial, sans-serif" style="background-color: white;">Adina was light and playful, her tone was clear and bright throughout'.</span></span></div><div><span face="Helvetica, Arial, sans-serif" style="background-color: white;"><span style="font-size: medium;"><br /></span></span></div><div><span style="background-color: white;"><span style="font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjhatD-U_56AuOL6RQAF1i-EfnZdFD3NkSKL1P36D_vr4dKlp4JU8En21kdfB2QAq-9_1ctCLv93LPxQXpgV0H7keqv2-b6W_orZ69-ijCVyNU4zijon3lvOtx8damon5-w9VSQpCM4EeBrYrJpzEr31LfcuTpi5cDMOXQmT3ejjlcYNmJUfogZN-4S7T2/s4362/L_elisir%20d_amore-08-11-23-Glyndebourne-7707.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2720" data-original-width="4362" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjhatD-U_56AuOL6RQAF1i-EfnZdFD3NkSKL1P36D_vr4dKlp4JU8En21kdfB2QAq-9_1ctCLv93LPxQXpgV0H7keqv2-b6W_orZ69-ijCVyNU4zijon3lvOtx8damon5-w9VSQpCM4EeBrYrJpzEr31LfcuTpi5cDMOXQmT3ejjlcYNmJUfogZN-4S7T2/w400-h250/L_elisir%20d_amore-08-11-23-Glyndebourne-7707.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: arial;">Filipe Manu (Nemorino), Mariam Battistelli (Adina) <br />& the Glyndebourne Chorus<br /></span><span style="text-align: start;"><span style="font-family: arial;">© Glyndebourne Productions Ltd. Photo: Tristram Kenton</span></span></span></td></tr></tbody></table><span face="Helvetica, Arial, sans-serif">'The chorus were in fine form, but the women deserve special mention for their comic ensemble in Act 2, shifting from their drunken entry to competitive avarice when they learn of Nemorino’s newly acquired wealth'. </span></span></span></div><div><span face="Helvetica, Arial, sans-serif" style="background-color: white;"><span style="font-size: medium;"><br /></span></span></div><div><span face="Helvetica, Arial, sans-serif" style="background-color: white;"><span style="font-size: medium;">'This production delivered just the right combination of comedy and emotion and, with fine solo and chorus singing throughout, left the audience with a warm glow on a cold November evening'.</span></span></div><div><span face="Helvetica, Arial, sans-serif" style="background-color: white;"><span style="font-size: medium;"><br /></span></span></div><div><span style="background-color: white;"><span style="font-size: medium;"><span face="Helvetica, Arial, sans-serif">Read my full review on Bachtrack <a href="https://bachtrack.com/review-elisir-amore-arden-manu-battistelli-glyndebourne-november-2023">here</a>. </span></span></span></div>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-38703090286514421432023-10-31T04:26:00.003-07:002023-10-31T04:26:42.481-07:00Lugansky and Petrenko inject new life into iconic Rachmaninov and Elgar<div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwhaYURl_VBzFaaqFadfOKF7a59uB3GZVF5Bz_27_IQCOky4E2FhkpU0K3ut1iP-6UFex6SqLDX-t3-XjwM8A6pwVhDw_4HIRCXI2ohxTTm28aTm7uFGXyszYa9xIxYWJapBjMsGlHmtzNP-f98vjmCPtEc9ioQ2UiRpfKoHlNiCsXNEd_OYTbYeNDmWZF/s1040/341540-vasily-petrenko-conducts-nikolai-lugansky-and-the-.webp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="680" data-original-width="1040" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwhaYURl_VBzFaaqFadfOKF7a59uB3GZVF5Bz_27_IQCOky4E2FhkpU0K3ut1iP-6UFex6SqLDX-t3-XjwM8A6pwVhDw_4HIRCXI2ohxTTm28aTm7uFGXyszYa9xIxYWJapBjMsGlHmtzNP-f98vjmCPtEc9ioQ2UiRpfKoHlNiCsXNEd_OYTbYeNDmWZF/w400-h261/341540-vasily-petrenko-conducts-nikolai-lugansky-and-the-.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Nikolai Lugansky & the Royal Philharmonic Orchestra<br />© Andy Paradise</span></td></tr></tbody></table><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://nikolaylugansky.com">Nikolai Lugansky</a> (piano)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://vasilypetrenkomusic.com">Vasily Petrenko</a> (conductor)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.rpo.co.uk">Royal Philharmonic Orchestra</a></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">7.30pm, Sunday 29 October 2023</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.southbankcentre.co.uk/venues/royal-festival-hall?">Royal Festival Hall</a>, London</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-family: arial;"><span face="-webkit-standard" style="background-color: white;">★</span><span face="-webkit-standard" style="background-color: white;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial; font-size: medium;"><a href="https://leraauerbach.com">Lera Auerbach</a> (b.1973): <i>Icarus</i></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial; font-size: medium;"><i><br /></i></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial; font-size: medium;">Sergei Rachmaninov (1873-1943): <i>Piano Concerto No. 2 in C minor, Op. 18</i></span></div><div style="text-align: left;"><span style="background-color: white; font-family: arial; font-size: medium;">Encore -</span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="background-color: white; font-family: arial;">Rachmaninov: </span><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><i>Prelude in G sharp minor, Op.32 no.12</i></span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><i><span style="font-size: medium;"><br /></span></i></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">Edward Elgar (1857-1934): <i>Symphony No. 1 in A flat major, Op. 55</i></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVfnZeE6_f4KXu5L4u4NxaYdYXzD3hrphd-DHUl2JtDhaFPIaIA2a381-UgUCESqeqmoQoRQQd4gTAQPEd6Z74ZwbMYdL3IB1mChCMsaGV0fv8efQj3fespQeX8-cRsec22qzL3eHAYPgeY9T4fxHS6lRYjVCjWwFRPTCgO6S24lv2Vz3pibIaPPqz4tYz/s1040/341542-vasily-petrenko-conducts-nikolai-lugansky-and-the-.webp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="680" data-original-width="1040" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVfnZeE6_f4KXu5L4u4NxaYdYXzD3hrphd-DHUl2JtDhaFPIaIA2a381-UgUCESqeqmoQoRQQd4gTAQPEd6Z74ZwbMYdL3IB1mChCMsaGV0fv8efQj3fespQeX8-cRsec22qzL3eHAYPgeY9T4fxHS6lRYjVCjWwFRPTCgO6S24lv2Vz3pibIaPPqz4tYz/w400-h261/341542-vasily-petrenko-conducts-nikolai-lugansky-and-the-.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Vasily Petrenko, Nikolai Lugansky <br />& the Royal Philharmonic Orchestra<br />© Andy Paradise</span></td></tr></tbody></table>Auerbach:</span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">'Auerbach packs in the drama, opening with slapping basses and racing cellos, then propelling us through Icarus’ dramatic rise and ultimate fall'.</span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">'... the star of the show ... was Lydia Kavina on theremin, its eery, otherworldly presence gaining increasing presence, building to its terrifying fall through several octaves'. </span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><i><span style="font-size: medium;"><br /></span></i></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">Rachmaninov:</span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">'... in the first movement his percussive projection cut through the thick orchestral textures, yet this never felt aggressive, just assuredly assertive'.</span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">'Lugansky’s touch was particularly heartrending in the slow movement, supported by beautifully tender flute and clarinet solos'.</span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0j9W3r_fXERqyevtpxGHTAhb809nbjD0IQm1ncvJlM7CGU5E_A7__DJjkxf7duqKn7us08ZBUR2pZJmQkIfhhJSZK8ShYFsFCbMB81wGuigoMgSMeK1ZITXTLpP43x0mEVghUz0wy64iiWZdlh0pbL-GDLTsP1_LZq4SuVlSgsewea-KguWJNAHWPMfUD/s1040/341538-vasily-petrenko-conducts-the-royal-philharmonic-or.webp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="680" data-original-width="1040" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0j9W3r_fXERqyevtpxGHTAhb809nbjD0IQm1ncvJlM7CGU5E_A7__DJjkxf7duqKn7us08ZBUR2pZJmQkIfhhJSZK8ShYFsFCbMB81wGuigoMgSMeK1ZITXTLpP43x0mEVghUz0wy64iiWZdlh0pbL-GDLTsP1_LZq4SuVlSgsewea-KguWJNAHWPMfUD/w400-h261/341538-vasily-petrenko-conducts-the-royal-philharmonic-or.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Vasily Petrenko conducts the RPO<br />© Andy Paradise</span></td></tr></tbody></table><br />Elgar:</span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">'... his grasp on its rich and lavish orchestration was evident right from the opening build to the noble theme’s first tutti rendition'.</span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">'Petrenko took no prisoners with an incredibly quick second movement; the RPO ensemble was highly impressive here'.</span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">Read my full review on Bachtrack <a href="https://bachtrack.com/review-lugansky-petrenko-rachmaninov-elgar-royal-philharmonic-october-2023">here</a>.</span></span></div>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-16563366447828799172023-10-26T07:48:00.003-07:002023-10-26T07:51:04.141-07:00'To the Northern Star' - strong performances from Flauguissimo and friends of delightful chamber works for flute by 'the Father of Swedish Music', Johan Helmich Roman (1694-1758)<p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p></o:p></p><div style="text-align: left;"><span face="Calibri, sans-serif"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRFE8d1dA5yQFSpB12sLrUQrJ7rkehJGjHhAOSwbhAKCHt7Mob8ZyR_L0FdtVihIBkBFR0y6fuFIm5PrlNBOCCdKW4czXVT31BAKcRtLITFhrfEGl2elAGeuhKcicNzmOJrYdjtSKagsTguM4k1DMQ9QGsnA_81d9k9uaIBqjyf_52Hye5xi64M57RWzpq/s750/Flaugissimo%20To%20the%20Northern%20Star.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="689" data-original-width="750" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRFE8d1dA5yQFSpB12sLrUQrJ7rkehJGjHhAOSwbhAKCHt7Mob8ZyR_L0FdtVihIBkBFR0y6fuFIm5PrlNBOCCdKW4czXVT31BAKcRtLITFhrfEGl2elAGeuhKcicNzmOJrYdjtSKagsTguM4k1DMQ9QGsnA_81d9k9uaIBqjyf_52Hye5xi64M57RWzpq/w400-h368/Flaugissimo%20To%20the%20Northern%20Star.jpeg" width="400" /></a></div><span style="font-family: arial; font-size: medium;">The ensemble <a href="https://www.flauguissimoduo.com">Flauguissimo Duo</a> (<a href="https://www.yuweihu.com">Yu-Wei Hu</a> (flute) and <a href="https://www.johanlofving.com">Johan Löfving</a> (theorbo/guitar)) first came to my attention when they were <a href="https://www.bremf.org.uk/bremf-live/">BREMF Live!</a> artists at <a href="https://www.bremf.org.uk">Brighton Early Music Festival</a> back in 2012. Since then, they have released their debut album, <i>A Salon Opera</i> (my review <a href="https://nicks-classical-notes.blogspot.com/2019/07/cd-reviews-july-2019.html">here</a>), and Löfving also released an album of music for guitar and string quartet with the <a href="https://www.consonequartet.com">Consone Quartet</a> (also BREMF Live! participants in 2016) (my review <a href="https://nicks-classical-notes.blogspot.com/2020/10/cd-reviews-october-2020.html">here</a>). So it is great to see them back with another release, and I was fortunate to see them performing works from the recording as they completed their album launch tour, appropriately enough at a satellite event prior to this year’s Brighton Early Music Festival. Their album, <i>‘To the Northern Star’</i>, consists of chamber works by Johann Helmich Roman (1694-1758), and they are joined by <a href="https://www.magdalenaloth-hill.com">Magdalena Loth-Hill</a> (violin), <a href="http://www.earlymusica.org/index.php?page=henrik-persson">Henrik Persson</a> (viola da gamba) and <a href="http://concentus7.com/?page_id=73">Emily Atkinson</a> (soprano). I have to confess, Roman was new to me, despite being hailed as ‘The Father of Swedish Music’. He studied alongside J. S. Bach’s brother, Johann Jacob, and then spent considerable time in London, performing at the King’s Theatre in Handel’s orchestra. He returned to Stockholm to the court of Frederick I and Queen Ulrica Eleonora, and he dedicated the publication of his <i>Twelve Sonatas for flute and basso continuo</i> to the Queen in 1727. Flauguissimo have recorded three of those sonatas here, and they are full of delightful invention, grace and elegance. Yu-Wei Hu makes her flute sing in the aria-like movements, such as the opening <i>Largo</i> of <i>No. 4</i>, and her rippling ornamentations flow effortlessly, as in the French overture-like <i>Larghetto</i> at the start of <i>No. 10</i>. The quicker movements dance along, and Löfving switches between theorbo and guitar to provide variety of texture. Persson’s viola da gamba provides an almost hurdy-gurdy effect in the rustic <i>Piva</i> of <i>No. 10</i> around which the flute circles, and the closing <i>Villanella</i> feels even more rustic, with tapping and strumming accompaniment. Hu’s flowing lines are impressively fluid, with precise articulation and rare pauses for breath. Roman favours a lilting swing for his quicker movements – moments of rapid virtuosity are relatively few and far apart, but when they come, such as in the <i>Allegro</i> following the <i>Adagio</i> in <i>No. 8</i>, Hu’s precision is impressive, and here matched with swift articulation from Persson in response. Alongside the <i>Sonatas</i>, there are two <i>Arias</i> here. The first, <i>‘Süße Zeiten eilet nicht’</i>, comes from the <i>Cantata in einer Taffel-Music</i>, opens with delightful cascading flute passages over a delicately falling bass line. Atkinson’s bright clear soprano joins with gently lilting lines, gradually picking up more ornamentation to match the flute, with Loth-Hill’s beautifully blended violin joining the action. Atkinson returns for the second aria, this time in Swedish, with <i>‘I eder bästa vår’</i> from <i>Bröllops Music</i>, written for an aristocratic wedding. Again, Atkinson demonstrates flowing virtuosity in the vocal lines, with bright and joyful communication of the text, although the recording balance is a little heavily in favour of the voice, so that the flute doubling of the vocal line is only just audible. But this aria is also striking for its violin part, with an extensive solo cadenza-like passage, full of Baroque string crossing and sequences, with more than a hint of Corelli, following the lyrical opening. Loth-Hill is impressive here, particularly when rising into the high registers, keeping a bright and clear tone throughout. They end their recording with their own arrangement of the <i>Trio Sonata No. 3 in E minor,</i> originally written for two violins and continuo, here performed with flute and violin on the top lines. The opening, sad <i>Largo</i> sounds like a Bach chorale, and Hu & Loth-Hill beautifully blend their instruments here. The <i>Vivace</i> that follows brings virtuosity and spirit for both instruments, with additional energy perhaps missing from the more stylish <i>Sonatas.</i> Persson matches their virtuosity with nimble syncopation here. More strumming from Löfving and swinging ornamented lines bring the <i>Trio Sonata </i>and their disc to a lively finish. It’s great to hear this delightful music receiving such strong and dedicated performances from Flauguissimo and friends, and hopefully there will be more Roman to come from them.</span></span><span style="font-family: arial; font-size: medium;"><span face="Calibri, sans-serif"> </span> </span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: x-small;"><a href="https://www.resonusclassics.com/collections/resonus-classics/products/roman-to-the-northern-star">Roman, J.H. 2023. <i>To the Northern Star - Chamber works for flute. Flauguissimo: Yu-Wei Hu, Johan Löfving, Magdalena Loth-Hill, Emily Atkinson, Henrik Persson. </i>Compact Disc. Resonus Classics. RES10316</a>.<i> </i></span></div>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-56443033093270805042023-10-12T08:54:00.002-07:002023-11-13T09:04:08.566-08:00A season opener with a bang from the Brighton Philharmonic Orchestra<div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><div class="separator" style="clear: both; text-align: left;"><a href="https://www.clarkrundell.com/"><br /></a></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><span style="margin-left: auto; margin-right: auto;"><a href="https://www.clarkrundell.com/"><img border="0" data-original-height="800" data-original-width="533" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZbCKY2tERgoP9zCI3r2mE7lX-X9yC8oT_lgH2IsgTAqlOot3-iP6XW22Lc1SWnPVQbcNC4rL53WDnTS3fggEaG5mfHR1fykSe8Z4bSRfVii9I-1N4onmNUMEroU154uoMcgrN1JHtKMzA7CK9W1Eq3rW-6e-1rCfslT3XWVa3sP7bVBO05KypkW0pzM-T/w213-h320/10387-7c8e4cefb1e5d6b3aaa8ffb7a57abe6e.jpg" width="213" /></a></span></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><a href="https://www.clarkrundell.com/">Clark Rundell<br />© Benjamin Ealovega</a></span></td></tr></tbody></table><a href="https://www.clarkrundell.com/">Clark Rundell</a> (conductor)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://soundcircus.com/">Joanna MacGregor</a> (piano)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.brightonphil.org.uk/">Brighton Philharmonic Orchestra</a></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">Ruth Rogers (leader)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">2.45pm, Sunday 8 October 2023</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://brightondome.org/">Brighton Dome</a></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="font-family: arial;"><span style="font-family: arial;"><span face="-webkit-standard" style="background-color: white;">★</span><span face="-webkit-standard" style="background-color: white;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;">John Adams (b.1947): <i>Short Ride in a Fast Machine</i></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;">George Gershwin (1898-1937): <i>Concerto in F </i></span></span><span style="font-family: arial; font-size: medium;"><i>major for piano and orchestra</i></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Charles Ives (1874-1954): </span><i style="font-family: arial;">The Unanswered Question</i></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Leonard Bernstein (1919-1990): </span><i style="font-family: arial;">Symphonic Dances from 'West Side Story'</i></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">The Brighton Philharmonic Orchestra certainly opened their 99th season with a bang in an all-American programme, conducted by American conductor Clark Rundell. </span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><span style="font-family: arial; font-size: medium;">
They kicked off with a tight rendition of John Adams’ exhilarating curtain-raiser, his <i>Short Ride in a Fast Machine</i>. It immediately offered the extensive percussion section a chance to shine, and they also featured strongly in the rest of the programme. The Adams is fiendish to play, with its insistent pulse and complex cross rhythms, perhaps explaining why Rundell took this at the slightest notch down in tempo, but the BPO rose to the occasion, with a particularly bright and shiny brass section, making for a lively start to their programme.
</span><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13.1px;"><span style="font-family: arial; font-size: medium;"><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: arial;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; font-size: large; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUM9gQ3BMfBBwL6pAneXEQcCIShjh3uc948XU8C2BhyphenhyphenUIv6lsfSnTcYFyrfWM-J-bHUQqS7hMViIXJl0USvjnXUsZ44IWpd53o6cOt-aiwadBkq9OSCO8wubQurD-jX6etaQfl6_BUJc7blhBXJUq4h_6PV_vQaZLzMh0lwG9VD5zPWe2XJS41NFq_15vj/s2482/Joanna%20MacGregor%20-%20Pal%20Hansen%20July%202023%2001%20with%20colour%20grad%20background%20medium-res.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2482" data-original-width="1748" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUM9gQ3BMfBBwL6pAneXEQcCIShjh3uc948XU8C2BhyphenhyphenUIv6lsfSnTcYFyrfWM-J-bHUQqS7hMViIXJl0USvjnXUsZ44IWpd53o6cOt-aiwadBkq9OSCO8wubQurD-jX6etaQfl6_BUJc7blhBXJUq4h_6PV_vQaZLzMh0lwG9VD5zPWe2XJS41NFq_15vj/w225-h320/Joanna%20MacGregor%20-%20Pal%20Hansen%20July%202023%2001%20with%20colour%20grad%20background%20medium-res.jpg" width="225" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Joanna MacGregor<br />© Pal Hansen</span></td></tr></tbody></table><span style="font-family: arial;"><span style="font-size: medium;">The BPO’s Music Director, Joanna MacGregor then joined the stage with Clark Rundell for a brief but insightful overview of the programme, before taking to the piano for Gershwin’s <i>Piano Concerto in F</i>. The Concerto followed a year after the huge success of his <i>Rhapsody in Blue</i> (1924), and takes a more traditional concerto format, whilst retaining the jazz and blues styles of its predecessor. Unlike the <i>Rhapsody in Blue</i>, Gershwin orchestrated the <i>Concerto</i> fully himself, and it certainly demonstrates his ability to create imaginative orchestral colours, also making use of frequent solos from within the orchestra. The BPO relished the rhythms, and the solos when they came were stylish, with a particularly louche turn from Principal Trumpet John Ellwood in the central <i>Adagio</i>, matched by Leader Ruth Rogers’ cheeky solo later in that same movement. MacGregor was clearly in her element here and enjoying herself, with dramatic virtuosic chase sequences, a particularly jazzy interlude in the opening movement, and thrilling cartoon filigree in the finale. Yet she also gave us poignant delicacy when alongside divided cellos in the second movement. Rundell steered the orchestra through the frequent episodic tempo changes, and the orchestra’s crashing conclusion brought the concert’s first half to an exciting finish.</span></span><div><span style="font-family: arial;"><span style="font-size: medium;"><br /></span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;">After the break, trumpeter John Ellwood was dispatched upstairs to the balcony for Charles Ives fascinatingly enigmatic piece, <i>The Unanswered Question</i>. The strings play the part here of silent druids, ignoring or oblivious to the dialogue that ensues between the solo trumpet and a quartet of flutes on stage. Over the quiet, slow shifting and basically tonal strings, the trumpet poses a question, in fact <i>‘The Perennial Question of Existence’</i>, with a simple but angular figure, clashing harmonically with the calmness of the strings. The flutes, the <i>‘Fighting Answerers’ </i>respond, but become more frustrated and angry with each response, as the question comes back again and again from the trumpet - no fewer than seven times in all. The BPO strings maintained a calm pianissimo throughout, as Ellwood’s call had a searching fragility, and the flutes progressed well from confusion to frustration and anger, before giving up, leaving the trumpet’s final question unanswered. It’s a short piece, at just over six minutes, but Ives packs a lot in here, and Rundell and the BPO gave us a fine performance to ponder over here.</span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;"><br /></span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;">Uncertainty was then swept away in the BPO’s finale, Bernstein’s <i>Symphonic Dances from West Side Story.</i> Here Bernstein takes us through the key moments of the show, focussing particularly on the gang conflict, with thrilling orchestration, and particularly making use of a large percussion section. Once they had got going, the BPO clearly had a ball here, and the drive and energy levels increased as the piece progressed. The strings produced a suitably warm sound for the ‘<i>Somewhere</i>’ moments, and everyone had great fun with ‘<i>Mambo</i>’. Tony and Maria’s ‘<i>Cha-cha</i>’ had grace and delicacy, and the brass section gave us a real big band sound as the ‘<i>Cool Fugue</i>’ led into the ‘<i>Rumble</i>’. Yet after the dramatic climax here, Bernstein then leaves us with distant strings and final poignant hints of ‘<i>Somewhere</i>’. If the final chords were a little nervy here, the overall effect of the journey from Rundell and the BPO was nevertheless powerful and impressive.</span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;"><br /></span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;">MacGregor and the BPO have an eclectic and varied programme ahead of them this season (my preview is <a href="https://nicks-classical-notes.blogspot.com/2023/09/eclectic-and-adventurous-programming.html">here</a>), and if they continue on this form, the season promises to be a great success.</span></span></div><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtrpVwAe3ZNZXBCgXUFWhlYQXgYFV1OknEHLRAKia9XNgKGfzYSUKltgPxwod5nkyilpfega_vI7rzqE1yWvOQviieke3d9tpBSvJF4Yw5bRkR3ljCb72EtwY-GlRnWaPE96eyi7QI04lcGOXMcaw09OZgpzmv9nMB96ZcN8CiPORWUEaRx4PR9uaPTwVA/s3596/BPO%208-10-23.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1303" data-original-width="3596" height="145" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtrpVwAe3ZNZXBCgXUFWhlYQXgYFV1OknEHLRAKia9XNgKGfzYSUKltgPxwod5nkyilpfega_vI7rzqE1yWvOQviieke3d9tpBSvJF4Yw5bRkR3ljCb72EtwY-GlRnWaPE96eyi7QI04lcGOXMcaw09OZgpzmv9nMB96ZcN8CiPORWUEaRx4PR9uaPTwVA/w400-h145/BPO%208-10-23.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Clark Rundell & the Brighton Philharmonic Orchestra<br />© Nick Boston</span></td></tr></tbody></table><br /><span style="font-family: arial; font-size: medium;"><br /></span><p></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 11px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13.1px;"><br /></p>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-62475274055515352382023-10-02T08:44:00.008-07:002023-10-02T08:55:04.805-07:00Monteverdi's 1610 Vespers in their shining glory from I Fagiolini<div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.percius.co.uk/artists/robert-hollingworth"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI8rxL9akT-bVVyvtpXQdRpzyPtV0fjXt4tKKNSMGvKbJMSjFqzJiA_4SLFNR52GZlkhXL3VhRKdJVqdpEeuG0TzoF_Zizs3iAmzMN2YTO0tY65pgFLeYJYAGjJ8IfdejiA15BFCmwVWJs_-HxMQub4CJiOa0UJomlyvrVSOD6RheNFf1sTBqVlrq1q9gJ/s1040/336207--z7m0011.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="680" data-original-width="1040" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI8rxL9akT-bVVyvtpXQdRpzyPtV0fjXt4tKKNSMGvKbJMSjFqzJiA_4SLFNR52GZlkhXL3VhRKdJVqdpEeuG0TzoF_Zizs3iAmzMN2YTO0tY65pgFLeYJYAGjJ8IfdejiA15BFCmwVWJs_-HxMQub4CJiOa0UJomlyvrVSOD6RheNFf1sTBqVlrq1q9gJ/w400-h261/336207--z7m0011.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">I Fagiolini<br />© Monika S Jakubowska</span></td></tr></tbody></table>Robert Hollingworth</a> (director/organ)</span></div><div style="text-align: left;"> </div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><b><a href="https://www.ifagiolini.com">I Fagiolini</a></b>: </span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://juliadoylesoprano.com">Julia Doyle</a> (soprano)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.marthamclorinan.com">Martha McLorinan</a> (mezzo soprano)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://ciarahendrick.com">Ciara Hendrick</a> (mezzo soprano)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="http://nicholasmulroy.com">Nicholas Mulroy</a> (tenor)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.matthew-long.co.uk">Matthew Long</a> (tenor)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://londonconcertchoir.org/people/nicholas-hurndall-smith">Nicholas Hurndall Smith</a> (tenor)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.fiericonsort.co.uk/singers/chris-fitzgerald-lombard">Chris Fitzgerald-Lombard</a> (tenor)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.gregskidmore.co.uk">Greg Skidmore</a> (baritone)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.barnsleyyouthchoir.org.uk/team/sam-gilliatt">Sam Gilliatt</a> (baritone)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.ifagiolini.com/about.html">Charles Gibbs</a> (bass)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.frederick-long.com">Frederick Long</a> (bass)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.katebushencyclopedia.com/quinteiro-eligio">Eligio Quinteiro</a> (chitarrone)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="http://www.theorbo.com">Lynda Sayce</a> (chitarrone/recorder/flute)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.aileenhenry.com">Aileen Henry</a> (harp)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="http://www.william-lyons.com/new-page">William Lyons</a> (dulcian/recorder/flute)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.york.ac.uk/arts-creative-technologies/people/catherine-pierron/">Catherine Pierron</a> (organ)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.kingaujszaszi.com"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuNbTrhyydKNJb8oKtItuW4O9bg-RqkOTpTLTOZhuBolLsOEjh_jIV4a5vLAzDgkzYaR24rYaL0WegkDVXjiG3xNK_DUtp6LOsNfLFiN5Hd8xIzfhhGldHoRbe6fAOVJYrjCYUL81ejmKr-kwBEvHnHrizthopMZ6TpH53vgBmaBJeFS-NluX10LAPsXSb/s1040/336209--z7m0239.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="680" data-original-width="1040" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuNbTrhyydKNJb8oKtItuW4O9bg-RqkOTpTLTOZhuBolLsOEjh_jIV4a5vLAzDgkzYaR24rYaL0WegkDVXjiG3xNK_DUtp6LOsNfLFiN5Hd8xIzfhhGldHoRbe6fAOVJYrjCYUL81ejmKr-kwBEvHnHrizthopMZ6TpH53vgBmaBJeFS-NluX10LAPsXSb/w400-h261/336209--z7m0239.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Robert Hollingworth conducting I Fagiolini and <br />the English Cornett & Sackbut Ensemble<br />© Monika S Jakubowska</span></td></tr></tbody></table>Kinga Ujszászi</a> (violin)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://naomiburrell.com">Naomi Burrell</a> (violin)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.brittensinfonia.com/who-we-are/people/rachel-byrt">Rachel Byrt</a> (viola)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://musicadonumdei.com/about/julia-black/">Julia Black</a> (viola)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://englishtouringopera.org.uk/profile/gavin-kibble">Gavin Kibble</a> (bass violin)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.rcm.ac.uk/hp/professors/details/?id=81007">William Hunt</a> (violone)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><b><a href="http://www.ecse.co.uk">English Cornett & Sackbut Ensemble</a></b>:</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.tcmusick.com/gawain-glenton">Gawain Glenton</a> (cornett)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="http://www.ecse.co.uk/biogs.html">Conor Hastings</a> (cornett)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.jeremywest.co.uk/short-history.html">Nick Perry</a> (cornett/tenor cornett)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.emilywhite.org.uk">Emily White</a> (sackbut)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="http://www.ecse.co.uk/biogs.html">Tom Lees</a> (sackbut)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="http://www.adrianfrance.co.uk">Adrian France</a> (sackbut)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">7.30pm, Friday 29 September 2023</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.kingsplace.co.uk">Kings Place</a>, London</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span><span style="font-family: arial;"><span style="font-family: arial;"><span face="-webkit-standard" style="background-color: white;">★</span><span face="-webkit-standard" style="background-color: white;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtA1Lg_UJUFxxCsQr6zu2s51AHbq-LAuy7ckvCaaiyT5iecmZzH17S_esq3DgMSuNHP8KfUe7JIjj34QXtsdjo7tMuX3s9vpAnWlnQ9uFi8adLJtU1Cje2RxbejeDR7gSks_yoNH5OftiiGi1prgNJZeIWFI4nSl9MomUxmsHC5cWPSicGYOdtR8eRCd6V/s1040/336211--z7m0269.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="680" data-original-width="1040" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtA1Lg_UJUFxxCsQr6zu2s51AHbq-LAuy7ckvCaaiyT5iecmZzH17S_esq3DgMSuNHP8KfUe7JIjj34QXtsdjo7tMuX3s9vpAnWlnQ9uFi8adLJtU1Cje2RxbejeDR7gSks_yoNH5OftiiGi1prgNJZeIWFI4nSl9MomUxmsHC5cWPSicGYOdtR8eRCd6V/w400-h261/336211--z7m0269.jpeg" width="400" /></a></div>Claudio Monteverdi (1567-1643): <i>Vespro della Beata Vergine, SV 206</i></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><i><br /></i></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><span face="Helvetica, Arial, sans-serif">'Kinga Ujszászi led the bright and lively string band, and the ECSE's vibrant cornett flourishes and rich sackbut tones added glorious colour'. </span></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><span face="Helvetica, Arial, sans-serif"><br /></span></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><span face="Helvetica, Arial, sans-serif">'Tenor Nicholas Mulroy was the star of the evening, his </span><em style="font-family: Helvetica, Arial, sans-serif;">Nigra sum</em><span face="Helvetica, Arial, sans-serif">, accompanied by Aileen Henry on harp, was simply stunning, with intense passion, richness in the bass range, and incredibly controlled decresdendi on “veni”'.</span></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><span face="Helvetica, Arial, sans-serif"><br /></span></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><span face="Helvetica, Arial, sans-serif">'... their </span><em style="font-family: Helvetica, Arial, sans-serif;">Duo Seraphim</em><span face="Helvetica, Arial, sans-serif"> was frankly astonishing, with wrenching suspensions and startling, stuttering ornaments, perfectly matched one after the other'.</span></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><span face="Helvetica, Arial, sans-serif"><br /></span></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><span face="Helvetica, Arial, sans-serif">'The singers were constantly alive to duos or trios within the textures, responding to each other and clearly enjoying when their lines came together'.</span></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><span face="Helvetica, Arial, sans-serif"><br /></span></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><span face="Helvetica, Arial, sans-serif">'A special performance that will not be forgotten'. </span></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><span face="Helvetica, Arial, sans-serif"><br /></span></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: arial;"><span face="Helvetica, Arial, sans-serif">Read my full review on Bachtrack <a href="https://bachtrack.com/22/296/view/25553">here</a>.</span></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-77213419353430439732023-09-28T05:10:00.004-07:002024-03-10T04:45:08.806-07:00Eclectic and adventurous programming from Brighton Philharmonic Orchestra for their 99th Season<div><span style="font-family: arial; font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBcKmVfKDQhnFmoPVre4j5ZeIhu_F43FCd5ADB-zLupWCwcy4JWtFPrsG2mGSBhTVVaelCWp4IBi7F-n_f57l7yEZMN_eR7fGqRCYb77EVNo1nYGTtaop5mgAqJGczyWlyDx_IaRw97m5o2AACLr1iVTLpA5jyuqgZ0j4QO7q1iykv0wpyE3cJfrKVr56i/s2698/Screenshot%202023-09-28%20at%2011.50.26.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2698" data-original-width="1906" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBcKmVfKDQhnFmoPVre4j5ZeIhu_F43FCd5ADB-zLupWCwcy4JWtFPrsG2mGSBhTVVaelCWp4IBi7F-n_f57l7yEZMN_eR7fGqRCYb77EVNo1nYGTtaop5mgAqJGczyWlyDx_IaRw97m5o2AACLr1iVTLpA5jyuqgZ0j4QO7q1iykv0wpyE3cJfrKVr56i/w283-h400/Screenshot%202023-09-28%20at%2011.50.26.png" width="283" /></a></div>As their hundredth anniversary creeps closer, the <a href="https://www.brightonphil.org.uk">Brighton Philharmonic Orchestra</a> have another inventive and diverse programme planned for their 99th season. Music Director <a href="https://soundcircus.com">Joanna MacGregor</a> continues to serve up a mix of concerts, with some strong soloists, jazz influences and plenty of 20th and 21st century repertoire. </span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><span style="font-family: arial;">They open with a lively programme of American music, including Gershwin’s Piano Concerto with MacGregor at the keyboard. American conductor <a href="https://www.clarkrundell.com">Clark Rundell</a> is at the helm, opening with John Adams’ great crowdpleaser, the <i>Short Ride in a Fast Machine</i>, and ending with Bernstein’s <i>Symphonic Dances</i>, from <i>West Side Story</i>. In between is a real gem - Charles Ives’ <i>The Unanswered Question</i> (<b>2.45pm, Sunday 8 October, Brighton Dome</b>).</span><span style="font-family: arial;"> </span></span></div><div><span style="font-family: arial; font-size: medium;"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiGPxNd7TSMNvR8N6H-VxDqAYkqd0yGSLx37PP4TVY_malpwjRia95SGCdB448s1tBs-qrVNsqfui4MUCOymX9-W0IagewZilpJuujp4OmD5XJIn6VrmMgd6GmXhvlFCpVxnzn-fi1ND07ya26_nsBopbx-TfYzw7LNEJrbiW-IWVhEvzdkq8AU4pkV7n4/s3872/AndyBlow3FINALX%20credit%20Sara%20Da%20Costa.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3872" data-original-width="2592" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiGPxNd7TSMNvR8N6H-VxDqAYkqd0yGSLx37PP4TVY_malpwjRia95SGCdB448s1tBs-qrVNsqfui4MUCOymX9-W0IagewZilpJuujp4OmD5XJIn6VrmMgd6GmXhvlFCpVxnzn-fi1ND07ya26_nsBopbx-TfYzw7LNEJrbiW-IWVhEvzdkq8AU4pkV7n4/w134-h200/AndyBlow3FINALX%20credit%20Sara%20Da%20Costa.jpg" width="134" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Andy Sheppard<br />© Sara Da Costa</span></td></tr></tbody></table>They follow this with a full-on move into jazz territory, with a concert exploring the influence of cult 1960s musician and composer <a href="https://moondog-music.com">Moondog</a>. Saxophonist <a href="https://andysheppard.co.uk">Andy Sheppard</a> has worked extensively with MacGregor, and for the first half of this concert, they explore music from their album <i>Deep River: Deep South gospel and blues meet electronica</i>, with music by Nick Cave, Bob Dylan and Tom Waits, with Sheppard and MacGregor joined by Khuljit Bhamra on tablas and Seb Rockford on drums. This is followed by <i>Sidewalk Dances</i>, an orchestral suite arranged by MacGregor which draws on Moondog’s compositions, including <i>Voices of Spring, Bird’s Lament, Dogtrot </i>and <i>Single Foot</i> (<b>7.30pm, Sunday 12 November, Brighton Dome</b>).</span></div><div><br /></div><div><span style="font-size: medium;"><span style="font-family: arial;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-338OAyMfTDr-oBvKo-9fn1UcKbtPQ0Tdz-j7DM-BqYE9qHPxL9s0w4AgZFVtCKo8TMltSpp0aDWF8YEGLzp84_mBkWfwfiRfmBfssjifgp_RqfOLIgkAk7gJEpS2mYX7Yax8cXPobknl4UNjaN2xOd6SAS99o_qsCd61yi7IbWKVuNJof26GLD-0TRsw/s780/Sian%20Edwards%20credit%20Justin%20Slee.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="520" data-original-width="780" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-338OAyMfTDr-oBvKo-9fn1UcKbtPQ0Tdz-j7DM-BqYE9qHPxL9s0w4AgZFVtCKo8TMltSpp0aDWF8YEGLzp84_mBkWfwfiRfmBfssjifgp_RqfOLIgkAk7gJEpS2mYX7Yax8cXPobknl4UNjaN2xOd6SAS99o_qsCd61yi7IbWKVuNJof26GLD-0TRsw/w200-h133/Sian%20Edwards%20credit%20Justin%20Slee.jpeg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Sian Edwards<br />© Justin Slee</span></td></tr></tbody></table></span><span style="font-family: arial;">Their December concert promises to be a treat, with conductor <a href="https://www.grovesartists.com/artist/sian-edwards/">Sian Edwards</a> returning for a Winter Solstice theme, with music by Pärt and Sibelius. Pärt’s <i>Lamentate</i> features MacGregor on piano, and violinist <a href="https://www.ruthrogers.net">Ruth Rogers</a> is the soloist in his haunting <i>Spiegel im Spiegel.</i> Then it’s Sibelius’ <i>Second Symphony</i> that takes centre stage, with the privilege of being the only major symphonic work in their season, a further sign of their departure from more traditional programming (<b>2.45pm, Sunday 3 December, Brighton Dome</b>).</span></span></div><div><span style="font-family: arial; font-size: medium;"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjciSbQbT6APqKMA-eQHSFoOp8SOlP1qjs0ehRpoLHL8vIxPWLikGI6w5q4Lvj07wA5mOSpN674XnwoV9-SrIyBMmtObXkAD3TX7eKThhaPkQZbSwui3pDwBHtbIurvJsqejLE7tOjn74q_Ym9XyaWUYyE5lJ6hUZ6_UdHNzC_duE2pYUs_RANE_WGDhHir/s467/ellie-laugharne.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="467" data-original-width="330" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjciSbQbT6APqKMA-eQHSFoOp8SOlP1qjs0ehRpoLHL8vIxPWLikGI6w5q4Lvj07wA5mOSpN674XnwoV9-SrIyBMmtObXkAD3TX7eKThhaPkQZbSwui3pDwBHtbIurvJsqejLE7tOjn74q_Ym9XyaWUYyE5lJ6hUZ6_UdHNzC_duE2pYUs_RANE_WGDhHir/w141-h200/ellie-laugharne.jpg" width="141" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Ellie Laugharne</span></td></tr></tbody></table>Their seasonal offerings include their popular <i>Charles Dickens: A Christmas Carol,</i> with <a href="https://www.imdb.com/name/nm0868476/">Pip Torrens</a> narrating, and brass arrangements of carols from the BPO Brass Quintet (<b>6pm & 8pm, Friday 15 December, St George's Church, Brighton</b>), and then a New Year’s Eve Gala, with Strauss, Léhar and Prokofiev, conducted by <a href="https://www.stephenbellconductor.com">Stephen Bell</a>, with soprano <a href="https://www.ellielaugharne.co.uk">Ellie Laugharne</a> (<b>2.45pm, Sunday 31 December, Brighton Dome</b>).</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">The New Year brings some really interesting programmes, starting with <a href="https://www.henkdevlieger.nl">Henk de Vlieger's</a> crazy adaptation of Wagner's <i>Ring Cycle</i> - yes, the whole cycle in just 65 minutes, complete with anvils, Wagner tubas and 8 horns. As an appetiser, they will perform Ligeti's <i>Atmosphères</i>, and then Berio's <i>Folk Songs</i>, with soprano <a href="https://www.dorotheaherbert.eu">Dorothea Herbert</a>, all conducted by the young British conductor, <a href="https://geoffreypaterson.co.uk">Geoffrey Paterson</a> (<b>7.30pm, Saturday 27 January, Brighton Dome</b>).</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip-JJRMu2LrNMYcyg_rrkhaXEXAv8Go97cpD1qxDOuBP6Euo-IXhZ8FUEaxGXWzzC42GA5STiC_NTMCER8SZsZDtpgP1p_nW2nocGJNed2KMWNls368P6bbPMnEHX9C4edPw2KcQYg_tMytbz29k9t9wSEZbFmbhPPdrJAyKOsEyA53QJpTIBQuM7B4A6g/s800/TAD%20Errollyn%20pic%201.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="607" data-original-width="800" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip-JJRMu2LrNMYcyg_rrkhaXEXAv8Go97cpD1qxDOuBP6Euo-IXhZ8FUEaxGXWzzC42GA5STiC_NTMCER8SZsZDtpgP1p_nW2nocGJNed2KMWNls368P6bbPMnEHX9C4edPw2KcQYg_tMytbz29k9t9wSEZbFmbhPPdrJAyKOsEyA53QJpTIBQuM7B4A6g/w200-h152/TAD%20Errollyn%20pic%201.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Errollyn Wallen</span></td></tr></tbody></table>In February, it's 20th century classics with Stravinsky's <i>The Soldier's Tale</i>, conducted by Sian Edwards, along with three actors (lead by <a href="http://highfieldproductions.com/alistair-mcgowan/">Alistair McGowan</a>) and a dancer. The programme also includes Stravinsky's <i>Ebony Concerto</i>, written for Woody Herman's band, so for solo clarinet and jazz band, and then Milaud's 1920s jazz inspired ballet score, <i>La Création du Monde</i>. Keeping with the jazz theme, but shifting to Berlin, they will also perform Kurt Weill's <i>Threepenny Opera Suite</i> (<b>7.30pm, Sunday 25 February, Brighton Corn Exchange</b>). </span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_BYyRrs1tYchfGIXZTxuNQC_FKTmatr1EmAUHGn1eQ1PTScE0qEx-8LtC4CjY931Xu9AKH7fSjVKCFQBJBWp6LZPrqi-JmpWm2LXdevflpRzWbByFr2R35xz1qV5tpSe5MXt6CT9cj8ksKx9V4epB33BJllT36dyUKBQsvwxvnnRmb6IagoE0EjJKgvCw/s300/Eleanor%20Alberga.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="300" data-original-width="300" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_BYyRrs1tYchfGIXZTxuNQC_FKTmatr1EmAUHGn1eQ1PTScE0qEx-8LtC4CjY931Xu9AKH7fSjVKCFQBJBWp6LZPrqi-JmpWm2LXdevflpRzWbByFr2R35xz1qV5tpSe5MXt6CT9cj8ksKx9V4epB33BJllT36dyUKBQsvwxvnnRmb6IagoE0EjJKgvCw/w200-h200/Eleanor%20Alberga.jpeg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Eleanor Alberga</span></td></tr></tbody></table>Joanna MacGregor returns to the podium in March for <i>Mighty River: Celebrating Women</i>, marking International Women's Day. Florence Price's <i>Mississippi River Suite</i>, which draws on spirituals, popular song and jazz, following the course of the mighty river. Alongside this are two works from contemporary women composers, with <a href="https://www.errollynwallen.com">Errollyn Wallen's</a> <i>Mighty River</i> complementing the Price in terms of inspiration, and <a href="https://eleanoralberga.com">Eleanor Alberga's</a> <i>Clouds</i> following a similar theme of movement in nature, this time drifting and storming cloud patterns (<b>7.30pm, Friday 8 March, Brighton Dome</b>).</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEgC8yejBQa3GQXyTkMQNEpUZ4I50eJpMo09mV1zFcjN-eia6SmPLK7DFRpGFEWbZ_Jty8cu4z1rW48O9BopP7cfMYGiA7rTjIBO6NxnfkVDMXn1iuaYSjSHcvGCZ3WIbg3HIWQKd1G7EBxfyQkxBG81KEdXzKlTY3SsTX_o1IyKwt8X0NJ4funUfTUi7I/s8192/Ragnhild%20Hemsing.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="8192" data-original-width="5464" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEgC8yejBQa3GQXyTkMQNEpUZ4I50eJpMo09mV1zFcjN-eia6SmPLK7DFRpGFEWbZ_Jty8cu4z1rW48O9BopP7cfMYGiA7rTjIBO6NxnfkVDMXn1iuaYSjSHcvGCZ3WIbg3HIWQKd1G7EBxfyQkxBG81KEdXzKlTY3SsTX_o1IyKwt8X0NJ4funUfTUi7I/w133-h200/Ragnhild%20Hemsing.jpeg" width="133" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Ragnhild Hemsing<br />© Nikolaj Lund</span></td></tr></tbody></table>For their final concert in the season, they move from the rivers to the sea, with Britten's <i>Four Sea Interludes from Peter Grimes</i> and Debussy's <i>La Mer</i> bookending the programme. In between, Norwegian composer <a href="https://www.geirrtveitt.com">Geirr Tveitt's</a> <i>Concerto No. 2, Three Fjords</i> features the <a href="https://en.wikipedia.org/wiki/Hardanger_fiddle">hardanger fiddle</a>, played by <a href="http://www.ragnhildhemsing.com">Ragnhild Hemsing</a>. Music by the Japanese film composer <a href="https://www.theguardian.com/music/2023/apr/03/ryuichi-sakamoto-obituary">Ryuichi Sakamoto</a>, who passed away earlier this year, completes what promises to be a fascinating programme, all conducted by <a href="https://www.adamhickoxconductor.com">Adam Hickox</a> (<b>2.45pm, Sunday 7 April, Brighton Dome</b>). </span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrtoUaryEzKaIEwy2HULGAlXCVI_mBPj_Icxm7zjbSrLEq74XRKgrgP-BO3O87dvD966WNG6TSQUE5fCUXKUCMBRXxqg_czkq1xYYhxJvJbGFVElLIMeEYs7PaPJ-AB3Ts8xb4t_bdNy7nuD9IrCKifUgcJGgx3Raek7ZFWR7yqI6mBZ_f96nmjjQBIgbY/s5536/IMG_9586.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="5536" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrtoUaryEzKaIEwy2HULGAlXCVI_mBPj_Icxm7zjbSrLEq74XRKgrgP-BO3O87dvD966WNG6TSQUE5fCUXKUCMBRXxqg_czkq1xYYhxJvJbGFVElLIMeEYs7PaPJ-AB3Ts8xb4t_bdNy7nuD9IrCKifUgcJGgx3Raek7ZFWR7yqI6mBZ_f96nmjjQBIgbY/w200-h150/IMG_9586.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Adam Hickox</span></td></tr></tbody></table>And as a final addition, they are off to the <a href="https://www.petworthfestival.org.uk">Petworth Festival</a> in July for a concert of chamber music, with music by Purcell, Bach, Pärt, Piazzolla and Vaughan Williams (<b>7.30pm, Saturday 13 July 2024</b>).</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">So all told, this promises to be the BPO's most eclectic and adventurous season yet - it will be interesting to see how they top this for their 100th season! </span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">Full details <a href="https://www.brightonphil.org.uk">here</a>, and tickets <a href="https://brightondome.org">here</a>.</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div>
nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-17341554657395381502023-09-28T02:54:00.000-07:002023-09-28T02:54:08.776-07:00Confidence and precision from St Albans Cathedral Choir & Andrew Lucas make this survey of Bruckner's motets a must<p><span style="font-family: arial; font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb7VVECdLUR36-VW2mjv-rMzNFtn3UBB5jSxQFqeElXHqofGui52NdcjARqlId8G1j11EbK7crOQ44FE4jGb8ZC-ud4Beq06H7bUINNHz9VkKKvczaVFbT8qgCuR8IP3chNcOdyOlMRi0c2xjars0ArwtEVE3jeeM_QjAgUGS2MwEjz5GmsIAOqsN_gzTk/s1644/FHR143-new-cover.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1479" data-original-width="1644" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb7VVECdLUR36-VW2mjv-rMzNFtn3UBB5jSxQFqeElXHqofGui52NdcjARqlId8G1j11EbK7crOQ44FE4jGb8ZC-ud4Beq06H7bUINNHz9VkKKvczaVFbT8qgCuR8IP3chNcOdyOlMRi0c2xjars0ArwtEVE3jeeM_QjAgUGS2MwEjz5GmsIAOqsN_gzTk/w400-h360/FHR143-new-cover.jpg" width="400" /></a></span></div><span style="font-family: arial; font-size: medium;">Choral singers will be familiar with most of Anton Bruckner’s (1824-1896) Motets, but possibly not all of them. So it’s great to hear such an extensive selection, and especially when they are performed with the confidence and precision of a choir like the <a href="https://www.stalbanscathedral.org/cathedral-choir">St Albans Cathedral Choir</a>, conducted by <a href="https://www.stalbanscathedral.org/cathedral-musicians">Andrew Lucas</a>. The most well known stem from his late Vienna period, and all the full choral settings are here. <i>Locus Iste</i> is brief but perfectly formed, and the choir here give a pure sound and smooth flow. The crescendo to the climax is tastefully handled, and the tuning of the falling chromatic lines that follow is precise, leading to a poised and gentle, if very slow, conclusion. <i>Christus factus est</i> is more substantial and complex. Lucas takes the opening slowly, only picking up the pace at <i>‘Propter quod’</i>, possibly to enable greater precision in Bruckner’s slightly fiddly semiquavers. The dynamic contrasts here are crucial, from ppp to fff, with the full range in between, and Lucas and the singers achieve well this in the resonant cathedral acoustic, apart from a tiny bump as the trebles hit the final ppp <i>‘Quod’</i>. <i>Tota pulchra est</i> contrasts the tenor solo with choral sections and sparing but dramatic use of the organ (played by <a href="https://www.westminster-abbey.org/abbey-biographies/organ-scholar">Dewi Rees</a>). I’m not sure if tenor Philip Salmon moved around for his different sections, but he achieved really effective contrasts between his more distant opening and the fuller, more present <i>‘Ora pro nobis’</i>. <i>Os justi </i>has the most glorious falling lines and suspensions, and here the trebles in particular produce a wonderful ringing sound. Lucas picks up the pace again for the central polyphonic section, and ensemble is managed well here. Baritone William Houghton gives the strong solo in <i>Salvum fac populum tuum,</i> and again, Bruckner uses constant contrasts (solo plainchant, unison chant and choral textures) in his setting, and the unexpected chord at <i>‘speravimus’</i> after relatively straightforward harmnonies is a great moment. The blend of voices in the chant, and Houghton’s clear focussed tone make for a strong performance here. <i>Vexilla regis</i> and <i>Virga Jesse</i> both receive equally solid performances here. The former flows along nicely, although tuning in Bruckner's B major swerve of the second verse isn’t as secure as elsewhere. Lucas manages a wonderfully smooth crescendo through the opening section of the latter, then the tenors deserve mention for a beautiful piano top G following the general pause, as do the trebles for their pianissimo falling sixths on <i>‘in se’. </i></span><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;"><i></i>Probably less familiar, due to its unusual scoring for choir, organ and three trombones (<a href="https://www.trinitylaban.ac.uk/study/teaching-staff/joe-arnold/">Joe Arnold</a>, <a href="https://www.innercitybrass.co.uk/matt">Matthew Lewis</a> & <a href="https://www.eno.org/artists/becky-smith/">Becky Smith</a> here), is Ecce sacerdos magnus. Its huge dramatic impact makes it a great opener to the disc, yet there are huge contrasts here too. The moments for organ and trombones enforce Bruckner’s harmonic shifts, whereas the choral lines allow the text to soar, with secure top B flats from the trebles. Given the fullness of the sound and the acoustic, diction is impeccable, as it is throughout the disc. The trombones return for Afferentur regi, an interesting miniature, with tricky polyphonic entries for the choir, and the trombones providing underpinning at various points. Particularly noticeable here is the tenor control, avoiding pinging out of the blend at the top of their range. The other work with the trombones, Inveni David, sees them accompanying just the lower voices in four parts, here beautifully blended. The trombones provide great moments of drama here, making the harmonic progressions especially exciting. Lucas observes the changing dynamics throughout, and new to me, this turns out to be the highlight of the disc.</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">The Ave Maria here is one of three of Bruckner’s choral settings, this one from his Linz period. There is a smooth blend between the trebles and altos here, with the tenors and basses providing a contrastingly warmer sound when they come in. The trebles’ first high A could be a tad brighter, but on the whole, apart from the occasional hiccup into those high notes, they are solid and secure at the top. Lucas pays attention to all the details, such as accents and dynamics, throughout. Pange Lingua also stems from the middle Linz period, and the choir give its three verses a tender reading, ending with a beautiful Amen.</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">In his earlier years at Sankt Florian monastery, Bruckner made four settings of Tantum ergo, and two are included here. Their simpler, more hymn-like style provide a nice contrast to the more dramatic works, and allow the choir to show off their smooth, gentle blend. The two organ works included here come from Bruckner’s time at Sankt Florian too. In the Prelude and Fugue in C minor, the emphatic Prelude is followed by a Fugue with a long, drawn out melody, and here Dewi Lees makes great use of different registration to provide variety of texture, with a wonderful rumbling bass at the conclusion. Similarly, the Postlude in D minor has a dramatic introduction, flowing fugal lines and a rattling climax to show off Lees’ commanding playing and the St Albans instrument.</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;">This survey of these wonderfully dramatic and varied choral gems is a must for choral singers and enthusiasts alike.</span><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: arial; font-size: x-small;"><a href="https://firsthandrecords.com/products-page/album/bruckner-motets-st-albans-cathedral-choir/">Bruckner, A. 2023. <i>Bruckner Motets. </i>St Albans Cathedral Choir, Dewi Rees, Andrew Lucas. Compact Disc. First Hand Records FHR143</a>.</span></p><div><br /></div><div><br /></div><div><br /></div></div>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-82867608679182664592023-09-21T08:35:00.007-07:002023-09-21T08:40:09.326-07:00Vladimir Jurowski and the Bayerisches Staatsorchester make it all look so easy<div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><a href="https://yefimbronfman.com"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTgiRzUg-sD9_kQ59sWtOiIIInQNxKvyU4apS7TRCvbAlz8bl2JhVLi0bpLsJMDEaeKP7Ki7zC9iaNSGsznXENUXe8Q5f5wtow_nRriit28wJYnaDiLf4azb6nh9HKF6kZoad9RCnFuYV32d1TXe3XWbnP9g-JLRDawdlE_iiqM-QjKh4rzvJupUPB-wHt/s1040/334064-bso-jurowski-barbican-190923-0653.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="680" data-original-width="1040" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTgiRzUg-sD9_kQ59sWtOiIIInQNxKvyU4apS7TRCvbAlz8bl2JhVLi0bpLsJMDEaeKP7Ki7zC9iaNSGsznXENUXe8Q5f5wtow_nRriit28wJYnaDiLf4azb6nh9HKF6kZoad9RCnFuYV32d1TXe3XWbnP9g-JLRDawdlE_iiqM-QjKh4rzvJupUPB-wHt/w400-h261/334064-bso-jurowski-barbican-190923-0653.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Vladimir Jurowski<br />© Mark Allan/Barbican</span></td></tr></tbody></table>Yefim Bronfman</a> (piano)</span><span style="font-family: arial;"> </span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.louisealder.co.uk">Louise Alder</a> (soprano)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.staatsoper.de/en/staatsorchester">Bayerisches Staatsorchester</a></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://imgartists.com/roster/vladimir-jurowski/">Vladimir Jurowski</a> (conductor)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">7.30pm, Tuesday 19 September, 2023</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><div><span style="font-family: arial;"><br /></span></div><div><div><span style="font-family: arial;"><a href="https://www.barbican.org.uk">Barbican Hall</a>, London</span></div><div><span style="font-family: arial;"><br /></span></div><div><span><span><span style="font-family: arial;"><span style="font-family: arial;"><span face="-webkit-standard" style="background-color: white;">★</span><span face="-webkit-standard" style="background-color: white;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span></div><div><span><span style="background-color: white; font-family: arial;"><br /></span></span></div><div><span><span style="background-color: white; font-family: arial;"><p class="MsoNormal" style="margin: 0cm;"><br /></p><p class="MsoNormal" style="margin: 0cm;"><br /></p><p class="MsoNormal" style="margin: 0cm;"><br /></p><p class="MsoNormal" style="margin: 0cm;"><br /></p><p class="MsoNormal" style="margin: 0cm;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijhNGjEfHfzGDL4lXzpnLVT5zrCvRcjFGTO1-QJXRBXrra4mYxmoWHbdbZFdNh0-usFLNS7J0I1XUDFrTE14o7rUwemwZUO71cy9IjIuJEv4cUPcvzvBSWHGivVp_jydtIqOsaE_BenTJ8KGGpcBQ7GNlXEG3hl7A7NfmhqMbnBqdNZ3hE4eVSj1xVzYmX/s1040/334066-bso-jurowski-barbican-190923-0086.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="680" data-original-width="1040" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijhNGjEfHfzGDL4lXzpnLVT5zrCvRcjFGTO1-QJXRBXrra4mYxmoWHbdbZFdNh0-usFLNS7J0I1XUDFrTE14o7rUwemwZUO71cy9IjIuJEv4cUPcvzvBSWHGivVp_jydtIqOsaE_BenTJ8KGGpcBQ7GNlXEG3hl7A7NfmhqMbnBqdNZ3hE4eVSj1xVzYmX/w400-h261/334066-bso-jurowski-barbican-190923-0086.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Yefim Bronfman & the Bayersiches Staatsorchester<br />© Mark Allan/Barbican</span></td></tr></tbody></table>Richard Wagner (1813-1883): <i>Prelude to Tristan und Isolde<o:p></o:p></i><p></p><p class="MsoNormal" style="margin: 0cm;">Robert Schumann (1810-1856): <i>Piano Concerto in A minor, Op. 54<o:p></o:p></i></p><p class="MsoNormal" style="margin: 0cm;">Encore:<o:p></o:p></p><p class="MsoNormal" style="margin: 0cm;">Frédéric Chopin (1810-1849) – <i>Nocturne in D flat major, Op. 27 No. 2</i><o:p></o:p></p><p class="MsoNormal" style="margin: 0cm;">Gustav Mahler (1860-1911): <i>Symphony No. 4 in G major<o:p></o:p></i></p><p class="MsoNormal" style="margin: 0cm;">Encore:<o:p></o:p></p><p class="MsoNormal" style="margin: 0cm;">Mahler: <i>Suite aus den Orchesterwerken (Bach, Johann Sebastian), 4. Air<o:p></o:p></i></p><p class="MsoNormal" style="margin: 0cm;"><i>(from Suite No. 3 in D major, BWV 1068)<span><o:p></o:p></span></i></p></span></span></div></div></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span face="Helvetica, Arial, sans-serif" style="background-color: white;"><span style="font-family: arial; font-size: medium;">Wagner:</span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span face="Helvetica, Arial, sans-serif" style="background-color: white;">'From the opening bars ...</span><span face="Helvetica, Arial, sans-serif" style="background-color: white;"> Jurowski commanded silence in the portentous rests, with knife-edge precision from the strings, leading up to ‘that’ chord; the strings were indeed the stars of the show'. </span></span></div><div style="text-align: left;"><span face="Helvetica, Arial, sans-serif" style="background-color: white;"><span style="font-family: arial; font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span face="Helvetica, Arial, sans-serif" style="background-color: white;"><span style="font-family: arial; font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij8PNvkhgcrKAcUP9_fgkt338WeE5LSKVcPU5Jd54MFaRXSThHbZ4xIGXj_fFc4Ldy12sRHDMsAJ2FBhhjzmhGGQgBV3v9oy6ZxUobx0fP5H8rdnFU1W-TTtUgWCXAeWt-C0e_mlvQC0NMxnbsjhSxm-notlliMsScbsH0pZmKIP5SXlu3rJSWymQWA7ut/s1040/334068-bso-jurowski-barbican-190923-0952.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="680" data-original-width="1040" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij8PNvkhgcrKAcUP9_fgkt338WeE5LSKVcPU5Jd54MFaRXSThHbZ4xIGXj_fFc4Ldy12sRHDMsAJ2FBhhjzmhGGQgBV3v9oy6ZxUobx0fP5H8rdnFU1W-TTtUgWCXAeWt-C0e_mlvQC0NMxnbsjhSxm-notlliMsScbsH0pZmKIP5SXlu3rJSWymQWA7ut/w400-h261/334068-bso-jurowski-barbican-190923-0952.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Louis Alder & the Bayerisches Staatsorchester<br />© Mark Allan/Barbican</span></td></tr></tbody></table>Schumann:</span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span face="Helvetica, Arial, sans-serif" style="background-color: white;">'Yefim Bronfman </span><span face="Helvetica, Arial, sans-serif" style="background-color: white;">delivered effortlessly clean Schumann'.</span></span></div><div style="text-align: left;"><span face="Helvetica, Arial, sans-serif" style="background-color: white;"><span style="font-family: arial; font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span face="Helvetica, Arial, sans-serif" style="background-color: white;">'</span><span face="Helvetica, Arial, sans-serif" style="background-color: white;">it was his delicacy and tenderness in the ‘Clara’ second subject of the opening movement, and his fairy-like embellishments at the top of the keyboard in the finale that stood out'.</span></span></div><div style="text-align: left;"><span face="Helvetica, Arial, sans-serif" style="background-color: white;"><span style="font-family: arial; font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span face="Helvetica, Arial, sans-serif" style="background-color: white;"><span style="font-family: arial; font-size: medium;">Mahler:</span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span face="Helvetica, Arial, sans-serif" style="background-color: white;">'</span><span face="Helvetica, Arial, sans-serif" style="background-color: white;">Jurowski brought out every little detail, but it never felt that he was stressing the point'.</span></span></div><div style="text-align: left;"><span face="Helvetica, Arial, sans-serif" style="background-color: white;"><span style="font-family: arial; font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span face="Helvetica, Arial, sans-serif" style="background-color: white;">'Louise Alder </span><span face="Helvetica, Arial, sans-serif" style="background-color: white;">set the mood perfectly, with intense communication of the text ... Alder’s rich tone and intensity of expression lifted this way beyond the straightforward'.</span></span></div><div style="text-align: left;"><span face="Helvetica, Arial, sans-serif" style="background-color: white;"><span style="font-family: arial; font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span face="Helvetica, Arial, sans-serif" style="background-color: white;"><span style="font-family: arial; font-size: medium;">Read my full review on Bachtrack <a href="https://bachtrack.com/review-jurowski-bronfman-alder-bayerische-staatsorchester-barbican-london-september-2023">here</a>.</span></span></div>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-69645475554745674332023-09-12T09:44:00.005-07:002023-09-13T02:34:26.746-07:00Bampton Classical Opera bring effervescent Haydn to East Sussex<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWzfpDgwLOKNGyAdwIcVo_GxiTHrpK22fL2YSKbaZhHWMcI0tW4eCr8vYuUI4adM4VJc2OzjZ8-YFzqRLfts2d4RzZfNgYK3pJE64KC9ZPE5jDkx7BJ5aBzIDA9BJ6ZDKmGQIXWCM12s3oQKsqNEmZcvcZ6Fc8blvHN28JqIL4u342rLz_LSZQ-Iv18jAe/s1145/Haydn%20The%20Apothecary%20image.jpeg" style="font-family: "Helvetica Neue"; font-size: 11px; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="346" data-original-width="1145" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWzfpDgwLOKNGyAdwIcVo_GxiTHrpK22fL2YSKbaZhHWMcI0tW4eCr8vYuUI4adM4VJc2OzjZ8-YFzqRLfts2d4RzZfNgYK3pJE64KC9ZPE5jDkx7BJ5aBzIDA9BJ6ZDKmGQIXWCM12s3oQKsqNEmZcvcZ6Fc8blvHN28JqIL4u342rLz_LSZQ-Iv18jAe/w640-h194/Haydn%20The%20Apothecary%20image.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-family: "Helvetica Neue";"><br /><span style="font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2QqHoaqVTo1Y6GmY-ZZ_teh8KCyy3ySHPql9W6_f6cbrAFEnSCcWv7UxDdYvsLN1wdebtAONZL0y_YsDE3lirnVEjjskwtTlCneBfPbtO30lz30WP-iueItB7Xur4exrsXjPyRfgOhbbkKITTpKN7_mmP8wspbnf39xoaRQQtAZO1bb-LS9rOByhoh6dM/s3024/The%20Apothecary,%20Madeline%20Robinson%20(Volpino),%20Henry%20Ross%20(Mengone).jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2QqHoaqVTo1Y6GmY-ZZ_teh8KCyy3ySHPql9W6_f6cbrAFEnSCcWv7UxDdYvsLN1wdebtAONZL0y_YsDE3lirnVEjjskwtTlCneBfPbtO30lz30WP-iueItB7Xur4exrsXjPyRfgOhbbkKITTpKN7_mmP8wspbnf39xoaRQQtAZO1bb-LS9rOByhoh6dM/s320/The%20Apothecary,%20Madeline%20Robinson%20(Volpino),%20Henry%20Ross%20(Mengone).jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Madeline Robinson (Volpino) & Henry Ross (Mengone)<br />(from Northern Aldborough Festival)</span></td></tr></tbody></table><br />Bampton Classical Opera is celebrating its 30th anniversary this year. Their focus has always been on performing lesser-known 18th century opera, and they work with young singers early on in their careers. Whilst their home is in Oxfordshire, they occasionally venture further afield, and last year visited for the first time the glorious setting of <a href="https://www.bamptonopera.org/venues.htm">The Barn at Old Walland</a>, near Wadhurst in East Sussex. This year they returned for a performance of Haydn’s opera buffa, </span></span><span style="font-family: "Helvetica Neue"; font-size: medium; font-style: italic;">The Apothecary (Lo speziale), Hob. 28/3.</span></div><div style="text-align: left;"><span style="font-family: "Helvetica Neue"; font-size: medium; font-style: italic;"><br /></span></div><div style="text-align: left;"><span style="font-family: "Helvetica Neue"; font-size: medium; font-style: italic;"><span style="font-family: Helvetica Neue; font-style: normal;">Haydn wrote at least 15 or so full operas, yet compared to the rest of his output, they are mostly little known, and rarely performed. They are on the whole light affairs, mostly performed for the private consumption of the Esterhazys, and were perhaps eclipsed by the scale of Mozart’s operatic success. But this doesn’t entirely explain the neglect of Haydn’s works, and The Apothecary, despite its perhaps predictable plot based on rival suitors, disguise and triumph of love, actually anticipates quite closely Mozart’s </span><span style="font-family: "Helvetica Neue";">Così fan tutte</span><span style="font-family: Helvetica Neue; font-style: normal;">, even down to Mengone and Volpino’s disguises, firstly as bearded notaries and then as ‘exotic’ Turks. Whilst the full libretto has survived, most of Haydn’s original music for Act 2 is lost, and has been reconstructed by H C Robbins Landon. Nonetheless, the score is full of life and variety, with strong momentum driving the action forward at all times. The Orchestra of BCO, a 9-piece band (single strings, with oboes and horns), were sprightly and energetic throughout, with shapely conducting from </span><a href="https://www.mark-austin.net/" style="font-style: normal;">Mark Austin</a><span style="font-family: Helvetica Neue; font-style: normal;"> bringing out the detail and spark in Haydn’s score, setting the scene right from the lively overture with its graceful central minuet.</span></span></div>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13.1px;"><span style="font-size: medium;"><br /></span></p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="2899" data-original-width="2899" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ4e0m9EtApAWxG-twDKzDE1fMvQ-L16nh5pvUbsjtWPURAz5_TDwHwx9nE0gKLRDE17OIx4TCVR42ZAeaMQfgRb1H5a58fim6BSucEVJpoplVSgjpEyp0WsUR7A3Q_Kjgzc3ZxTqzfm5gF2pwyiVygNX-lSEuXiG8l5ao7e8BBd4SUUOZsER0de9KdO-W/w320-h320/The%20Apothecary,%20Henry%20Ross%20(Mengone),%20Iuno%20Connolly%20(Grilletta).jpeg" style="margin-left: auto; margin-right: auto;" width="320" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: small;">Henry Ross (Mengone) & Iúnó Connolly (Grilletta)<br />(from Northern Aldborough Festival)</span></td></tr></tbody></table><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ4e0m9EtApAWxG-twDKzDE1fMvQ-L16nh5pvUbsjtWPURAz5_TDwHwx9nE0gKLRDE17OIx4TCVR42ZAeaMQfgRb1H5a58fim6BSucEVJpoplVSgjpEyp0WsUR7A3Q_Kjgzc3ZxTqzfm5gF2pwyiVygNX-lSEuXiG8l5ao7e8BBd4SUUOZsER0de9KdO-W/s2899/The%20Apothecary,%20Henry%20Ross%20(Mengone),%20Iuno%20Connolly%20(Grilletta).jpeg"><span style="font-size: medium;"></span></a></div><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13.1px;"><span style="font-size: medium;"><a href="https://www.ram.ac.uk/people/henry-ross">Henry Ross</a> as Mengone set the scene well with his warm, winning tone, and he captured the humour of being put-upon by boss Sempronio but also being shown up as rather cowardly against <a href="https://www.operabase.com/artists/iuno-connolly-59859/en">Iúnó Connolly’s</a> feisty Grilletta. By and large John Warrack’s translation of Carlo Goldoni’s libretto works well, although a few jokes suffer a little from over repetition (<span style="font-style: italic;">‘Detonate a motion’</span> and <span style="font-style: italic;">‘Your bowels will surely move’ </span>works once or twice, but…). Connolly’s Grilletta delivered the fullest, most rounded voice of the cast, contrasting sweetness with anger and determination, with a bell-like top. <a href="https://www.madelinerobinsonsoprano.com/">Madeline Robinson’s</a> Volpino gave the strongest comic turn, with scene-stealing wry expressions behind the other characters, and indignation and frustration oozing from her nimble vocal lines. <a href="https://auditionoracle.com/singer/guy_beynon/">Guy Beynon’s</a> Sempronio was clear and bright, and he portrayed the old apothecary well as slightly bumbling and obsessed with his newspapers. More weight in the voice would have given greater authority to his bouts of anger, but as a professional debut this was impressive - definitely one to watch.</span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13.1px;"><span style="font-size: medium;"><br /></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcl_MgTYa-yYjjYvAKtpxl4mWAaHv83alJMqrs8T5IlrmV0NqOyloaMgJvXncsONod7RNSZGZtrBK79SH-ORadLtIckq4OfvO3CjaIfTYDbBynfaKoau4lg6qKwbJDLMtNYt7nZdbrtrWxIDIA-VByp1dUvJnSwd7h9egH4nJKDeUEPSmR5essoZUIqmGX/s4032/The%20Apothecary,%20Guy%20Beynon%20(Sempronio).jpeg" style="margin-left: auto; margin-right: auto;"><span style="font-family: arial; font-size: medium;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcl_MgTYa-yYjjYvAKtpxl4mWAaHv83alJMqrs8T5IlrmV0NqOyloaMgJvXncsONod7RNSZGZtrBK79SH-ORadLtIckq4OfvO3CjaIfTYDbBynfaKoau4lg6qKwbJDLMtNYt7nZdbrtrWxIDIA-VByp1dUvJnSwd7h9egH4nJKDeUEPSmR5essoZUIqmGX/s320/The%20Apothecary,%20Guy%20Beynon%20(Sempronio).jpeg" width="240" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Guy Beynon (Sempronio)<br />(from Northern Aldborough Festival)</span></td></tr></tbody></table><span style="font-family: arial; font-size: medium;">The dodgy notary costumes brought an element of pantomime to proceedings, and Ross and Robinson made the most of the comedy here. Similarly, they had fun with their ‘Turk’ disguises, despite the libretto sailing close to the wind in terms of ethnic sensitivities. And of course, the rapid resolution ended with a joyful quartet. The set, given the constraints of space, was simple yet effective, the only main item on stage being the apothecary’s cabinet, with a few chairs. Subtle lighting also added colour and changes of mood throughout. The use of mid-air mimed locking and unlocking of a door stage left appeared out of kilter, but otherwise, good use was made of the space available. Otherwise, this was a clever and well-executed staging from Director <a href="https://www.bamptonopera.org/directors.htm#:~:text=Jeremy%20Gray%20is%20joint%20artistic,theatre%2C%20stage%20design%20and%20music.">Jeremy Gray</a>, full of effervescent humour and a light touch throughout.</span><div><span style="font-family: arial; font-size: medium;"><br /></span>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge1o0SSV8R4OIUv_wFqF7yR4cJkXm2m0BiJ0QmIDG1cwPONqTsbCZptQdFswZ4PErDn2CilrQQm2ykxK1XJQiCtX2XfW8Q4GYmut--BhcCbWu2fh0E6FTYto8TFBq9Xz6sB-Ld0N9EwQekBz8jxD9FJwBq_SHyK7LTM7H_G1MAwHoD_yUy2YlZyxL2tCZ1/s2171/IMG_20230909_203350.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2171" data-original-width="1745" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge1o0SSV8R4OIUv_wFqF7yR4cJkXm2m0BiJ0QmIDG1cwPONqTsbCZptQdFswZ4PErDn2CilrQQm2ykxK1XJQiCtX2XfW8Q4GYmut--BhcCbWu2fh0E6FTYto8TFBq9Xz6sB-Ld0N9EwQekBz8jxD9FJwBq_SHyK7LTM7H_G1MAwHoD_yUy2YlZyxL2tCZ1/s320/IMG_20230909_203350.jpeg" width="257" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">The cast, The Barn at Old Walland</span></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: arial; font-size: medium;">The wonderful barn setting and heat of the evening added an air of intimacy and summer fun to proceedings, and all was highly appreciated by the sold-out audience. The Barn at Old Walland plan more events, not necessarily just opera, so I’ll be keeping an eye out for their future plans. Hopefully Bampton Classical Opera will return soon too.</span></span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrTb4-fMd5215lTaVmiAeiHbimGHp154G6EYdA-acOGUMEC7eEeAdcogUHF7orL1NcEu91cEP_Kfzz7ngWjgYqPGy0AUIdYYZe9e3B1IqAavxm_d7D-h1p_n9biunrTb4LKAgJC_obgUQG_W8XnXb1USz03gT5UsLlcQdw5g1WySWzhaE8AouTP5VwDqXk/s4000/IMG_20230909_183327.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3000" data-original-width="4000" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrTb4-fMd5215lTaVmiAeiHbimGHp154G6EYdA-acOGUMEC7eEeAdcogUHF7orL1NcEu91cEP_Kfzz7ngWjgYqPGy0AUIdYYZe9e3B1IqAavxm_d7D-h1p_n9biunrTb4LKAgJC_obgUQG_W8XnXb1USz03gT5UsLlcQdw5g1WySWzhaE8AouTP5VwDqXk/s320/IMG_20230909_183327.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">The Barn at Old Walland</span></td></tr></tbody></table><br /><span style="font-family: arial; font-size: medium;"><br /></span><p></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;"><br /></span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"></p><div class="separator" style="clear: both; text-align: center;"></div><span style="font-size: medium;"><br /></span><p></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: 11px;"><br /></span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: 11px;"><br /></span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: 11px;"><br /></span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: 11px;"><br /></span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: 11px;"><br /></span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: 11px;"><br /></span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: 11px;"><br /></span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: 11px;"><br /></span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: 11px;"><br /></span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: 11px;"><br /></span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: 11px;"><br /></span></p></div>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-87748611249801291902023-09-08T05:41:00.004-07:002023-09-08T05:41:38.802-07:00Prom 68: Britten Sinfonia ablaze on the BBC Proms’ hottest night<div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.brittensinfonia.com"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8-jc4qsURmckocToA_6X97Ue7zAOB6eKLK7tfOg8khCJyr8PrUtyuysUjmOfrheSA4qryiXU4IBhAliBiP2KUnoDjnxde0WX34C1TSQMw0cavxU2jpPmiyEtfe76hZnUr8otUfJEVKQvXyc0z0NdX_SvkNZ2bRgxbom8czgwTdxfhSmpXbHIDwByiKJst/s4000/Prom%2068_Cr.%20Mark%20Allen_(9).JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2665" data-original-width="4000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8-jc4qsURmckocToA_6X97Ue7zAOB6eKLK7tfOg8khCJyr8PrUtyuysUjmOfrheSA4qryiXU4IBhAliBiP2KUnoDjnxde0WX34C1TSQMw0cavxU2jpPmiyEtfe76hZnUr8otUfJEVKQvXyc0z0NdX_SvkNZ2bRgxbom8czgwTdxfhSmpXbHIDwByiKJst/w400-h266/Prom%2068_Cr.%20Mark%20Allen_(9).JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Owen Gunnell & the Britten Sinfonia<br />© BBC/Mark Allen</span></td></tr></tbody></table>Britten Sinfonia</a><br /></span><span style="font-size: medium;"><span style="font-family: arial;"><a href="https://www.brittensinfonia.com/who-we-are/people/thomas-gould">Thomas Gould</a> (violin/director)</span><span style="font-family: arial;"><br /></span><span style="font-family: arial;"><a href="https://www.brittensinfonia.com/who-we-are/people/clare-finnimore">Clare Finnimore</a> (viola)</span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"><a href="https://www.rwcmd.ac.uk/staff/owen-gunnell">Owen Gunnell</a> (vibraphone)</span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"><a href="https://www.brittensinfonia.com/who-we-are/people/miranda-dale">Miranda Dale</a> (violin)</span></span></div><div style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;"><a href="https://www.brittensinfonia.com/who-we-are/people/caroline-dearnley">Caroline Dearnley</a> (cello)</span></span></div><p style="text-align: left;"><span style="font-family: arial;"><span style="font-size: medium;">7.30pm, Wednesday 6 September, 2023</span></span></p><div><span style="font-family: arial; font-size: medium;"><a href="https://www.bbc.co.uk/events/eqwj6q">BBC Prom 68</a></span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><div><span style="font-family: arial; font-size: medium;"><a href="https://www.royalalberthall.com">Royal Albert Hall</a>, London</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><span><span style="font-family: arial;"><span style="font-family: arial;"><span face="-webkit-standard" style="background-color: white;">★</span><span face="-webkit-standard" style="background-color: white;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span></div><div><span style="background-color: white; font-family: arial;"><span style="font-size: medium;"><br /></span></span></div><div><span style="font-size: medium;"><span style="background-color: white; font-family: arial;"><br /></span></span></div><div><span><span style="background-color: white;"><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5_Ab121WS0RqkqI3-45P8gtP9ngnVJL2DPUZuYzn0FEIsk_ipSRcBjoBYJHepQa-5S-gdKVjbQYNt1aJ9_l0iLTzrPbw7nUClEKeMU1MAN7JhQRPzW3MK5CXlD12FvaR_XFHiqwBew2lHk-QBW2QA-RGTdQ2S1Bljyb-EqaXBFkNkLs0GJE7w2ArQ526U/s4000/Prom%2068_Cr.%20Mark%20Allen_(15).JPG" style="margin-left: auto; margin-right: auto;"><span style="font-family: arial; font-size: medium;"><img border="0" data-original-height="2667" data-original-width="4000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5_Ab121WS0RqkqI3-45P8gtP9ngnVJL2DPUZuYzn0FEIsk_ipSRcBjoBYJHepQa-5S-gdKVjbQYNt1aJ9_l0iLTzrPbw7nUClEKeMU1MAN7JhQRPzW3MK5CXlD12FvaR_XFHiqwBew2lHk-QBW2QA-RGTdQ2S1Bljyb-EqaXBFkNkLs0GJE7w2ArQ526U/w400-h266/Prom%2068_Cr.%20Mark%20Allen_(15).JPG" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Thomas Gould, Miranda Dale, <br />Caroline Dearnley & the Britten Sinfonia<br />© BBC/Mark Allen</span></td></tr></tbody></table><span style="font-family: arial; font-size: medium;">Lera Auerbach (b.1973): <i>Sogno di Stabat mater<o:p></o:p></i></span><p></p><p class="MsoNormal" style="margin: 0cm;"><i><o:p><span style="font-family: arial; font-size: medium;"> </span></o:p></i></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;">Arcangelo Corelli (1653-1713): <i>Concerto grosso in F major, Op. 6 No. 2<o:p></o:p></i></span></p><p class="MsoNormal" style="margin: 0cm;"><i><o:p><span style="font-family: arial; font-size: medium;"> </span></o:p></i></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;">Michael Tippett (1905-1998): <i>Fantasia concertante on a Theme of Corelli<o:p></o:p></i></span></p><p class="MsoNormal" style="margin: 0cm;"><i><o:p><span style="font-family: arial; font-size: medium;"> </span></o:p></i></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;">Max Richter (b.1966): <i>Recomposed: Vivaldi – The Four Seasons<o:p></o:p></i></span></p><p class="MsoNormal" style="margin: 0cm;"><i><o:p><span style="font-family: arial; font-size: medium;"> </span></o:p></i></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;">Encore:<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;">Rune Tonsgaard Sørensen: <i>Shine You No More, arr. for string orchestra</i><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><i><span style="font-family: arial; font-size: medium;"><br /></span></i></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuxZVkAJrUNnqZCYu0_yEoE6TEzFoJbbdZyHsU-kLqfdaw1rqy0-u2E0S2bUFif24doRmV4AKSmH9mXA7fZqLpMjjMuk0t3SzUxQvuQzFiqy8Ms8hAPSjMkjIxO6FPV0jgqO05aAWWPg7PWgSuG2P47ltMekPmNAdrUW27bAwRD_IA_akhaYeYkO5HkZ3t/s4000/Prom%2068_Cr.%20Mark%20Allen_(34).JPG" style="margin-left: auto; margin-right: auto;"><span style="font-family: arial; font-size: medium;"><img border="0" data-original-height="2650" data-original-width="4000" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuxZVkAJrUNnqZCYu0_yEoE6TEzFoJbbdZyHsU-kLqfdaw1rqy0-u2E0S2bUFif24doRmV4AKSmH9mXA7fZqLpMjjMuk0t3SzUxQvuQzFiqy8Ms8hAPSjMkjIxO6FPV0jgqO05aAWWPg7PWgSuG2P47ltMekPmNAdrUW27bAwRD_IA_akhaYeYkO5HkZ3t/w400-h265/Prom%2068_Cr.%20Mark%20Allen_(34).JPG" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Thomas Gould & the Britten Sinfonia<br />© BBC/Mark Allen</span></td></tr></tbody></table><span style="font-family: arial; font-size: medium;">Auerbach:</span></span></span></div><div><span><span style="background-color: white;"><span style="font-size: medium;"><span style="font-family: arial;">'</span><span face="Helvetica, Arial, sans-serif" style="font-family: arial;">The Britten Sinfonia strings gave their sinking lines intensity, and the solo strings riffed on Pergolesi’s suspensions, with sinister dark tutti throbbing gradually taking over'.</span></span><p class="MsoNormal" style="margin: 0cm;"><span face="Helvetica, Arial, sans-serif"><span style="font-family: arial; font-size: medium;"><br /></span></span></p><p class="MsoNormal" style="margin: 0cm;"><span face="Helvetica, Arial, sans-serif"><span style="font-family: arial; font-size: medium;">Corelli/Tippett:</span></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: medium;"><span face="Helvetica, Arial, sans-serif">'Bright and energetic Corelli flowed straight into Tippett’s </span><em>Fantasia concertante</em><span face="Helvetica, Arial, sans-serif">, thereby accentuating Tippett’s gradual stretching and unhinging of the Baroque'.</span></span></p><p class="MsoNormal" style="margin: 0cm;"><span face="Helvetica, Arial, sans-serif"><span style="font-family: arial; font-size: medium;"><br /></span></span></p><p class="MsoNormal" style="margin: 0cm;"><span face="Helvetica, Arial, sans-serif"><span style="font-family: arial; font-size: medium;">'Gould was almost rotating on the spot as soloist and conductor, and communication between him and the mostly standing players was palpable throughout, their gently swaying movements transmitting their enjoyment and commitment'. </span></span></p><p class="MsoNormal" style="margin: 0cm;"><span face="Helvetica, Arial, sans-serif"><span style="font-family: arial; font-size: medium;"><br /></span></span></p><p class="MsoNormal" style="margin: 0cm;"><span face="Helvetica, Arial, sans-serif" style="font-family: arial; font-size: medium;"><br /></span></p><p class="MsoNormal" style="margin: 0cm;"><span face="Helvetica, Arial, sans-serif" style="font-family: arial; font-size: medium;">Richter:</span></p><p class="MsoNormal" style="margin: 0cm;"><span face="Helvetica, Arial, sans-serif"><span style="font-family: arial; font-size: medium;">'Gould and his players were constantly alert to their corporate roles, producing some of the finest ensemble playing heard in a long time'.</span></span></p><p class="MsoNormal" style="margin: 0cm;"><span face="Helvetica, Arial, sans-serif"><span style="font-family: arial; font-size: medium;"><br /></span></span></p><p class="MsoNormal" style="margin-bottom: 16px; margin-top: 0px;"><span style="font-family: arial; font-size: medium;">'Once again, the criminally underfunded Britten Sinfonia (are you listening, ACE?) demonstrated inventiveness and frankly stunning performance commitment, giving other orchestral outfits much to envy'. </span></p><p class="MsoNormal" style="margin-bottom: 16px; margin-top: 0px;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="MsoNormal" style="margin-bottom: 16px; margin-top: 0px;"><span style="font-family: arial; font-size: medium;">Read my full review on Bachtrack <a href="https://bachtrack.com/review-prom-68-max-richter-recomposed-britten-sinfonia-london-september-2023">here</a>.</span></p><p class="MsoNormal" style="margin: 0cm;"><br class="Apple-interchange-newline" /></p><p class="MsoNormal" style="-webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica, Arial, sans-serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; margin-bottom: 16px; margin-top: 0px; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><em></em></p></span></span></div></div>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0tag:blogger.com,1999:blog-3215852098940709948.post-84708786800493782392023-08-24T10:37:00.001-07:002023-08-24T10:37:18.185-07:00Prom 50 - Cummings and the AAM bring the house down with Samson at the Proms<div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://maestroarts.com/artists/allan-clayton"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5t4x2we12kRzdjyRrpqZ7RDzcrvtQUsre3nve1f4T6XWdtNDzEkwdaOUNjXMGHBv88liWxbWIlrrO3eJr54Ihu0_6EyT03z1cJwu9Qk8CdtzUGCFLr4qdWQPwZuNSfY5YdgpMp5xN6oTrtzNl3jTDuPu2fiF5Oq6pI85-29B4TBscgy6DEvVnRbCMOpF8/s5184/Prom%2050_Cr.%20Sisi%20Burn_(6).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3888" data-original-width="5184" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5t4x2we12kRzdjyRrpqZ7RDzcrvtQUsre3nve1f4T6XWdtNDzEkwdaOUNjXMGHBv88liWxbWIlrrO3eJr54Ihu0_6EyT03z1cJwu9Qk8CdtzUGCFLr4qdWQPwZuNSfY5YdgpMp5xN6oTrtzNl3jTDuPu2fiF5Oq6pI85-29B4TBscgy6DEvVnRbCMOpF8/w400-h300/Prom%2050_Cr.%20Sisi%20Burn_(6).jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Laurence Cummings conducts the Academy of Ancient Music<br />© BBC/Sisi Burn</span></td></tr></tbody></table><br /></a></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://maestroarts.com/artists/allan-clayton">Allan Clayton</a> (Samson)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.jacquelynstucker.com">Jacquelyn Stucker</a> (Dalila)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="http://www.joelleharvey.com">Joélle Harvey</a> (Israelite Woman)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.jessdandycontralto.com">Jess Dandy</a> (Micah)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.brindleysherratt.com">Brindley Sherratt</a> (Harapha)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.askonasholt.com/artists/jonathan-lemalu/">Jonathan Lemalu</a> (Manoa)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.willpate.co.uk">Will Pate</a> (Messenger)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.philharmoniachorus.co.uk">Philharmonia Chorus</a></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.rayfieldallied.com/artists/laurence-cummings">Academy of Ancient Music</a></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.rayfieldallied.com/artists/laurence-cummings">Laurence Cummings</a> (harpsichord/director)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><div style="font-family: -webkit-standard;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="font-family: -webkit-standard;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="font-family: -webkit-standard;"><br /></div><div style="font-family: -webkit-standard;"><span style="font-family: arial; font-size: medium;">7pm, Wednesday 23 August, 2023</span></div><div style="font-family: -webkit-standard;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="font-family: -webkit-standard;"><span style="font-family: arial; font-size: medium;"><a href="https://www.bbc.co.uk/events/e3qhj5">BBC Prom 50</a></span></div><div style="font-family: -webkit-standard;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="font-family: -webkit-standard;"><div><span style="font-family: arial; font-size: medium;"><a href="https://www.royalalberthall.com">Royal Albert Hall</a>, London</span></div><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><span style="font-family: arial;"><span style="font-family: arial;"><span face="-webkit-standard" style="background-color: white;">★</span><span face="-webkit-standard" style="background-color: white;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span><span style="background-color: white; font-family: arial;">★</span></span></div></div></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwMjKX2gLQn3uVn-Ax0HpsfPtKyDgENOXa9IQj-GnJuJei00PA5Vh0z4tDfiMFADrKlKs534vkcb1lSCfRkUNa5ZhRLZrLw5dR6adnMPj7F5QaEsFlr5qzVuQMDc3y8plFWFvq5aj2XQtGQqKz7K_6NYLcmbfP27w1u80aKDQnlV6Zu201ikumf-ADQBMe/s5184/Prom%2050_Cr.%20Sisi%20Burn_(5).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3888" data-original-width="5184" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwMjKX2gLQn3uVn-Ax0HpsfPtKyDgENOXa9IQj-GnJuJei00PA5Vh0z4tDfiMFADrKlKs534vkcb1lSCfRkUNa5ZhRLZrLw5dR6adnMPj7F5QaEsFlr5qzVuQMDc3y8plFWFvq5aj2XQtGQqKz7K_6NYLcmbfP27w1u80aKDQnlV6Zu201ikumf-ADQBMe/w400-h300/Prom%2050_Cr.%20Sisi%20Burn_(5).jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Allan Clayton & the Academy of Ancient Music<br />© BBC/Sisi Burn</span></td></tr></tbody></table>Handel, George Frideric (1685-1759): <i>Samson </i>(1741-2, rev. 1743)</span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;">'The Philharmonia Chorus’ performance was totally convincing'. </span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;">'Clayton’s Samson was unflinching in rejecting Dalila’s pleas, but showed vulnerability too, never afraid to sing incredibly quietly, lamenting the “Total eclipse” of his sight with heartbreaking pianissimo control on the words “no moon”'.</span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;">'Stucker’s Dalila was bright-toned and full of self-righteousness, her “plaintive notes” more wheedling than sensuous, but beautiful nevertheless'. </span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXCA2pBmjgWWPjwdxzPkbQRPaXWW0yR6jGFn5JzB0rgSg8eKj0CorgYweRAFHDIXTInQ7aE26ZKeIWa6YN3LeCq0k7zWKYpRA1FmHIu3OR_TXbvEI0oyXe0SxlioaXsmVBbZpsFgsWL5MgEHb7xXuYglfojmjcJbPp8BFh4Vlp7U5gZbxQ1oh9buuDAHrA/s5184/Prom%2050_Cr.%20Sisi%20Burn_(10).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3888" data-original-width="5184" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXCA2pBmjgWWPjwdxzPkbQRPaXWW0yR6jGFn5JzB0rgSg8eKj0CorgYweRAFHDIXTInQ7aE26ZKeIWa6YN3LeCq0k7zWKYpRA1FmHIu3OR_TXbvEI0oyXe0SxlioaXsmVBbZpsFgsWL5MgEHb7xXuYglfojmjcJbPp8BFh4Vlp7U5gZbxQ1oh9buuDAHrA/w400-h300/Prom%2050_Cr.%20Sisi%20Burn_(10).jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Brindley Sherratt & the Academy of Ancient Music<br />© BBC/Sisi Burn</span></td></tr></tbody></table><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;">Dandy:</span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;">'When Cummings kept the players back, her rich tone was allowed to shine through, with particular expression of pain in her long-held “griefs” in “Return, oh God of hosts”'.</span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">'Brindley Sherratt<span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"> was in danger of stealing the show as Harapha, his arresting presence dominating the stage as he strode on, delivering his first recit from memory'.</span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnrB-4_24mEX2_SIQ1jbVCnSQ9-4D-Yj7kTHXWQlLNcs4uGkln1B5OGUWpm3dAM9HGGmc1JzZBXP69axkVPjE9jAx2EU-5qho5VHNubaAMZM5Yu6wPS8G8vYP7b5h0Jucay7VzubrsxMmk43U8UOmFwXawejP6eFBl2LVSulQbqv-jO7roog15hM0jHraE/s5184/Prom%2050_Cr.%20Sisi%20Burn_(9).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3888" data-original-width="5184" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnrB-4_24mEX2_SIQ1jbVCnSQ9-4D-Yj7kTHXWQlLNcs4uGkln1B5OGUWpm3dAM9HGGmc1JzZBXP69axkVPjE9jAx2EU-5qho5VHNubaAMZM5Yu6wPS8G8vYP7b5h0Jucay7VzubrsxMmk43U8UOmFwXawejP6eFBl2LVSulQbqv-jO7roog15hM0jHraE/w400-h300/Prom%2050_Cr.%20Sisi%20Burn_(9).jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Jacquelyn Stucker & Joélle Harvey<br />© BBC/Sisi Burn</span></td></tr></tbody></table><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;">Cummings & the AAM:</span></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;"><span style="background-color: white; font-family: Helvetica, Arial, sans-serif;">' consistently energetic presence, he commanded the combined forces with enthusiasm, making for a memorably magnificent performance'.</span></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: arial; font-size: medium;">Read my full review on Bachtrack <a href="https://bachtrack.com/review-prom-50-handel-samson-cummings-clayton-harvey-stucker-sherratt-">here</a>.</span></div>nicks-classical-noteshttp://www.blogger.com/profile/12885952419258514454noreply@blogger.com0