Powerfully moving A Child of Our Time at Glyndebourne

Adam Hickox
© Glyndebourne Productions Ltd,
Photo: Richard Hubert Smith

Adam Hickox (conductor)

Ian Rutherford (director)

Matthew Fletcher (music preparation)

Nardus Williams (soprano)

Beth Taylor (mezzo-soprano)

Kieran Carrel (tenor)

Michael Mofidian (bass)

The Glydnebourne Sinfonia 

Richard Milone (leader)

The Glyndebourne Chorus

Aidan Oliver (chorus director)

4pm, Tuesday 29 October 2024

Glyndebourne Opera House, Glyndebourne

★★★★

Ludwig van Beethoven (1770-1827): Symphony No. 4 in B flat major, Op. 60

Sir Michael Tippett (1905-1988): A Child of Our Time

Soloists, Glyndebourne Chorus & Sinfonia
© Glyndebourne Productions Ltd,
Photo: Richard Hubert Smith

Beethoven:

'There was some impressively deft work from the strings in the outer movements'.

Tippett:

'Simple lighting effects and a few striking image projections added a welcome extra dimension without being overly distracting'.

'The Five Spirituals ... were delivered with full-bodied tone and moving passion, with the solo input from the front of the stage balanced well'. 

'Hickox gave the Glyndebourne Sinfonia and combined vocal forces clear direction throughout and managed the challenge of balance, particularly for players more used to being in the pit'. 

'The soloists and chorus combined brought this memorable and powerful performance to a deeply moving conclusion'. 

Read my full review on Bachtrack here.

Handel's Messiah overpowered by massed forces to close the Proms Choral Day

Messiah at the BBC Proms Choral Day
© BBC/Andy Paradise

Nardus Williams (soprano)

Helen Charlston (mezzo-soprano)

Benjamin Hulett (tenor)

Ashley Riches (bass-baritone)

Philharmonia Chorus

Bath Minerva Choir

The Fourth Choir

Jason Max Ferdinand Singers

London Youth Chamber Choir

Voices of the River's Edge

Gavin Carr (coordinating chorus-master)

Academy of St Martin in the Fields

John Butt (conductor)

Helen Charlston
© BBC/Andy Paradise

BBC Prom 65

7pm, Saturday 7 September 2024

Royal Albert Hall, London

★★★ 

George Frideric Handel (1685-1759): Messiah

(orch. Wolfgang Amadeus Mozart (1756-1791))

'Conductor John Butt had a massive juggernaut to control and, with the best will in the world, nuance was always going to be a challenge. The Academy of St Martin in the Fields played with precision and lyricism, but in solo arias and recitatives, they were often sadly just too loud to allow room for the soloists’ subtleties of expression'.

John Butt conducts Messiah
© BBC/Andy Paradise

'Tenor Benjamin Hulett opened with a gently sustained “Comfort Ye”, followed by a nimble “Ev’ry Valley”.... When Mozart got out of the way and left things to strings alone for “Behold, and see”, (Helen) Charlston shone.... Soprano Nardus Williams delivered pure tone in “He shall feed his flock”, again, muted strings allowing for delicate colour....Bass-baritone Ashley Riches’ penetrating tone cut through the textures well'.

'The Philharmonia Chorus formed the semi-chorus (still 120 singers), delivering confident precision in the fiddlier choruses'.

'The fully combined chorus produced a phenomenally powerful sound, and this was used to dramatic effect for “Wonderful Counsellor” in “For unto us a child is born”'.

Read my full review on Bachtrack here. 

A triumphant Esther from Cummings at the London Handel Festival's Spring Awakenings

Esther at London Handel Festival
© Sisi Burn

Laurence Cummings (Director)

Nardus Williams (Esther)

Tim Mead (Ahasuerus)

Jess Dandy (Mordecai)

Florian Störtz (Hanan)

Rachel Redmond (Israelite Woman & Second Israelite)

Laurence Cummings (First Israelite)

John Bowen (Habdonah)

Edmund Hastings (An Officer)

London Handel Singers

London Handel Players

7pm, Thursday 14 March 2024

London Handel Festival

St George's, Hanover Square, London

★★★★

George Frideric Handel (1685-1759): Esther, HWV50 (1732 version)

The London Handel Festival
© Nick Boston

'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'. 

'Nardus Williams' Esther had powerful presence, delivering her opening virtuosic “Alleluia” from the pulpit with assertive brilliance'.

'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”'.

'The London Handel Singers showed their skill throughout, expertly delivering the key dramatic mood shifts'. 

'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'.

Read my full review on Bachtrack here.