BFC@Barts - Totus Tuus - Saturday 22 September 2012, 8.30pm

Join Brighton Festival Chorus for this first of a series of three delightful and unique concerts - a capella performances of beautiful and evocative works by Gorecki, Brahms and Stanford. While away an autumn evening in the beautiful surroundings of St. Bartholomew's Church and enjoy an accomplished performance which will be truly 'Totus Tuus' - totally yours. Click here to buy tickets. The full programme includes: Gorecki Totus Tuus Op. 60 (1987) This fervent and hypnotic a cappella piece for mixed voices was written to celebrate Pope John Paul II's third pilgrimage to Poland. The libretto was taken from a poem written by contemporary writer Maria Boguslawska which is addressed to the Virgin Mary, the patron saint of Poland. The work remains his best-known choral work. Stanford Three Motets Op.38 (1905) These three beautiful motets, Justorum animae, Coelos ascendit hodie and Beati quorum via, were written whilst Stanford was professor of music at Cambridge University, for the choir of Trinity College, where he had been appointed organist whilst still an undergraduate. They span a period from 1888 to 1905, the year of their publication. Stanford Magnificat in B flat for double choir Op.164 (1918) This piece was written in memory of Stanford's old friend, Hubert Parry. They had had a stormy relationship after Parry was appointed head of the Royal College of Music, in preference to Stanford, who was professor of composition there. However on Parry's death, Stanford lobbied successfully for him to be buried in Westminster Abbey and this was probably sung at the funeral. Brahms Marienlieder Op.22 (1862) These 'Songs of Mary' were written when Brahms was in his late twenties, for a choir he formed in Hamburg. The songs are settings of traditional poems about the Virgin Mary and one about Mary Magdalene. The construction of the songs contains elements of German folk song but also reflects the result of Brahms' early studies of Baroque counterpoint. No.2 Marias Kirchgang, No.5 Ruf zu Maria, No.7 Marias Lob. Stanford Eternal Father Op.135 (1912) Another beautiful motet, this time a setting of words by Robert Bridges. Still to come ... 2nd MARCH 2013 - BFC with Onyx Brass 7.30pm - Tickets £18 | £12 20th JULY 2013 - BFC with BBC Singers 7.30pm - Tickets £20 | £14 More on Brighton Festival Chorus at www.bfc.org.uk, including details of a subscription deal for all three concerts

There Was A Child - Jonathan Dove

In the 2011 Brighton Festival (Sunday 22 May 2011), I took part in a performance of Jonathan Dove's piece, There Was A Child.  The Brighton Festival Chorus, Brighton Festival Youth Choir and the City of Birmingham Symphony Orchestra were conducted by Simon Halsey.  The soloists were Joan Rodgers and Ben Johnson.  The reviews were good: Latest 7, The Argus

The City of Birmingham Symphony Orchestra then performed the work again back in Birmingham a few weeks later (Saturday 18 June 2011), this time with their own City of Birmingham Symphony Chorus, and their CBSO Youth Chorus and Children's Chorus, and they were kind enough to invite some BFC tenors to join them for the performance.  Six of us went along for the weekend, and had a great time.  This time, Toby Spence replaced Ben Johnson as the tenor soloist, with Joan Rodgers once again the soprano.  This performance once again received a very positive review: Birmingham Post

The CBSO wisely decided to record this concert - at this stage, there were no specific plans for a release, but it was felt that it was an important opportunity to record the work.  A year later, and Signum Classics have released the recording, and it sounds pretty good!  As I took part in the concert, I won't comment further however - so far, there's been one review from the Financial Times, which gave it 5 stars (you need to register with the FT to read this, but it's free).

The work's premiere was actually in Norwich on 2 May 2009, in the Norfolk and Norwich Festival, with the CBSO - it was in fact commissioned by Rosemary Pickering, the Norfolk and Norwich Festival and the CBSO.  The piece was written as a celebration of the life of Rosemary Pickering's son, Robert, who died tragically aged 19 in a snorkelling accident.

You can find the recording at:

Dove, Jonathan. There Was A Child.  Joan Rodgers, Toby Spence, CBSO Chorus, CBSO Youth Choir, CBSO Children's Choir, City of Birmingham Symphony Orchestra, Simon Halsey.  2012.  Compact Disc.  Signum Classics SIGCD285. 

Selected CD Reviews

The Van Baerle Trio met while they were studying at the Amsterdam Conservatory in 2004.  They have since worked with Menahem Pressler, pianist in the Beaux Arts Trio, and their debut CD is very impressive.  They perform two great French works – the first of Saints-Saëns’ two piano trios, and Ravel’s single work for the combination.  In between, they play a single movement work by the Dutch composer Theo Loevendie (b.1930), called Ackermusik.  This provides an interesting interlude between the two French works, although stylistically it isn’t a great fit.  However, they tackle its extremes of dynamics and rhythmic difficulties well.  But in the two main works, they really shine.  They capture the lightness and spirit required in the Saints-Saëns, yet also show great sensitivity in the delicate slow movement.  The Ravel is a beautiful piece, full of richness, almost orchestral colours, and their performance is suitably intense and full.  Pianist Hannes Minnaar produces beautifully sonorous playing in the third movement Passacaille, and this is matched by touching, delicate playing from violinist Maria Milstein and cellist Gideon den Herder.  Definitely an ensemble to keep an eye on.
Various. Piano Trios. Van Baerle Trio. 2012. Compact Disc. Et'Cetera. KTC 1438.

The Doric String Quartet garnered wonderful reviews for their recording of the String Quartets by Erich Korngold (1897-1957).  Following further excellent CDs of Schumann and Walton, they return to Korngold, joined by friends for performances of the Piano Quintet and the Sextet.  First, in the Piano Quintet they are joined by the great pianist Kathryn Stott, and clearly have a great time.  They avoid over-sentimentalising the already highly romantic music, yet still manage to provide the necessary nostalgic warmth and youthful spirit (the composer was still just 23 when this was composed).  In the Sextet, the Dorics are joined by an extra viola (Jennifer Stumm) and cello (Bartholomew LaFollette).  This is an even earlier work, from 1914 – yet the child prodigy had already been composing for 8 years by now.  If anything, it is even more intense than the Quintet, and the musicians work well together here.  Unlike some string sextets, Korngold avoid a heavy, dense texture, and rather chooses to use the instruments contrapuntally much of the time.  The slow movement here is particularly tenderly performed.  Overall, another impressive release to add to the Dorics’ growing catalogue.
Korngold, Eirch Wolfgang. String Sextet, Piano Quintet. Doric String Quartet, Jennifer Stumm, Bartholomew LaFollette, Kathryn Stott. 2012. Compact Disc. Chandos CHAN 10707.

Ola Gjeilo (b.1978) is a young Norwegian composer, specialising predominantly in choral music, and he is currently the composer in residence with the excellent Phoenix Chorale from Arizona.  I was looking forward to this CD, as I had read good things about it.  The performances can’t be faulted – the Phoenix Chorale are spot on, with a warm and well blended sound, and perfect intonation throughout.  It is the music that is rather beneath their considerable talents.  In the whole disc (which includes eleven different works), there is not a single unexpected harmonic change, and the cumulative effect of the saccharin harmonies and relentlessly slow (even turgid) tempi leave one longing for some dissonance and rhythmic interest.  Choral music has become trendier of late, with the likes of Eric Whitacre, and Paul Mealor (made popular by the Military Wives).  But Whitacre does achieve variety and produces a range of interesting choral effects in his inventive music.  Here, the sound world of each piece is pretty much identical, the only interest being the works with added string quartet (the Harrington String Quartet), piano (the composer himself) or tenor saxophone (Ted Belledin).  We’re two thirds of the way in before there is a piece with any real drive (Prelude), but this is in fact the shortest track, and then we’re straight back into soporific ‘atmospheric’ territory.  A real disappointment.
Gjeilo, Ola. Northern Lights, Choral Works by Ola Gjeilo. Phoenix Chorale, Charles Bruffy. 2012. Hybrid Super Audio Compact Disc. Chandos CHSA 5100. 

French baritone Gérard Souzay died in 2004 aged 85.  He was recognized as one of the foremost singers of French mélodie but also one of few French singers to excel in German repertoire too.  His voice had beautifully rounded quality, never harsh, yet still full of character.  The Schwetzingen Festival have been releasing recordings from their archives, and this is a real treat, from a recital in 1960, when Souzay was accompanied by Dalton Baldwin on piano.  He performed several Schubert songs (including An die Musik), the Six Monologues for Everyman by Frank Martin, and ended with a set of Strauss songs.  In the middle was the French repertoire – Ravel’s Cinq melodies populaires grecques, and Deux mélodies hébraiques, which are particularly touching.  His voice was truly in its prime, and this is a wonderful selection to whet your appetite if you don’t already know this truly great singer.
Various. Gérard Souzay, Liederabend 1960. Gérard Souzay, Dalton Baldwin. 2012. Compact Disc. Hänssler Classic CD 93.717.

Next, works by Manuel de Falla (1876-1946) performed by the BBC Philharmonic, conducted by Juanjo Mena.  First comes the ballet ‘El sombrero de tres picos’ (The Three-cornered Hat).  This is great fun, with real atmosphere and folk spirit, energetically performed, with a lovely contribution from soprano Raquel Lojendio.  Next comes a wonderfully atmospheric and lively performance of ‘Noches en los jardines de España’ (Nights in the Gardens of Spain), with Jean-Efflam Bavouzet on piano.  They finish the programme with ‘Homanajes’ (Tributes), a suite for orchestra written late in his life, and containing tributes to Debussy, Dukas, and lesser known (to us) influences on Falla – the Catalan composer Felipe Pedrell and the conductore Enrique Fernández Arbós.  This is very enjoyable, and excellently recorded – a little more abandon in places would have made this a perfect addition to the catalogue, but it’s definitely up there, particularly Bavouzet’s performance in the Noches.
de Falla, Manuel. Nights in the Gardens of Spain, etc. Jean-Efflam Bavouzet, Raquel Lojendio, BBC Philharmonic, Juanjo Mena. 2012. Compact Disc. Chandos CHAN 10694.

Finally, in brief – an excellent re-release of a remastered recording from 1989 of the late, great Sir Charles Mackerras conducting the London Symphony Orchestra, with Raphael Wallfisch playing the Dvořák Cello Concerto, and also Dohnányi’s Konzertstück.  Surprisingly fresh recorded sound, combined with assured interpretations from both conductor and soloist, at mid-price this is worth snapping up.
Various. Dvořák Cello Concerto, Dohnányi Konzertstuck. Raphael Wallfisch, London Symphony Orchestra, Charles Mackerras. 2012. Chandos. CHAN 10715X.

(An abridged version of these reviews first appeared in GScene)

Serenade to Music - A Celebration of English Choral Music & Poetry with The Purcell Singers

Come along to what should be a great concert - really looking forward to this one!Tuesday 24 July 2012, 7.30pmYou can get tickets from:

St Martin-in-the-Fields

More info at:

The Purcell Singers

Selected CD Reviews

Here are a few recent CD reviews, also published in my column in GScene magazine.

First of all, a simply delightful disc of encore pieces, ‘Petits-fours’ from the great Brodsky Quartet. I had the great pleasure (with Brighton Festival Chorus) to perform with the Brodskys in Tarik O’Regan’s beautiful Ecstasies Above, but the highlight of that concert for me was actually their performance of the amazing Tenebrae by Osvaldo Golijov (b.1960). The 21 works on this disc are by definition less substantial (the longest is just over 5 minutes), yet no less impressive. They are all arranged for string quartet, mostly by the violist Paul Cassidy, or the quartet’s former leader, Andrew Haveron. Highlights for me are ‘Blues’ by Ravel (from his violin sonata), Shostakovich’s Waltz No. 2 (in which they are joined by Philip Edward Fisher on piano) and old favourites like Elgar’s Chanson de nuit and Dvořák’s Humoresque. They perform throughout with a great sense of enjoyment, entirely appropriate as this release celebrates their 40th birthday – many happy returns!

Various. Petits-Fours: Favourite Encores. Brodsky Quartet. 2012. Compact Disc. Chandos CHAN 10708

Dimitry Shostakovich’s (1906-1975) Cello Concerto No. 1 came 6 years after his 10^th Symphony, and coincided with the end of his second marriage, as well as the onset of motor neurone disease.  The work is full of deep and dark emotion, building to a wild finale, with considerable challenges for the cellist.  The Cello Concerto No. 2 followed some 7 years later, and like the first, was dedicated to the great cellist Rostrapovich.  It is another dark work, with even less relief than the first – the finale is particularly bleak.  The Italian cellist Enrico Dindo is technically on top of these demanding works, and in particular, takes the first concerto’s first movement at a cracking pace.  At times, this technical command masks the necessary depth of emotion needed, but overall these are sound performances.  Gianandrea Noseda extracts appropriate caustic playing from the Danish National Symphony Orchestra, and the wind players in particular.

Shostakovich, Dmitry. Cello Concertos Nos. 1 and 2. Enrico Dindo, Danish National Symphony Orchestra, Gianandrea Noseda. 2012. Hybrid Super Audio Compact Disc. Chandos CHSA 5093.

The Trio D’Ante Vienna are an all-female piano trio formed in 2003.  On their latest CD, progress chronologically through works by Chopin, Liszt, Rachmaninov and Shostakovich.  The Chopin Piano Trio Op. 8 is his only work for the combination, yet is quite a substantial work of about 30 minutes in length.  An early student work, it is clearly not as inspired as his piano repertoire.  Yet there are some pleasing melodies here, and considerably more interest in the piano part (which Chopin himself almost certainly played).  This is followed by Tristia – La vallée d’Obermann by Liszt.  A pianist composer like Chopin, he also didn’t compose much chamber music, and this is actually a recomposition by the composer of a piano pieces (from the Années de Pèlerinage).  Unlike the happier Chopin piece, it is quite anguished, and the Trio D’Ante explore its depths well here. They follow with Rachmaninov’s ‘Trio Elégiaque’ No. 1, another one-movement piece, which the young eighteen-year-old composed, inspired by Tchaikovsky’s A minor Trio from 10 years earlier.  The inspiration is clear, yet Rachmaninov also demonstrates his pianistic virtuosity in the writing for the instrument.  The Trio D’Ante close their programme with Shostakovich’s Piano Trio No. 1, again a single movement work.  An early student work, it has the composer’s trademark wit, without some of the darker, depressive tendencies of his mature output.  This is an enjoyable programme, and the Trio D’Ante perform with feeling and restrained command of the repertoire. 

Various. Chopin - Liszt - Rachmaninoff - Schostakowitsch. Trio D'Ante Vienna. 2011. Compact Disc. Gramola 98934.

The clarinetist Michael Collins also conducts the City of London Sinfonia on his latest disc of Concertante works by Carl Maria von Weber (1786-1826).  He includes the two Concertos, the Concertino, and also the Concertino for Horn and Orchestra (with Stephen Stirling on the horn).  These are largely joyous works, composed for the great clarinetist Heinrich Bärmann.  In fact, Michael Collins performs the works incorporating the many embellishments and ornaments that Bärmann made and which survive in his annotated copies of the works.  Yet these works have more than just technical showmanship – in fact Weber also writes some gloriously lyrical music, particularly in the slow movements, and also produces moments of dark drama, for example in the first Concerto.  Collins manages to combine the technical requirements with still producing a beautiful tone in the more lyrical passages, and also commands solid playing from the orchestra.  Stirling is equally impressive in the horn Concertino, not least in the demanding cadenza, which requires ‘horn chords’, where more than one note are produced simultaneously – an eery effect.  Overall, a compressive collection, all excellently performed.

Weber, Carl Maria von. Concertante Works for Clarinet and Horn. Michael Collins, Stephen Stirling, City of London Sinfonia. 2012. Compact Disc. Chandos CHAN 10702.

 

Brighton Festival - Lunchtime Concerts, Part 2

And so to catch up on some more of the Lunchtime concerts from the Brighton Festival.

Pianist Ashley Fripp (Thursday 17 May) began with a delightful performance of Haydn's Sonata in D major, Hob. XVII:D1.  He followed this with Liszt's Vier kleine Klavierstücke, a late set of miniatures, and not ones I previously knew.  They are less obviously showy than the more well known Liszt repertoire, and Fripp brought great sensitivity to their more introspective style.  The rest of the programme was given over to Rachmaninov - first of all the challenging Ten Preludes, Op. 23.  The 10 came some time after Rachmaninov's mammoth single Prelude in C sharp minor, and he followed these later with thirteen more to provide a complete set of all the major and minor keys.  Whilst some are less challenging than others to play, they all require great skill to bring out inner melodies and balance the dynamics, particularly when playing the set together.  Fripp managed this beautifully, a highlight for me being the contrast of the almost dance-like, dramatic third Prelude in D minor, followed by the exquisitely lyrical and romantic fourth Prelude in D major.  He ended his programme with the Humoresque from the Sept Morceaux de Salon, Op. 10 - lighter in style, but suitably effervescent to complete a very enjoyable performance.  

Next, cellist Tim Lowe was accompanied by pianist James Baillieu (Friday 18 May).  The meat of their programme was Brahms' F major Sonata, a passionate and dramatic piece, composed over twenty years after his first sonata for the instrument.  I really enjoyed Lowe's playing here, and Baillieu proved himself a very skilled partner too, as achieving the right balance, particularly in the dry acoustic of the Pavilion Theatre, is not straightforward at all.  Another new piece to me, Sibelius' Malinconia, Op. 20, preceded the Brahms - this was composed following the tragic death of the composer's infant daughter, and it is an intensely moving, even painful piece.  They topped and tailed the programme with two sets of variations - they began with Mendelssohn's rousing Variations Concertantes, and ended with the less well-known Variations on a theme by Rossini, composed by Martinu.  Both these works gave Lowe ample opportunity to demonstrate his technical command.  

The Eidos Trio, William Stafford (clarinet), Ilya Movchan (violin) and Konstantin Lapshin (piano) have been playing together since 2008, when they got together at the Royal College of Music.  They opened their concert (Sunday 20 May) with Milhaud's Suite, and technically their performance was spot on.  However, what concerned me here immediately was a lack of communication between the players.  There was barely a moment of eye contact between any of the three players, and there was certainly no real sense of fun - not even in the third movement, entitled 'Jeu'.  Unfortunately, this continued throughout their programme for me, and increasingly I felt frustrated by the fact that, despite their obvious skill and musicianship, the audience was not really being brought into their world through the performances.  This is particularly important in this less familiar, and somewhat challenging, repertoire, and was a great contrast to other musicians in this series who went out of their way to communicate with their audience.  However, there was still much to admire here.  The Trio by Gian Carlo Menotti (1911-2007) was composed in 1996.  An opera composer predominantly, he was also the partner of Samuel Barber, and wrote the libretto for his opera, Vanessa.  The trio is an interesting piece, and again, there is humour in the music here too, which once again didn't come across.  However, in the more melodic moments, particularly for the clarinet in the final movement, there was some subtle playing here.  The Largo by Ives is quite a lyrical, nostalgic piece, yet still containing typically quirky Ivesian detail.  They completed their programme with the lively Khachaturian Trio, and finally here the Eidos Trio came alive.  Perhaps it was the folk-inspired melodies and rhythms, or maybe they were beginning to relax a little more, but here I began to feel they were actually enjoying themselves a bit, and consequently the audience responded accordingly.  So overall, strong musicians that need to work on performance communication for me.  

Brighton Festival 2012 - More concerts

Three evening concerts last week, interestingly all problematic in one way or another, although not without moments to enjoy too.

Credit: Keith Saunders

Firstly, the Jerusalem Quartet, with pianist Alexander Melnikov (Tuesday 8 May).  I have hesitated over writing about this concert, as I am still unsure of how the protests that disrupted it leave me feeling.  I have some sympathies with the cause of the pro-Palenstinian protesters, who not only staged a demonstration outside the concert, but also disrupted the concert itself on I think about six or seven occasions, with protesters shouting out and having to be removed from the concert hall.  However, I do wonder what they hoped to achieve by their protest.  I was at the concert by myself, which allowed me to easily eavesdrop on conversations of audience goers in the interval, and whilst clearly some were opposed to both the protesters' cause and their actions, a good number I heard were aware of and shared concerns about Israel's actions in Palestine, but were nonetheless angry about the protesters' targeting of the Jerusalem Quartet - so actually, support was lost rather than gained.  Also, their protest seems to be based on rather inaccurate information and assumptions - the argument seems to go that the Quartet are funded by the Israeli state (not true) and the players are members of the Israeli army, so therefore they represent the state, and as such, are a fair target for protest.  They did perform their legally required national service at 18 - but as musicians, not in combat divisions.  Since that time, two members have regularly performed with the West-Eastern Divan Orchestra, the orchestra founded by Daniel Barenboim and Edward Said to promote understanding and cooperation between Israelis and Palestinians.  Whatever your views on the issues, it does feel like there are surely more deserving targets for protest - it is rather an easy option, and I suspect counterproductive, to target these musicians in this way.

Credit: Marco Borggreve

In terms of the performances themselves, I have to confess to being too overly distracted by the tension and ill-feeling created by the protests to focus as much as I would have liked on the music (the protesters may see this as a success, but I don't).  However, the Jerusalem Quartet kept playing throughout, and their performances were full of conviction and energy - it's hard not to ascribe additional urgency to their playing given the circumstances, but there was a definite determination in both works performed.  The first half was given over to Schumann's Piano Quartet in E flat major, Op. 47, and his Piano Quintet, also in E flat major, Op. 44 followed after the interval.  As an encore, they performed the second movement of the Piano Quartet, which had been particularly badly disrupted, once more.  I have always felt strongly about the power of music to bring people together, and to change hearts and minds.  On this occasion, however, I left feeling that despite the best efforts of the performers, the music had been suppressed by misguided and poorly targeted anger.  Probably the protesters left happy, but I doubt the Israeli regime is quaking in its boots as a result of their easy protest at what was essentially a provincial festival chamber music concert with an audience of two to three hundred.  Interestingly, they didn't target the Jerusalem Quartet's repeat concert the next night at the Wigmore Hall - presumably because, having protested there once already on a previous occasion, the Wigmore Hall security would be wise to them, and it would prove too difficult.  

Next this week, the English Chamber Choir (Friday 11 May), conducted by Guy Protheroe, performing the Te Deum by António Teixeira (1707 - after 1759).  They preceded this with a world premiere performance of Sub tuum praesidium by Ivan Moody (b.1964).  This relatively short, unaccompanied work began a little shakily in the large acoustic of St Bartholomew's Church in Brighton, but once the singers settled slightly, it came across effectively enough, the falling clusters of sound taking advantage of the warm acoustic.  I felt the piece needed more strength at the top from the sopranos, and it seemed slightly under-rehearsed, given the obvious challenges.  An interesting piece, nevertheless, and well suited to the acoustic.  Then came the Teixeira.  This is a long piece, using five separate choirs, and calling on eight soloists.  In fact, here the English Chamber Choir used four soloists (Julia Doyle, Siân Menna, Simon Wall and Philip Tebb, and then shared out the solo parts throughout the choir, so by the end of the piece, I think nearly every singer had had at least one solo bit.  Sadly, their performance was scuppered from the outset by a fundamental problem in staging.  I am surprised nobody from the festival or the church pointed out the flaw in raising the orchestra (which was relatively large for the size of choir) on staging.  This meant that throughout, the choir struggled to be heard, particularly when singing in smaller groups.  Even the soloists (other than the tenor, who was quite tall) struggled, as they were placed behind the orchestra too.  Also, the five 'choirs' were all placed close together, behind the orchestra, so the antiphonal effects between the choirs were also rather lost.  As it is quite a long work, this variety of effects is vital in maintaining interest.  A real shame, as there were clearly some good voices here, and the choir knew the work well.  Another one to hear again under different circumstances, I think.

Finally, bass Matthew Rose, accompanied by pianist Malcolm Martineau, in the beautiful setting of the Music Room of the Royal Pavilion in Brighton (Sunday 13 May).  Matthew Rose has a fabulously powerful and rich voice, and he gave a commanding performance of Schubert (Schwanengesang and the Drei Gesänge D902) and Brahms (Vier ernste Gesänge, Op. 121).  However, I wonder if he is more comfortable performing in larger, less intimate settings.  From the moment he came onto stage, he seemed rather ill at ease, almost nervous, and backed himself up against the piano, gripping its edge throughout the performance - one almost had the curious sense he was backing away from the audience as if we were a threat.  His performance was largely directed at a point some distance behind the back wall of the Music Room - a technique more suited to the opera house.  So whilst there was definite power and import in places (for example, O Tod, wie bitter ist du in the Brahms, and Der Doppelgänger in Schwanengesang), I missed any sense of intimacy or mystery in the performance.  Interestingly, I have heard recitals in the nearby Corn Exchange, for example, where the opposite has been the case - perhaps his performance would have been better suited to a larger venue such as this.  Having said this, his command of the repertoire was evident. I would definitely like to hear him sing these works again in a different setting.


So overall, a week of performances that could have been so much more, for one reason or another.