It would be a fleeting affair in London to make sure I was celebrating with The Tallis Scholars. Something I did not want to miss. In the wonderful atmospheric Middle Temple Hall, known for its first recorded performance of Twelth Night, the evening went by in a flash.

Drink and canapes were flowing throughout, as things started off with Palestrina’s Magnificat Primi Toni and the eternal Misere by Allegri. The balcony space was utilised for both works, this opening gave you the feel for this choir, their mastery over polyphony and admiration of religious works. There was a marvellous vibe to proceedings, the audience blessed to hear such things. The latter was a highlight, with its serene high notes and it’s tennis match between both choirs in the space.

American writer Leon Wieseltier gave a fabulous speech about his first time hearing the Scholars. Passing the church in which they were singing, he fell in love with them all those years ago and has continued to give unwavering support to them ever since. His writing was highly eloquent and often funny. Caroline Trevor, wife to conductor Peter Phillips, also recounted many years with the choir as singer, leading later to romance. Their was a nice slab of gossip in this speech, personal insight which went down well, Peter beaming in the wings.

I’m glad there was a world premiere, this time from Nico Muhly and his A Glorious Creature. Taking Thomas Traherne’s words, a piercing perspective on the sun and its radiant light giving, Muhly has written a piece which didn’t excite me. It was a sort of strange slice after slice of the words, the singers each getting turns in the polyphony. It was pleasent, but left me a bit chilly.

John Tavener’s Song for Athene needs little introduction. Written as a perosnal tribute to a family friend, it would later be catapulted into fame with it’s usage at Lady Di’s funeral. Here the Scholars offered up a well sculpted and tender version, I found myself in bits. It was a special addition with Lady Tavener present, we lost Sir John some ten years ago. Arvo Pärt’s Virgencita ended this second set with more touching auroas and a reminder of his talents still going stong in his 9th decade.

James Jolly, Editor-in-Chief of Gramaphone also recounted good times with the Scholars, we were offered a tribute copy of the magazine with a history of the choir. Peter Phillips gave the final word, in a speech filled with pride, also acknowledging the pitfalls of the past and present taking them on international tours. We we given goody bags with the aforementioned magazine and Peter’s unexpected flutter into book form about the restaurant they frequent after reharsals.

It was all very inspiring seeing how much of a success they have been, 50 years is quite a long time really. Of course, things had to end with Tallis himself and we had three works: Loquebantur variis linguis, Suscipe quaeso and Gloria from Missa Puer natus. It couldn’t have ended on a finer note with their namesake composer that they have honoured countless times. These sweet pieces crowned the night, their affirming faith, their simple simplest registers and easy listening appeal had us leaving the event with much contentment. 

Photo credit: Christophe Abramowitz

(4 / 5)

The goal of more accessible concerts at half past six is one of London Symphony Orchestra’s outputs. It’s a swell idea, with one 30 odd minute piece getting the spotlight and a talk before going into more detail makes for a grand hour.

Here, Barbara Hannigan as conductor and speaker, delighted with insights into Pulcinella by Igor Stravinsky. Heavily inspired by the music of 18th century work by Pergolesi, this would turn out compromised as most of the music featured is not by him. Hannigan went into detail about Stravinsky’s dip into neo-classical ideals, a return to form of less experimental nature. You can hear it’s still very much Stravinsky’s arrangement of this bubbly, happy music. It’s a world away from his earlier ballet work, this being a collab with Picasso and other artists.

Hannigan as conductor, created form the way she is known for. She seems to executed good vibes bringing this out to us. The players shone with the return to Italian standards, peppered by the Russian composer’s rampant vitality. A trio of singers: Fleur Barron, Charles Sy and Douglas Williams has few solos, though these characters from the Commedia dell’arte proved good actors and suitable vocied and ones to watch out for. It’s the little extra details Stravinsky adds that keep you thinking after it was over.

Photo credits: Mark Allan/Barbican
(3 / 5)

A rare visit from the Munich Opera orchestra would be a treat for London based audiences. I missed them the night prior, a selection of Victoria Poleva, Berg and Richard Strauss seemed promising.

In a very Germanic second evening, Wagner’s Prelude to Tristan and Isolde is total romance. Many speculate it’s sex set to music, the passion of the Celtic story cannot be deined. Conductor Vladimir Jurowski swooned his way through, the buttery fluidity highly sensual. This is easy Wagner to access, the famously coined bleeding chunks. As an opener it was very fine.

For Schumann’s Piano Concerto, we saw Yefin Bronfman as soloists. I do find this piece apprachable and easy fair, Yefin had restraint in many ways. Wagner absolutely quoted at least one melody here for his Flying Dutchman. As a concerto the piano gets many flights and retrospection, Schumann’s lovely sence of dynamics are ever present. There is also the feeling of the promise what the piano concerto will become, there’s not really violence here nor harshness. Yefin faired well, but I wasnt wowed. An encore of Chopin pleased most.

I’m hearing Mahler’s 4th a few times this years, the LSO in Bath last. Here, in what is not my favourite of his lies a symphony filled with sleigh bells, sweet melodies, moments of pain and a soprano singing as a child in heaven. A bizarre brew, which does not always hold up for its hour demands. Yet when right, it sparked and transformed, Jurowski proving his fine maestro sway over the mass of players. The boyserious, Austrian air I think about in Mahler is in this, though is done better in past symphonic work. Louise Alder for the saccharin finale also added to proceedings. Her voice matched the tone well, the delight of the child in heaven playing and seeing the saints going about their jobs told through the vivid verse.

A final gift of Bach’s Air on a G String wrapped up well. 

(4 / 5)

A rare treat from OVO in London with The Threepenny Opera. Most well know for the hit song Mack the Knife, the show’s titular anti-hero, this remained a delight. From the mostly young cast was brought new life to this peculiar show. High res jackets and made up mannequins are the home stay of the production, directed by Adam Nichols and Julia Mintzer.

Kurt Weil excelled as caberat songs, symphonies and film score. This is some of his best work here, the bouncing, acidic metres and remaining tunefulness are total highlights. Story wise, Bertold Brecht was never one to turn down a sort of fable lecture in most of his work. Mack the Knife is one of London’s most infamous criminals, falls in love with Polly and gets his commpuence…or does he?

My plus one was confused over the meaning and the ending’s choice. I always see it as Brecht’s cutting look at society and the systems we engage in as flawed, corrupted and horrible. This was Peaky Blinders for the Weimar period. Much respect to the springy, witty ensemble. This is such a Cockney piece and the accents felt genuine (this London after all) and the leads impressed. Peter Watss as Mack, bringing out all the stops for the scary, yet loveable thug. It was nicely performed and should see him in the role agian.

Polly was a delight from Emily Panes, musically well suited to caberat. The role does not have a lot to do, but when she engages with Mack and warding off his other lady friends things take flight. Mark Carlisle adds mad inventor vibes and Jonathan Peacham, engaged with money making schemes with homeless people. The delivery was telling and his timing well paced. Annette Yeo as as Celia Peccham in an amuzing costume and shrill theatrics is another enjoyable flutter.

The ensemble acted, sang and played the instruments and well done them. Czech conductor Lada Valešová added a serious, if still fun tone to proceedings. Her sometimes engaging with the action was dry, these little moments helped break down the show, being in the round, in English translation and by a group who didn’t focus on making a very showy show.

It runs till 7th Oct 2023. More information here

(4 / 5)

A return to London, making an effort to go and see something before even going to my host. In this marvellous afternoon concert we heard from JS Bach and other varying delights.

This was really an opportunity to show off Chouchane Siranssian on the violin. I loved the effort of a sensual Leonardo Garcia Alacón on harpsichord and Balás Máté giving patience and nice drone work as supporting cello. The Bach works: the Violin Sonata in G and Adagio from Violin Sonata in C minor had that had real compassion, Siranssian seems to soar in this repertoire. Amazing to think how much the repertoire has changed, yet Bach was such a game change in his own right. Complexity met beauty in what we should expect from Bach, the passion of these players was a highlight.

Though the Bach got the audience in, a delight from Carlo Farina and his Sonata quinta detta ‘La Farina’. Of note is it’s strange momentum, seemingly slow then without warning pushes forward with swift rhythms. I hadn’t heard anything like, certainly not from the era of the composer (1604-1639). More discoveries like this make you realise just how much innovation there was over the centuries.

A short fire trip followed with Johan Jakob Walther’s Passacaglia from Sonata No. 7, Krikor Naregatsi with his Improvisation on Havun Havun and Pietro Antonio Locatelli’s Sonata in D minor. Siranssian shone once again here with one part of high pitched squeals from her violin, her accompanists also getting fine musical moments. Bleeding well into each other this choice of three works was fine, its was all very touching and highly sweeping. The broad steps of musical style and expression never waned.

Ending with Andrea’s Anton Schmelzer and his Violin Sonata ‘Victori derby Christen’ prove more brilliance from this trio, this hour with them a joy. Siranssian I assume read out the name of movements in German as the piece went on, its approachable nature made for easy listening. We’d love to have them back soon. 

Photo credit: Kirsten McTernan

An evening of water as the life blood of the city and the world from the Royal Welsh College, Sympony Orchestra in a lovely programme. First was Elizabeth Maconchy and her Coronation Overture: Proud Thames, with mood of Walton and other English composers was heard anew here. It had that easily percecbale sound you get from over the border, it was full of chest puffing brass and percussion. Quite lovely really.

Gershwin’s An American in Paris Suite is a delightful venture, evoking the imagery of Gene Kelly and the extravagant ballet sequence from the classic film. Jazzy and brilliant, we get tuned car horns, ear worm after ear worm and a never ending passion for this fusion of great music. Staggering how much of this would go on to impact upon later musicals. It’s the American thrill of the whole thing, conductor David Jones drinking it in, sharing the fun with the students.

Vltava by Smetana flowed through, another glorious and popular choice. It never loses its appeal, the fine orchestration and melody making brings smiles all round. The rhythmic whirling of the notes easily evokes water and the brass bring larger scenes to life. The wedding and other tableaux are also noteworthy, the strings shine here, not to mention the opening. Wrapping up with Respighi’s Pines of Rome remained a vivid panorama of the city through time. The horn solo, the enthralling opening, the recorded nightingale audio and the powerful Roman legion finale, appear unforgettable. More of Respighi should be known, though this piece gets a lot of love.

Photo credit: Sisi Burn

(4 / 5)

It would be my last pop at The Proms this year that might just be my highlight of the trip. The Academy of Ancient Music, Philharmonia Chorus with conductor Laurence Cummings wowed with this years take on Handel. The German composers times in London proved fruitful and even today the city appears to adore his work. Samson is an oratorio, quite static in nature, not an opera and most of the main events of this biblical story happen off stage. Of course, the joy with Handel comes with sincere and exquisite arias, music which has held up very well over the centuries to a very height standard.

A fine cast of singers stand out here. As the strongman lead, Allan Clayton is Samsong who waves in and out of the music, his rich timbre always on display and his operatic presence never waning. As Delila, the downfall of Samsung, Jacquelyn Stucker is seen very little for these two and a half hours. Though her subtle vocals might not have command the great hall there was joy in her aria or two, her actions changing the story forever. Joélle Harvey as the Israelite Woman was clear and refined, her famous ending piece Let the bright Seraphim (with galloping trumpet) the crowing achievement of this fairly drab and solemn story. 

Photo credit: Sisi Burn

Wagner stalwart Brindley Sherratt is Harapha, adding conflict and further drama, his voice smooth and a fine baritone to hear here. Jess Dandy in the fictions (a creation of John Milton, not from biblical sources) holds the piece up with a fine contralto, her time on stage extensive, her music affirmed. Bass-baritone Jonathan Lemalu as Manoa, Samson’s father, added pathos to the final act as fate is settled. Lemalu suprisee with another golden voice, the varied male roles getting lots of opportunities to glow. Will Pate as a Messenger was brief, though in fine footing.

Some arias are highlight, the Dead March featuring the flutes and the choral numbers were touching. You’ve got to like your arias, otherwise you will struggle with a thing like this. Cummings both maestro and on one of two harpsichord had so much energy it was staggering. It all glided along smoothly, perhaps just the odd moments which left me unsure. I think the audience was taken with this work. We hope more Handel will follow. I imagine it will.

The BBC Proms are available to listen live on BBC 3 and after on BBC Sounds.

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