(4 / 5)

It has been a pleasure seeing a select few of the performances at the Southbank Centre’s Multitudes festival. It’s a thrill to know it will be back in 2026, who knows what bold work will be created then?

This Carnival from Frantic Assembly and Auroa Orchestra was a truly fine send off. I see the kiddies got a ‘Family edit’ of the show in the afternoon. I honestly think they could have sat through this full one hour fifteen of the full event. They would have loved it. How simply marvellous is it to finally hear Saint-Saëns’ The Carnival of the Animals live. This beloved piece is well worth the hype. As Dr. Frompou, actor Christopher Akrill shows off hyper ringleader skills and his mime, in a role which thankfully did not grate. He controls the musicians in everyway, as is continued in the premiere which followed.

The players have great comic timing, some lifted into the air for dramatic effect. The chemistry was a joy to see. Voiceover for this work was Naomi Frederick, with droll broadcaster voice and the piffy script by Kate Wakeling also was humorous and tight. The many passages of the score are tributes to the animal kingdom, the French composer never published this in his lifetime. Snobbery, no doubt was a reason, yet it remains a treasure in his canon. Aquarium was notably evocative, L’éléphant is a rare double bass solo mocking a slow can-can. The finale is a standout partially for the building up lower string harmonies, Volière sees birds, Fossiles sees as such. The Swan a timeless classic and was wonderfully rendered. Mischievous director duo Jane Mitchell and Scott Graham must have had a blast with all involved.

I was one of the few critics who adored Welsh National Opera’s Peter Pan by Richard Ayres. The Cornish composer always has trickery afoot in his score and in Dr. Frompou’s Anatomical Study of an Orchestra proves this. The Dr. is fleshed out more in his tyranny, keeping the players locked up at night. All sorts of silliness shines through, flatulent deep brass, frightened wind players with quivering legs (no doubt notated into the score) and a flautist’s ever growing instruments. Ayers’ irony is perfect, there are conventions, yet the experimental moments are glorious. The sythns are set on a particularly vibrato rich, vocal setting, something I’ve only heard with him. The final funky trumpet solo was also note worthy, as the musicians all appear to finally be free. This didn’t really have much of an ending, but the journey was the pleasurable experience.

I’d honestly love to see this Carnival again.