(4 / 5)

It was a full throttle concert with the London Philharmonic Orchestra, with Thomas Adès in both conducting and compositional duties. It would prove to be a bookish evening of Shakespeare and Dante, the latter in my opinion needs to become more of a resource in this country.  

Finnish composer Sibelius wrote incidental music for Shakespeare’s The Tempest and it proved to be quite daring. It pushed boundaries and had a lot of spark, the composer’s talent’s heard in all his music. The joyous, rompy moments are met with more serious mystical bouts, the orchestra in their element here. Following on was the UK premier of Adès’ own The Tempest Symphony taken from this opera of high regard, now in the repertoire, last seen in Milan in the winter. I’ll confess I’m more intrigued by the opera, as a whole when I get to hear it sometime. It’s more of a suite like the Sibelius really. It had some dynamic flair and thrill, though it leaned on a heavy amount of neo-classicism, which is fine in equal measure but still.

Adès conducts quite aggressively, his rugby build and now fashioning a silver fox look, he could be terrifying on the podium. He has moments of maestro fury, with the result from the players less dramatically offered. Though he does know his music so I do expect a bit of bravado. He swoops around the players, making all too sure the little intricate moments are delivered well. Starting with Dante, his Inferno Suite (being a newer work) might have been the real highlight of the night. Vividly detaining those who suffer in the layers of hell: The Selfish, The Popes, The Hypocrites and more the orchestra explodes into a sort of monster form. The massive tonal shift into a more circus like phase left the audience in applause, assuming it was the end. It wasn’t. The final blow was the evocative Satan in the lake of ice, where the composer wants us to feel sorry for him. The quivering strings and other treasures wrapped up what should remain one of Adès’ more recent classics. 

We had not left the damming clutch of Dante just yet, as we had Tchaikovsky’s Francesca da Rimini. This ‘Fantasy after Dante’ is a lesser known work. This music the Russian composer  proved to be a sensation. Francesca is being punished for her adultery and she is forever faced in darkness as her body is swept around by storms…one can’t deny Dante his originality in his cruelty. Having wanted to write and opera and failing, the composer’s brother Modest suggestive an orchestral work and what stands out most is the innovation. The late romantic trappings are here (as ever) though Tchaikovsky seemed to latch onto to doomed figures in literature, his own marriage a complete disaster by any means. 

I think it’s time to hear Adès’ Tempest proper now and of course more great music of his. 

(4 / 5)

In what should be my last trip to London for a while, started off with a wonderful concert at the Barbican. The London Symphony Orchestra on a chilly Sunday night, offered up Schubert in his work for stage and also the church, alongside a curious concerto.

Schubert’s music for the play Rosamunde, Fürstin von Zypern by Helmina von Chézy flopped massively upon first outing in 1823. Though the play itself is lost, the fabulous score by Schubert remains, having been found again in the mid 19th century. Even with the recycled Overture and the Entr’acte to both Act 1 and 3, the music never feels choppy, their is a wonderful symphonic quality, a breezy melodic charm as well. These pieces proves Schubert talent in writing for the stage, his reputation more known naturally in the concert hall. Even the final few bars with the string quartet had a touching, discordant quality to it. The whole encounter was a true delight and one of the more interesting Schubert that I wasn’t aware of. It simply remains a delight.   

2018 saw the centenary birthday of German composer Bernd Alois Zimmerman. Though the big celebration that year was that of Leonard Bernstein, Zimmerman is proving to be a composer of worth, one well worth searching out. His Oboe Concerto is a strange, brief affair. Soloist Olivier Stankiewicz stood out as a highlight of the evening, the instrument transforming all sorts of phases and extremities. He even had to disconnect the main part of the oboe before the last movement, the demand of the piece proven in moments like this. There was a mirror shattering orchestration, the oboe cries and shrieks and the feature of piano, harp, celesta and wood percussion also nice touches. It never ceased in it’s formidable inventing nature, it’s unwavering goal for expression and new pastures. More Zimmerman is inevitable.   

Back to Schubert, his 5th Mass got together the formidable forces of the Symphony Chorus as well as the four soloists: Lucy Crowe, Adèle Charvet, Cyrille Dubois. This three quarter hour mass is a fair piece, it has some stellar moments for the Horus and soloists, who both equally shine in equal measure. Conductor Francois-Xavier Roth skipped and bounced all evening, his love of the music never faltered, his masterful calibrations for the players and singers helped make this a beautiful concert. Whilst I found the Mass of less interest than the rest of the programme, it did prove a fine feature and a sacred work which should have more public ears upon it. 

To think I almost didn’t come and see this glorious concert. 

(3 / 5)

A return to Cardiff saw little time for respite. I’ve also made the discovery that more cafes are starting to become more hostile to those with laptops, limiting the time you can have on yours and asking you to move if you are taking up a table for 4 people (fair enough for the latter). As a journalist in need of such spaces, this could easily be a whole article, though it was a bit of a ropey start back to the Welsh capital. 

With this in mind, I ventured back to what will hopefully remain the main venue in Cardiff for classical music. BBC NOW making a Sunday afternoon slot with German and French programme of concerto and choral works. Canadian James Ehnes faced Brahms’ Violin Concerto with a strident force and grace. It’s not one of my favourites, though the pain and concentration upon his face when not playing was of note. I find the final movement gives the piece a lot more of worth, the German command the music has is not always exciting nor stimulating. It does little for me, though Ehnes brought out a lot of the majestic qualities the concerto has, again the last part being a final flourish of string playing with panache. 

The Chorus got a brief little solo with Olivier Messiaen’s ‘O sacrum convivium’. They shone here, this hushed five minutes one of the composer’s smaller works though still with a big impact. Messiaen’s mind blowing music stands decades and here is a calm, gentle little number in F sharp major. As a full blown Catholic, Messiaen was asked to write this setting from the words of allegedly St Thomas Aquinas and this fine little work premiered in 1938. Playing with chromatic harmonies, the glowing nature of each bar is some of Messiaen’s most accessible work, the rest being long, dense and explosive. Fine stuff, conductor Ludovic Morlot excelling in both orchestra and choral features throughout, generous to both parties. 

Now for the crowd pleaser. Fauré’s Requiem remains Classic FM fodder, your nan’s favourite choral work (I did pick some for my own nan’s funeral to be fair) and featuring in the odd film and advert. It’s a type of the French style of music we know and love, but it remains the mawkish nature of most of it. The perfume  and prettiness which goes against it did give the chorus some fine moments, Rhian Lois in the sublime Pie Jesu felt more like a mezzo at times, bass-baritone Neal Davies always decent in his mournful declarations here. Organist Gregory Drott getting some marvellous ethereal moments of harmony with the chorus, yet not featured enough. You can love it and you can hate it. It depends on this critics mood, I’d say.    

(3 / 5)

It’s nearly ten years since Sir John Tavener passed away, his impact on British choral music truly a colossal influence. The Tallis Scholars are fast approaching their 50th birthday and there are no signs  of slowing down.

In this rather safe concert, both John Taverner and Tavener featured. The former a Renaissance composer, the latter the aforementioned, acclaimed composer (there was talk of a family connection, though this is disputed). Old Taverner’s music from centuries ago can be fairly dull, little seems to happen in it and his polyphony is fairly sober and unexciting. Paired with the more recent Tavener we get the usual list of hits. The Lamb from William Blake, is a sweet few minutes, As One Who Has Slept remains a fine example of the total harmony for the singers, who make it sound so easy. The Funeral Ikos is a wonderful lament, heart touchingly warm when all the singers come together to recite each of the ‘Allelujahs’, a piece already being popped down for my own memorial service. 

The pairing of the the two composers is fitting, though I myself am much more keen on Sir John. It’s the fascination with Greek and Russian Orthodoxy that he opened up to a lot of people, his popularity has never wavered. Even after his death there is buzz about his last piece Krishna will be premiered at Grange Park Opera. Even being friends with King Charles, he always seems to have been a part of the establishment and some of his music has been pretty mawkish. Having said that, I’ve been moved to tears on more than one occasion hearing his stuff live and I would say I remained a big fan. 

The dense latin names of the earlier John make his work stand out as being by him as the latter John has more poetry and is usually an English name. The Song for Athene, famously immortalised at Princess Diana’s funeral remains a fine feature, the singers defining the work as a classic, a rare treat for more recent choral music making. The bass singer maintains a drone throughout most of it, Tavener saying this was a feeling of god in the music, these drones featuring in numerous works of his. His take on The Lord’s Prayer has a gently pulsating nature, the words well known to anyone who learnt it in school or remains a Christian. 

Sat in the back row, I wouldn’t always say I was lost in the intimacy of the event, there are only ten singers on stage, after all. St George’s remained a fitting venue, the Greek mosaics lingering above the stage felt fitting. The Tallis Scholars have a deep, rich sound which is very gentle in a lot of accepts. Peter Phillips as director painted the glory of the music with a vibrant brush, he knows the singers well and wants the best for them. They all delivered great singing in a somewhat familiar and conventional programme that will please most.  

The BBC Singers perform extracts from Tavener’s The Veil of the Temple, alongside music by James Macmillan, Kristina Arakelyan, Judith Weir, John Pickard & Cheryl Frances-Hoad at St George’s on 23 February 2023. 

(4 / 5)

A final flourish in London would see a concert version of Benjamin Britten’s finest stage work, Peter Grimes. His first opera proper, this piece was deviating on first impact back in 1945. Set in Suffolk in the early 1800s, this remains a devastating examination of the individual vs the community. The libretto by Montagu Slater is also a thing of beauty, sharp and stirring, taking George Crabbe’s short stories and turning them into something vivid for the 20th century.

I have to say, for what is essentially an amateur orchestra and singers, I was extremely impressed. This is not an easy piece by any standard and it felt like a lot of rehearsal had gone into the whole thing. Sat in the front row, I was battered by this North Sea storm, the cast and conductor inches away from me. I will be honest and say most moments with some soloists in the chorus and some members of the orchestra had brief wobbles, but these are small quips in another wise stellar offering. 

John Hudson adds a depth of Ricky Tomlinson as the titular character. A proud tenor, I find him to mostly work in this commanding role, some phrasing here and there needed some work. He had some touching moments his monologue towards the end was touching, some lines between sung and spoken. Wales’ own Mari Wyn Williams made a marvellous Ellen Orford, also getting a superb aria in the third act. The large ensemble of singers could be seen in productions some of them really looking the part. Nicholas Folwell was great as Captain Balstrode, more sympathetic to Grimes’ abuse and antics. As Ned Keene, Nicolas Morris made a great sight, the pill peddler and all round smuggler, with some fine acting to boot. 

As Auntie, Mae Heydorn excelled as the exhausted bar keep of The Boar pub, where a lot of the funny and stormy moments occur in the opera. She really could be the part and her voice  had that syrupy style the role commands. Mrs Sedley is always fun, the busy-body of the bough here tackled by another fine singer: Susanna Tudor-Thomas. It’s a role which is easily hammed up, some might call her a Karen by today’s standards, though Susanna had fun and we did too. John-Colyn Gyeantey had brief,  biblical bouts as the Rev Horace Adams, a diverse choice of singer in this concert. 

Colin Judson got to act drunk as the off the wagon Methodist and has been seen with big opera companies. His voice pierced through in the mind boggling end of act one scolding Grimes for his sweet and surreal aria, as they wait for this next doomed young apprentice. Paul Sheehan, fashioning an amazing moustache and beard, he looked the part as well as Swallow another character lost in the gossip and hearsay that penetrates the story. The bass-baritone opens the show with declamatory pipes, with Grimes in court to understand what happened with his first boy who died on Grimes’ boat at sea. Ronald Nairne as Hobson, another bass who though in it quite little, showed off some nice deep tones. As both Nieces, Ally Dunavant and Micaela Abreu delighted in their harmonies, though a bit more attention to keeping together in the opening of the last act.   

Conductor Russell Keable kept the storm in motion, this powerful score hardly lost at sea, though there where moments which might have suggested this. I did note a moment when he turn to one singers to cue them in, when I was another singers who was about to sing. The orchestra in the more tender, turbulent moments dazzled in what is regarded as the finest English language opera of the 20th century. The chorus in their hunt for Grimes blazed with glory for one of my favourite moments for an opera chorus. All that was missing was pitch forks.

Being at the Royal Opera a few nights prior, I dare say I found there to be some better singing here than overall here. Britten would have loved this community effort.

(4 / 5)

It was soon time to wrap up another hectic trip to London, I’ve been all over for this one, havinge seen some marvellous shows and also learned some things along the way. No two trips are ever the same and this one will certainly remain memorable. 

The Philharmonia gave a lush afternoon concert with Ukrainian conductor Oksana Lyniv. Being a massive advocate for music around the world, no doubt the past year has been a lot for her.  When the marvellous conducting is this balletic and rousing you can only be lost in the music. Opening with a composer from her homeland: Borys Lyatoshynsky and his Grazhyna is anew venture for me. It painted a wonderful folk-like picture, the story of the Lithuanian princess who dies in battle had many fine moments for brass, the woodwind in other moments felt quite special. No doubt this was hand picked by Oksana, more from Lyatoshynsky is highly encouraged. A telling concert opener.   

Benjamin Grosvenor joined the players for an impeccable performance of Chopin’s Second Piano Concerto. For such a young age, he brings out so much of the piece. The uncluttered, simple harmony of the music, the piano. To always leading the orchestra but rather a symmetry and state of flux. Benjamin showed of busy fingers as expected with Chopin, the lovely Larghetto remained a fine feat, the softness and sincerity shines through. This went down well, more explorations into Chopin’s world would be encouraged, as most would only recognise his slight solo piano selections. 

Tchaikovsky’s Sixth Symphony, known as the ‘Pathétique’ would leave us as the final curtain, Oksana holding command and respect over all these players who gave an impressive performance. The Russian composer’s angst is poured all over this piece, some of the most stirring string writing with that unforgettable cascading scale is a huge feature. There are moments of joy, though they don’t last forever. I’d say this was his finest symphonic creation, dying a few days after conducting its premier. Some in the audience embarrassed themselves by mistaking the penultimate moment as a violent finale, though things went straight into the soul searching Adagio lamentoso. This piercing showing really did make a mark and this conductor is proving to be a rightful success story, with an always shining orchestra.