(4 / 5)

The BBC Singers remain one of many musical institutions who have been compromised by politics and funding. We’ve seen all the dismal activity in Wales with some of our groups, we really feel all this is happening at the wrong time.

This wonderful concert in a perfect venue had all the right features. Condensed down to 70 minutes and with the loss of conductor Sofi Jeannin, it would be Nicholas Chalmers who would take the plucky reins. This John Taverner heavy concert was filled with light, beauty and hope. Samuel Barber’s Angus Dei, better known as the Adagio for Strings in its quartet arrangement is famous and remains as powerful as when it was written. The Singers excel here, brooding harmonies and gentle harmonics are their powerhouse. Kristina Arakelyan’s Evening Prayer has few tricks nor frills, though was a miniature of grace, a subtlety not heard for some time.

Tavener’s Funeral Ikos is taken from the Greek Orthodox Church for when one of their priests dies. With stirring vocals and the sharing of the passages between the gendered singing groups, it could only be moving. The “Alleluias” are particularly strong, warm and golden as they stretch out between all. A return from Arakelyan, this time her Holocaust Memorial Day Hymn. This smooth writing comes from a composer in her youth, filled with promise. I’d like her to push the envelope and try out more experimental things.

Repurposed for Princess Diana’s funeral, Song for Athene was heard by over a billion people that day. It never loses its footing, the pacing is perfect too. Grabbing slices of Hamlet and more Orthodox wording, the chorus had moments of sheer wonder here. You are always pleased when it’s on the programme and it should leave many eyes teary. A more recent outing from 2014 with Tavener’s Requiem Fragments was the end this night. Having died the year prior, this send off saw its premiere at the Proms in London. Inspired by Renaissance master Josquin des Pres, these fragments also feature a string quartet and three trombones.

It’s odd in many ways, though filled with bracing, pretty moments you’d always expect. The quartet add a lot of power in the blend with the singers. The trombones are used sparingly, if little more then plodding and brief declarations. With Hindu texts melding with Latin, it felt like one of many latter offerings of Tavener and his fascination with faiths of the world. Even the opening words are a zen like “Ommmmm”. The solo for soprano stood behind us in her lush choral is then mirrored by the chrous, a standout of the piece and then done again for good measure. I think I may have preferred this upon its first outing, listening on the radio a decade ago. 

(3 / 5)

In their tenth anniversary, Septura brass have made a name for themselves in the brass world. This being my first encounter, I wanted to savour their sound. The debate rages on whether brass on it’s own works as well as expected…still I was keen to see. Artistic director Matthew Knight would like me to think so.

Orlande de Lassus’ Lagrime di San Pietro is very much of its era, 16th Century. Septura has covered a broad palette spanning five centuries, new commissions also part of their makeup. It was lovely to heard essentially medieval music, unbovered by complexities, just affectionate and pleasing music.

Roxanna Panufnik got a premiere with her Seven Heavens. Music is in the family her father also a composer. I was stood behind her at the box office, we must do an interview sometime. Inspired by the Islamic depiction of the seven levels of heaven, the piece has an expectedly exotic plain. Using scales from the Muslim world, the effect was of worth, even if a whiff of novelty lingered. Strange harmonies between the players, aside perfumed solos was pretty much the whole piece. It also opens up the truth of musical languages from around the world, something not always seen today.

In an argument by Simon Cox, a selection of Prokofiev’s 10 Pieces Op. 12 was a cheeky opener to the second half. As ever acidic and bursting with rampant sure fire wit, you can always rely on the Russian composer. The audience was amused too, some laughter after certain moments stood out. For me, this and the last piece was the most fetching and attentive.

Shostakovich’s String Quartet No. 8, arranged by Simon Cox and Matthew Night worked very well. The alarming energy and morbid musings of Shostakovich didn’t win in the cross over. This quartet from 1960 came after years of deeply rooted anxiety and paranoia over his home county and his position in it. Could further arrangements work just as well?

The encore was on the tip of my tongue, I thought it was Debussy but I cant quite recall. 

Saturday 16th November 2024 

(3 / 5)

Dame Felicity Lott and François Le Roux have done a bang up job in getting students who sing, the chance to develop their craft in the French repertoire. These recitals at Wigmore are fun, the promise of a gig in Paris is also enticing.

I might be wrong, but it appeared the programme was in the wrong order. I knew little to none of it, so I’d would very much like to discuss the singers and pianists who joined them. This programme (see below) was a mostly 19th century affair, conventional in some regards, filled with invention the other. The word piffy would apply for a lot of it, charming and regal as well.

Soprano Bella Marlen began with Debussy, effective in the murky pool of mysteries. She is decent to listen to, promise a word often used though here would apply greatly. It all seemed a breeze in her vocal ranges. Eliran Kadussi was a fascinating outing for countertenor, sweet and lively in his selection. His high range was sumptuous, acting decent with the material, hand gestures and eyes bulging. Baritone Johannes Moore was a standout as well, a fine actor with a voice that could easily suit Mozart, Wagner and Mussorgsky. He seems to relish the fun in these songs, the most animated out of the trio for sure. Fitting tributes to Fauré, who’s 100 anniversary of his death was a few days prior lingered, his delightful La bonne chanson selections pleasing to ears.

On piano Archie Bonham and Jong Sun Woo were partly overshadowed by the fluff and allure of the voices. Each brought sombre, pristine accompaniment when necessary for this French set. The response from the audience was positive. That final duet of Gounod’s L’arithmétique saw flustered finger counting aplenty, aside operetta stylings.

May we please suggest for the concert in October we have each singer billed as playing each exact pieces. We had the translated words to follow as we went, why not something clearer about who is doing what? Merci to all involved.

Programme:

CLAUDE DEBUSSY: Ariettes oubliées – C’est l’extase & Fêtes galantes Book I – En sourdine

EMMANUEL CHABRIER: L’île heureuse

PAULINE VIARDOT: Lamento

HENRI DUPARC: Chanson triste

GABRIEL FAURÉ: La bonne chanson Op. 61 – La lune blanche luit dans les bois, L’hiver a cessé

HENRI DUTILLEUX: 3 sonnets de Jean Cassou – Il n’y avait que des troncs déchirés

CÉCILE CHAMINADE: Mignonne

EMMANUEL CHABRIER: Villanelle des petits canards

MAURICE RAVEL: Histoires naturelles

CAMILLE SAINT-SAËNS: Pastorale

CHARLES GOUNOD: L’arithmétique

Wigmore French Song Exchange continues at the Salle Cortot, Paris on 30 Sept, then Wigmore Hall on 18 Oct 2024.

Opera Rara, still strive to perform the lesser heard masterworks of the 19th and early 20th century opera world. In a salon concert at a private residence, I was given a warm Welsh welcome, thanks to those performing aside the London charms of the hosts. Jessica Robinson, as seen on Cardiff Singer, might just be one of the most friendly singers I’ve ever met. Brief chats and all things Wales were on the agenda before hearing her sing on the night.

Sat near the front at this intimate concert, Jessica was never too loud nor overbearing. Everything was extremely smooth in her delivery. Her patter in Italian is lovely, years of training have really shown off her talents. This was a varied programme, Donizetti rarities ever present and other odd and compelling treats. Jessica’s acting though seen less here, was present for moments. Scarlatti’s Le Violetta, was a soft opener to guide us into a journey spanning decades and our continent. An aria from Handel’s Alcina was another vigorous triumph. James on piano also played with ease, his flow for all the songs was highly skilled, he seems to have great patience and passion for these delights.

For the first set of Donizetti songs we had varying moods, aside ‘Oriental’ musings and loved up extremities. Whilst I may not be completely taken by him as a composer, hearing these pieces hardly heard and delivered so well, it’s hard not to be pleased. Two Bellini flutters, gave Jessica Bel canto aplenty, proving she works well in the style, her trills impactful. Further Donizetti Billets chéris, interprètes de I’âme and Au tic tac des castagnetts prove his cleverness, the piff and sexed up vocal lines are never far away. Curiosities from Saint-Saëns and Reynaldo Hahn  featured words by Victor Hugo and some of the most sweet and evocative conjuring of the night.

Proudly, the programme ended with a Welsh legend: Morfydd Owen. I proudly told this London audience after how much she means to us in Wales, a female composer filled with innovation, taken from us far to early. I’ve compared her to Lili Boulanger, a sort of French equivalent to Owen. These two Welsh language choices, I doubt are hardly heard outside of Wales, though their impact ending the night was palpable. Tragedy mixes with gutsy storytelling, strong themes from her homeland, as these dramatic songs unite the traditional with the experimental structures of her day.

Like a lot of opera companies at the moment, Opera Rara are also in need of funding. Expectational concerts like this prove the professional, kind and inspiring ideas that are so much needed today. 

Photo Credit: Ben Ealovega

(5 / 5)

Another welcome return to hear The Mozartists. They were the last concert I attended in London before lockdown and one of the first when back to visiting again. Though the focus has been the boy genius, they have also defined Mozart’s life with his contemporaries and inspirations.

In this fine evening, the large audience at Wigmore were given an introduction to Italian composer Niccolò Jommelli (1714-1774). Having died 250 years ago, what is most upsetting is his lack of fortune in the centuries after. In his day he remained a valiant opera writer, amongst other amazing pieces. Disregard and forgotten, good on brilliant conductor Ian Page, who is always splendid for bringing this treasure chest of a programme to our ears.

There is a highly listenability to these arias. Whilst they may not have the complexity of Mozart, nor the sincerity of Handel, they are still wonderful items. Emily Pogorelc was indisposed, so my proud Welsh heart was delighted to see our Fflur Wyn take over the soprano role. My utmost respect goes out to Fflyr, who had a few days to learn all this, essentially something no singers around the world knows. I’ve loved seeing her at Welsh National Opera, her gliding high range and controlled middle register are standouts.

Each arias was from some of Jommelli’s 30 odd operas, of note was the finale to ‘Didone abbandonata’ from 1763. Taking the typical Dido & Aeneas story, this milestone is post Purcel and pre Wagner’s immolations. The exceptional wrap up sees a betrayed Didone yeild to her fiery temple of fate. She is not in aria mode proper, but somewhere between that and recitative. Chromacticlly this is very interesting, as the ensemble also plunge into depths, rarley heard for its era. Performances proved such success at its conception, that spectators demanded an encore of the finale. One could not blame them.

These arias all had rampant intrigue, I may not be able to detail all and I’d strongly urge those curious to acquire the recording of this immaculate concert when it’s available. It was all just so very touching, hearing a master composer writing his heart out, with fine singers and superb a ensemble of musicians. The rarity of these arias were stuffed with romance, vengeance, heart ache, fury and longing.

Each piece was such a treat you’d almost call it sinful. Mezzo Ambroisine Bré also wowed with subtle harmonies, with murky underworlds of fluid melody. Tenor Hugo Brady is a fresh faced hero in these parts, lots of Greek and Roman myths abound. His vocal range has spritely charms and a glowing aura, never over bearing which you can get with the singing type. The ensemble never disappoint, they live this work as they reach the hill of music making in completing Mozart’s full canon and these trimmings. Page as maestro melds all together in a fine mesh of serenity.

An encore of another aria, bleeding straight into a church hymn will be more things to cherish. I’d hope to hear the recording of this very soon.

The Mozartists future events are already popped down in my diary. They are a must when in London.

I

(4 / 5)

Saint Hildegard of Bingen is many things to many people. Born over 900 years ago in Germany, her impact on music, Christianity, botany, poetry and more should never be understated. This impressive show honouring the abbess is a collaborative process between singers, artists and composers.

Voice Trio comprised of Victoria Couper, Clemmie Franks and Emily Burn make up this sacred offering of Hildegard’s compositions and new flutters from Laura Moody, amongst others. This all works very well, musically fairly approachable, even with newer work trying out some fun tricks. The harmonies between Voice Trio are blend that is highly attractive and comforting. Personally, I believe Hildegard is more important as a historical figure than as a composer per se. I wouldn’t always say I emotionally connect with her rigid, almost stone music. Though glory of her God is in every bar, aside the natural world and other philosophies.

https://youtu.be/hgJ2THMUFrU?si=Tg3qwaZQJxaB6Cc8

Artist Innerstrings, adds a potent contribution with that of psychedelic visuals. A live stream of the singers is the grounds for a development of lava-lamp buoyancies, piercing acid saturations and bleached rhythmic constructions. The concert started with a note that the saint most likely got those visions due to migraines, leading to a visual decpcition of an optical migraine. This is an awful thing to encounter, something I had in lockdown, as silvery patterns in your peripheral vising lead to a horrendous head pain. So I can relate, though I can’t say I had the visions.

The newer work (see the full programme below) was perfect for theme and mood of the night. Spritely, tender and affirmed, all things were well for this hour. Near enough a religious experience without heading to church. Clever uses of spoken words, mutterings and varying touches of discord all added in. Laura Moody and her Hildegard Portaits felt like a backbone in the placement in the bill and the final ‘The Living Light’ movement had a deep atmosphere for the trio, the highest plateau of emotion to conclude this saintly service.

Programme:

Hildegard von Bingen ‘Antiphona: O successores’, Psalm antiphon for Confessors
‘Responsorium: Favus distillans’, Responsory for St Ursula and Companions, likely for Matins
Marcus Davidson Musical Harmony
Laura Moody ‘Humility and Universe as Body’ from Hildegard Portraits
Tim Lea Young Three Wings, Part 1
Hildegard von Bingen ‘Antiphona: O virtus sapientie’, Votive antiphon for Divine Wisdom
Stevie Wishart Azeruz
Laura Moody ‘Sermon and Sing’ from Hildegard Portraits
Hildegard von Bingen ‘Antiphona: O mirum admirandum’, Psalm antiphon for St Disibod
Stevie Wishart ‘O Choruscans Lux Stellarum’, On a cantus firmus by St Hildegard of Bingen
Hildegard von Bingen ‘Antiphona: O orzchis Ecclesia’, Antiphon for Dedication of a Church
Marcus Davidson O Boundless Ecclesia
Laura Moody ‘O Woman’ and ‘Love’ from Hildegard Portraits
Emily Levy How Sweetly You Burn
Hildegard von Bingen ‘Antiphona: Unde quocumque venientes’, Antiphon for St Ursula
Laura Moody ‘The Living Light’ from Hildegard Portraits