(4 / 5)

In what would be a trip finally making it to Stratford Upon Avon, I was here for a few days. I caught the eye of an exciting concert. The Orchestra of the Swan offered up a riotous evening of Avant-Garde delights, of both the musical and spoken kind.

It was a hefty programme, spanning almost a Millenia, thanks to narrator Mogali Masuku. She delivered all the spoken material, with a sharpness and attention. Though she did fluff quite a few lines, perhaps a bit more rehearsal would have helped. Saying this, I loved her energy, she sat during the music and was easily lost in her own little ballet. It was highly infectious. Her range of writing saw Dickens, Blake, Dr King, Hildegard von Bingen with plenty more. There may not have been much of a through line between the spoken work, but the emphasis on the radical paired well with the music which followed.

David Le Page as director and lead violin exuded vitality, the whole group of musicians played wonderfully with him. The orchestra has a great air to them, approachable and highly attractive. Amazing how with such breeze they change from one work to another, with little of tonal whiplash. Revolution 9 from John Lennon is a brief affair, recognisable and easily parodied as a meditation on the number and some fluttery notes that follow. Extracts from Shostakovich’s String Quartet No. 8 proved perfectly suited with Arthur Koestler’s Darkness at Noon. Paranoid pangs of being taken in the night by the powers that be are spoken of, were a real worry for the composer also. Perhaps the best pairing of the night, the Shostakovich was alert and wonderfully deary.

Blake’s America a Prophecy, with Mogali reading was wonderfully evocative of the new world and its use of metaphor. Biber’s Battalia is a resounding thrill, proving composers were tinkering with discordant ideas a long time before modernism. The amazing, putty like effect of smearing the notes to create the fermentation of unease, without really being too challenging musically. The piece proves a lot and is always a lot of fun. Jean-Féry Rebel, in an arrangement by Le Page of Choas was another addition to this idea, I found I had goosebumps throughout. Classical in form, though not afraid to shock with further alternative ideas on shape and harmony.

Readings from John Cage and the I Ching, are fascinating views on quietness and the random manner of life. Hearing 4’33 by Cage, we sit in silence, the players at a complete rest. Via a computer, no notes were given to Cage for the pieces and so he famously chose to present it as a piece of music anyway. How sacred a moment to spend in almost silence, the Quakers and others know the value of it and we should to. I found it rather cathartic to be in my own rest state if only for these few minutes. Dare I say…twas life affirming.

Piazzolla’s Four for Tango is another shock and delight, proving you can meddle with convention, this time in the tango genre. Gil Scott-Heron (another Le Page arrangement) and the iconic The Revolution Will Not Be Televised was a jazzy scope, the words of truth ringing out circling the Civil Rights Movement, Mogail coming into her own here, aside a reading of Martin Luther King. Voodoo Child by Jimi Hendrix (a Le Page arrangement) also went down well, a perfumed, heightened listen. The end featured T. S. Eliot and Beethoven’s Eroica Symphony finale, a stirring sprit to wrap up with, the latter being solidly done, the former abstract yet true.

This sold out concert proved a triumph and would have faired well with a younger audience, as a first experience of concert going.

(4 / 5)

Opera Rara are on the prowl for the lesser heard, lesser staged in the operatic world. They have no council funding and have excelled with rarely seen delights. This saloon concert at the Lansdowne Club, a charming membership venue over looking Berkeley Square proved a thrill. I was taking the charm of the older gentlemen’s club, I was warmly welcomed and they were happy to allow me to sit and have a drink before. It was all rather fetching, it was seeing the club’s cat that really did it for me, Harry one of two who live there.

This was a fine opportunity to hear emerging bass singer William Thomas and on piano Florent Mourier. The chance to hear encounter lesser heard Verdi and Donizetti songs was a treat and in such a fine space. We heard many songs on the night, too many to mention. Thomas who is such a talented bass, felt quite special sitting and listening to him. The bass does not always get a lot of love and a fine, young singer like this could break down many barriers. Even in the Italian or the French repertoire (such was the influence of Parisain opera and all things francophile) from the two composers.

Starting with Donizetti’s Troppo é vezzoza la ninfa bella, we couldn’t have had a better start. Thomas plays the odd little characters well in these songs, humour aside great timing also important. My Italian plus one said the language was clear, though not all the time as is the way with words used in opera. Hearing Verdi, In solitaria stanza had a sweet Bellini reference, more influence from the past. Deh, pietoso, oh addolorata had the words of Gothic God Goethe. Mourier had a few rehearsals with Thomas prior, you would think they have played together for years. His piano skills meshed marvellously for these songs, he seems to get these hardly hear song like few do. Together, magic was made between Thomas and Mourier, both at the top of their game. An encore would preview his role in Verdi’s Simon Boccanegra coming up in Manchester, wetting mouths. 

Seriousness met fun, romance and tension, in the club saloon setting you couldn’t ask for much more. 

Opera Rara perform the original Verdi Simon Boccanegra from 1857 at Manchester Bridgewater Hall 18 April 2024. 

(4 / 5)

Many Prizes to be found here from a wonderful trio of musicians. Mezzo Emma Robert’s has real pulling power, making the most of this fine afternoon at Wigmore. Proving many talents with a selection of Fauré, Brahms and Debussy in the first half. Fleur jette was a lush opener from Fauré, the German from Brahms and his Der Tod, das ist die Kyle Nacht was another treasure, solemn and resplendent. Emma has a warm mezzo and at such a young age. Not always easy to get it right in the ladies lower register, but she pulls off so much with grace and poise. Debussy and his Chansons de Bilitis ended this set with warm heartedness and a vivid palette of colours and poetry.

Charles Tam arrive to wrap up the first half with two of Messiaen’s Vingt Regards sur l’enfant-Jésus. Le baiser dr l’enfant-Jésus started things off for anyone who had never heard this outstanding French composer…you’d be surprised. The main sort of Jesus melody is heard and transposed aside daring chromatic  investigations aside daring expressionistic key play. Leading into the most acclaimed from the two hour piece: Regard de l’Esprit de joie. This tenth movement dazzles with sizzling Indian music, frantic high and low register pounding and an unwavering mastery of melody. Tam leaving this audience impressed, it has such a demand on the player, we too were tired after hearing it. My plus one knew little of Messiaen and was teary eyed by the end. Tam made an excellent choice here and it was a fine way to show his sweeping musicianship.

More of Emma and her companion on piano Jo Ramadam, who played everything with fine fingering and brezze. Schumann’s Myrthen got back to basics, heady Germanic style and sense of romance evaded the space. A choice of Sibelius songs proved Emma multi language skills further, these were fun and wry. Sanglots from Banalités by Poulenc was even more cheer and thrills. Emma really getting into the patter of the song. I want to hear her do more and Wagner!

Tam returned with a final offering, Liszt’s Fantasia quasi Sonata from Aprés une le tur du Dante. Half misery and half hope, the whole piece had the clamour you expect from Liszt. Hell and its layers evade the score effectively thanks to the composer’s cleverness. It didn’t quite complete the concert as an end piece, but I was caught by its passion and Tam’s real vitality, no score needed and his swaying motions throughout noteworthy. 

(4 / 5)

The essence of Spain is alive and well at LSO ,St Luke’s in London. We got a real firestarter concert from Juan Pérez Floristán. Fantasiá bética from Manuel de Falla was the native and justified opener. It was terrific and terrifying in equal measure, flamenco used and keeps the kinetic spirit of the dance. Very contemporary, a commission by Rubinstein, de Falla really shows off here and so does Juan.

Ravel’s Pavane pour une infante défunte is the most famous piece in the programme. Inspired by Spanish Baroque, this endearing if somewhat overdone piano miniatures remains a delight. Juan kept it sincere and totally pianissimo. Three Debussy works, two of which were from the Preludes, perhaps captured the essence of Spain out of the non-native composers. Maintaining the evocative perfume usually attributed to Debussy, aside the dance and heat of Espana really did excite her. Juan doing more Debussy would be an event in and of itself. A longing and lingering mood drifted into the space.

Joaquín Turina is a discovery for me and a real find. His Orgía from Danzas fantásticas was another extreme thrill. We don’t near enough from Spanish composers, a work like this proves why we should. Juan thrives in playing his own country’s canon. He is not afraid to dance and scribble around whilst playing. Captivating would be a nice descriptor.

Liszt’s Spanish Rhapsody may lose a feel for the authentic, replaced with virtuosic playing. A delightful melody is heard throughout and is heart warming. Juan scrubs the keys and pounded this justified finale. We were smitten as an audience and an encore of Debussy’s The Girl with the Flaxen Hair was familiar fare and a nice way to end this fine afternoon.

Recorded for future broadcast on BBC Radio 3.

Photo credit: Clive Barda

(4 / 5)

A strike action from the chorus and orchestra of English National Opera would halt my plans to see their amazing Handmaid’s Tale once more. I’m all for their fist raising and standing their ground. They have been through a wringer for some time and it is simply not fair.

In a revival of the marvelous Jonathan Miller, sharply done now thanks to Peter Relton, this classic, faithful Barber is a delight. It’s touching to see the company who have only ever given their all do a piece like this, which is one of the opera world’s most cherished jewels. Rossini takes the famous Figaro story and turns it into a marvelous encounter. The arias are fun, the humor still holds up and the story still grabs.

Conductor Roderick Cox makes the orchestra glisten. The bouncy nature and telling melodies are all brought out on display here. Count Almaviva is Innocent Masuku having fun and is vocally grounded, his past with ENO noteworthy. Charles Rice is a fine Figaro, not the best I’ve ever heard but he looks the part and his comic timing is race car swift as expected. Anna Devin as Rosina, the wealthy heiress is perfect and her arias are a treat of the evening. Her costumes from Tanya McCallin are finely crafted and could easily be seen in a Seville of the era. Curiously I expected to see a few fans in the show, or at least one on Rosina. Perhaps too expensive?

Simon Bailey is in turbo mode as Doctor Bartolo, Rosina’s guardian and foil to the Count in stopping him from courting the young lady. Some great inflections and slapstick made the role great and his voice is balletic for his absurdly quick aria. Don Basilio from Alastair Miles gives off something of the Child Catcher, with a ridiculously large hat to boot. His own aria, arguably the best out of the whole opera, is also a thrill and his presence added to the wit, especially when mucking around with Bailey. Berta, the maid, is from Lesley Garrtett. Though mostly in one half decent aria, Lesley lost some of the tune during the high bits. A minor blip in an otherwise fabulous offering. The hair raising end of act one was worth the trip alone…go and support ENO!!

The Barber of Seville runs at London Coliseum till 29th February 2024

(3 / 5)

A return to Venue 1 of Kings Place prior to lockdown is a thrill. In hearing one of Morton Feldman’s larger pieces, requires a lot of concentration. Its the sparseness which is easy to recall, some would declare it as creepy, squeeky door horror. Not so…

In this 80 minute work for cello and piano, Patterns in a Chromatic Field unfolds and has a lot of allure. The cello here does not weep, it moans, sighs and squeeks. The piano adds another depth, not quite accompliment, more the second sphere to this cocktail. Feldman’s sombre and sober visions makes for a wonderful aura in the concert space. The momentum gradually increases, the cello plays with a more free and expressive direction. So easy to get lost in a work like this.

The strange plateaus hoover around and leave as if a ghost. I found it become almost touching, the ending alone with the silence had a huge impact. It’s very easy to hear Webern and Messiaen’s Quartet for the End of Time. Lucy Railton had such stamina throughout. All the odd, little techniques shone, each phases a new journey. Joseph Houston had fantastic moments on the keys. Total softness and brooding lower register come to mind. It took about two thirds in to fall into the piece for me, I still found it demanding. The audience around me were geared up with coffee or beer. A young girl chattered only a little during and a phone or two went off. They didn’t disrupt the atmosphere, as the music is so thick. Me being so tried only complimented the theme.