In what appears to be a esteemed prize, the Concordia Foundation Artists’ Fund gives young musicians a true chance to get the platform they need. All this is excellent especially at this time. Mezzo Nancy Holt was the big sell, though the others shone to.

Nancy’s first set was quite stirring. An aria from Monteverdi’s L’incoronazione di Poppea proved her acting talents and rich mezzo voice. Messiaen followed with the early Trois mélodies, filled with impressionistic splendour. The last song, La fiancée perdue is perhaps most strong in its sprinting opening piano, played a equally infused Ashley Beauchamp. The typical bars over Jesus are most touching, the Catholic fervour always present. ‘Sta nell’lrcana pietrosa tan’ from Handel’s Alcina showed further talents from both, Nancy having fun with jumpy momentum and thrilling vocalise.

The double bass is a rare instrument to hear in this instance a leading player. Serbian Strahinja Mitrović wore flowery fashion and played with style, proving the star power the double bass yields. Henry Eccles (1670 – 1742) might not hold a familiar name, yet his Sonata in G minor for Double bass and piano was noteworthy for its listenability. With Strahinja playing, with the comforting Salome Jordania on keys this and more proved a joy. Elliot Carter (born the day after Messiaen and lived till the age of 103) with his Figment III was a fleetingly evocative mood swing of timbre and flung density, a strange treat. Though Reinhold Glière’s Four pieces for Double bass and piano started off as average, it gradually improved with a spark of impassioned concerto like panache. Its Intermezzo and concluding Tarantella are particularly fun to set ears to.

Nancy got a second set, with Ashley back for more. Flutters from Gounod’s Roméo et Juliette give this lesser heard work a chance to shine with an almost dance line intensity, the composer’s cleverness standing out. Highlights from Mahler’s Lieder eines fahrenden Gesellen are soothing, Alpine treat, sour with his usual cloud of dread through cheerier folk music. I heard Sarah Connolly do the whole set not long ago, the gold standard for any mezzo. Nancy got a hold of the selections with a mighty sense of urgency. An end with that oh so problematic musical: Carousel. ‘If I loved you’ is usually sung by the ‘orrible male lead in that show, though it can work for mezzo and like a few others choices in that it usually works in statement and enjoyability.

(3 / 5)

They’ve been on my bucket list for a while…Apartment House have had alluring concerts in what is now their 30th year. I was upset to miss a whole Saturday of three gigs filled with John Cage, what was a few years ago at Wigmore.

This celebration concert came as quite demanding in a Philip Glass heavy programme. The first half featured Glass’ Music in Similar Motion and Music in Contrary Motion. Whilst easy on the ear, the attention required to engage is considerable. People have thrown the word “minimalist” around, over what exactly it is and who is defined as such. This combination of synths, flutes and strings has an air of period piece about it now, both from 1969. The lapping of notes return and additions are made, only to return snap back to the starting bars. Unsurprisingly, the Contrary Motion work is much more interesting, as its unfolds with a sense of motion and decadence.

I was happy to attend thanks to Erik Satie and his Socrates. John Cage had a bad time trying to use one of his musical heroes in performances, so he found a way to write a double piano arrangement of Socrates. Through this, you do lose Plato’s vivid recollections of Socrates, the latter philosopher known for not writing down his teachings. I’ve had difficulties trying to acquire an English language version of the Sorate, but that’s another thing. In their own arrangement, via Cage, Apartment House still clasp onto the refined eloquence and unabashed serenity throughout its 30 odd minutes. The flutes and strings are still here, there have been after all few versions of this work starting with Satie’s himself. It’s very gentile, the keyboards are soft and lightly perfumed. The Death of Socrates is one of the best work Satie ever wrote, his late academic studies enhanced with highly eccentric method creation. Sweet and a dollop of emotion too boot.

Glass’ Music in Eight Parts has a curious back story: he sold some of the autograph manuscripts of the piece back in 1970s. One of which would turn up at a Christie’s auction in 2017. It sold for over $43,000. Glass actually bought it back for this figure and tonight’s European premiere is one of the versions from his original. Though no saxophones or voice, we get the alto flutes. This was undoubtedly the most difficult of the night. Less attractive in scope, its cycles never quite enthralling. Drops of more notes followed, the six part harmony would dictate our ears. These delightful keyboards from Mark Knoop (who I recall from a Queen Elizabeth Hall gig few years back), Eliza McCarthy and Kerry Yong, lead entirely. You get a feel of the range they can offer up in timbre, distortion and much more.

With no encore nor intro to the last Glass (which is a cool little story), this celebration felt a little flat. A wider choice of composers on the programme would have fared much better. 

(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. 

(5 / 5)

In what might be the finest hour of music making have seen in London for some time, I was caught off guard with The Purcell School. These musicians are filled with the spirit of music making that is oh so needed in these desperate times.

Robert Saxton had a premiere with his Le Tombeau de Ravel. The French composer was the mainstay of the day, his 150th birthday a major cause of celebration. Saxton’s way with orchestration is curious, the sinew of melody and harmony always dissolving. The players handled the course material well. Saxton had worked with the next composer: Luciano Berio. Having his own 100th birthday bash, the School did one of Berio’s finest creations, the Folk Songs. Eleven female singers took up these wonderful arrangements, some of which are Berio’s own invention, others well established folk standards from the United States, France and Armenia. Every works as a total triumph, delight after delights is heard and felt thorough the clever arrangement. Perhaps most potent is ‘A la Femminisca’, a Sicilian call to church with metal coil, tam-tam and tubular bells.

What had wow factor was on violin Juila Majewska, with Phoebe Papandrea on piano. Ravel here channels Spain and Hungary with Pièce en Forme de Habanera and the famous Tzigane. I felt like was watching stars in the making, Majewska was an utter sensation on the violin, a second nature next to brilliance. Papandrea also proves to have a considerate chemistry, you feel they are friends. The feverish vitality of these works prove why Ravel is interesting and of note. There are many congratulations to be had here. Promise beyond promise.

To wrap up more Ravel in a four hand version of of La valse. Arranged by Ian Farrington, the waltz becomes an absurdly whirling terror that only seems to crescendo. The players Luca Newman and Stephanie Qiao impressed, their modesty at first diminished through violent playing in this four handed thrill ride.

A genuine joy to see young musicians play on this scale. 

(4 / 5)

In Ravel’s 150th birthday years lies the opportunity to hear much more of his music. Those bored of Bolero and are driven mad by Mother Goose, may find solace in concerts like this. Seong-Jin Cho was the winner of the First Prize ten years ago at the Chopin International Competition. He has truly made a name for himself as was proven by this busy concert at the Barbican.

To have done in one night the entirely of Ravel’s lifetime of piano work is no mean feat. The first set showcased early work including the delightful Jeux d’eau and the instantly recognisable Pavane pour une infante défunte. The rest here prove less interesting, you fell he finest quite master things until he goes on in his career. Seong-Jin is stimulating to watch play, performing entirely from memory. The talent of this pianist should never be doubted. His furious attacks and fluid patters are the utmost poetry. I think I could hear him breathing and panting at times.

What really sold his was the second set of Miroirs and Gaspard de la nuit. Ravel is alive her with total impressionism, expressive and bold playing for Seong-Jin who makes worms meat of the score. Great to hear Ravel in more experimental modes, as some moments would evoke Messiaen perhaps even Ligeti latter music. Birds and boats are the imagery, seascapes and night time musings. Gaspard de la nuit is also a treat for its impassioned state, its touching sweetness too.

The last set looked the longest and felt like it. Valse nobles et sentimentales was the bulk, impressive for its major pallet of dance and conventions. Further preludes are slight and passable. Le tombeau de Couperin, which he later orchestrated is another joy, evocative and some of his most essentially happy music, even out of the WW1 context. Through it all it was Seong-Jin’s determination and utmost respect for the material that rang through. His talents are plentiful, his endurance a standout.  

(4 / 5)

In the perfect setting for Messiaen, St George’s in Southwark proved a stunning evening for Britten Sinfonia. With no strings in sight, this wind ensemble would also feature brass and the famous percussion too.

Stravinsky’s Symphonies of Wind Instruments is often paired with Messiaen Et Exspecto. These delightful few minutes features shrill, bouncy moods followed by more sensual bars. The deep acoustic of the cathedral may not have faired well for this opener. The Choir of Merton College, Oxford followed in brief motets by Poulenc and Duruflé. These were the real deal, powerful stuff from these young singers. Poulenc’s Tristis est anima mea might have been the strongest, though all were truest declarations of faith.

Stravinsky’s Mass may prove why he didnt write much choral writing. Moments had promise and an experimental edge, yet it doesn’t quite take off.  Passages of Orthodox singing and strange murmurings were note worthy, the wind players getting the expectedly angular writing. Benjamin Nicholas shared the baton with Nicholas Daniel both driven with the fire of this music. Daniel, best know as an oboist have a lush solo for Messiaen’s Vocalise-étude. This is lovely in its mawkishness, brief moments of flower scents and an unbroken style that could on be Messiaen. The Choir return only now at the entrance to the cathedral with the continuing French composer’s O Sacrum Convivium. The music levitates in real time, its just so warm these singers sung it flawlessly in their last feature of the night.

In Et Exspecto Resurrectionem Mortuorum, Messiaen conjured a terrifying memorial to the dead of both World Wars. A stunning array of tubular bells, tam-tams, cowbells all feature heavily and shine. The loudness is considerable, though I think the larger tam-tams could have had the crescendos a little more stretched out. Even in Messiaen’s whole canon there is nothing this earthy or alarming. The silences between each movement are baked into the score, another powerful feat. The finale sees temple gongs played ad nauseam, as all players blast and scream through the horror. It’s quite an unforgettable feat.

Nicholas Daniel, who is now leaving the Britten Sinfonia. We will dearly miss him. 

(3 / 5)

I’ve said it often that a trip to London is never complete without seeing The Mozartists. I have savoured a supreme Jommelli discovery last year, a concert some two week before lockdown and an introduction to his Mozart’s First Symphony, one he wrote down the road.

Whilst they endeavour to (rather amazingly) perform every work by Mozart and feature a selection of his contemporaries, this endeavour is a monumental task. With the vast array of concert work come all the stage work too. La finta giardiniera is a much rarer beast from Herr Mozart, a much younger feat before his collabs with librettist de Ponti. I should be more enthused by this hardly ever sung piece. Translated as ‘The Fake Gardener’, in this concert format it doesn’t maintain its near three-hour runtime. I’m sad to say it left me mostly cold.

Dollops of humour, thanks to the libretto of Giuseppe Petrosellini. I can’t say I heard the words “shit”, “bint” and threats of cutting of a character’s testicles in an opera before. Even in the English translation. The story is as absurd as any of his other operas though nowhere near as compelling nor endearing. The Marchesa Violante is now disguised as Sandrina, a gardener. She has survived a knife attack from her last love the Count Belfiore, a year prior. The story since them…Arminda is now courting the Count and other characters find silly ways to screw with one another try to get the lovers they so desperately fight more. This may not sound like a comedy, yet it mostly is.

Ian Page as conductor is forever the supreme maestro. All these concerts and all his efforts are so humbling, so inspiring. He makes everyone at ease, bringing out the finest music possible. The orchestra themselves delighted and touched. We saw less of them due to the cast on stage, these players behind shone with vitality and a wispy delight. The cast were decent. I think Ava Dodd stood out as Sandrina, the serious bouts of her existence, melded with profound arias. Hugo Brady, who also thrilled in their Jommelli gig, is the dashing Count. I’m fond of his tenor, its gentle in execution, perfect for this era of opera. Milly Forrest as servant Serpetta got amusing scenes, a role which never really wraps up as it should. Vocally, it’s potent, something of electric air I groove to.

Arminda, giddy with her marriage to the Count, is here Camila Harris. Some smug moments of her luck in the story and sung big and bold as should be. A trouser role from Laura Fleur as Ramiro, a knight who loves Arminda. The spirt of the mezzo lives here, but this is such as secondary role and quite typical of the time. Fine in spirit, I just wonder if a character like this is holding Fleur back? The supporting men were Michael Bell as Il Podestà and Jerome Knox as Nardo. I wonder if these parts were truly right for the two. Roles which don’t play huge part in the plot, nor have much substance. In voice, I want to say more work might focus the timbre of both, though they did have some finer moments of wit and story setting.

Perhaps the elongated reuniting duet in the stunted third act from Sandrina and the Count sums up La finta giardiniera overall: touching and sugary, over long and at times lacking in depth. 

(4 / 5)

In what might be most curious venue discovery this year, the city would give up its secrets thanks to the Bristol Ensemble and a stirring gig at Bristol 1904 Arts. Located next door to The Red Lodge, with cute maze gardens and TGI Fridays wall décor saw art, instruments and other oddities scattered around the space.

This eccentric space was the set up for the concert. Hex 1 by Anna Meredith was the opener and a way to fill in the rest of the hour before the main Messiaen. Meredith wears many musical hats, I recall her score from A24’s Tuesday, a poor film, her offering the best thing about it. Written for violin and cello, there is an almost folk horror aura to its few minutes. Not as compelling as expected, though in the surroundings added atmospheres. The interplay between both insutments saw discordance and ethereal patterns. I’d like to listen agian.

Violinist Roger Hickle introduced both works, before the Quartet for the End of Time, he noted that the first players of this piece (Messiaen and other musicians in a POW camp in Poland), never played the work together again after its premier. The intense difficulty comes from its unabashed intensity, Catholic dogma melds with birdsong, in a work of hope and grace. Messiaen’s melody making is always evident, never going full hog into Avant-Garde trends. Any performance should move and thankfully this did here.

Hickle had the soaring finale solo, loving tributes to Jesus. On cello, Harriet Wiltshire tackled the famous solo also a dedication to Christ, though some grimaces proved how much hard work this can be. Done to emotional effect, it played off, Wiltshire played throughout with abandon. David Pagett on clarinet also had one of these many solos now with his very own movement all to himself. The avian friends clamour about, drone like ringing and affirmed, stomping bars to wrap up are all highlights. He played with serious determination and the silence after was also telling. Paul Israel who took on the role Messiaen did at the first concert, had the scuttling, proud, rhythmic bouts that demand the role. Israel followed with the others and for his own bursts fended finely through this chamber masterpiece.