(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. 

(3 / 5)

Returning to London would see Mozart heavy encounters. What would I discover this time round? Would I learn something new or find a new favourite piece?

The Akademie für Alte Musik Berlin presented a Mozart heavy bill though the rest was filled with new composer’s unknown to me. Georg Druschetzky and his Oboe Quartet in G minor was the first of these discoveries. Xenia Löffler as the solo had great range, though does this vintage instrument sound as if it can go out of tune every so often? A lovely opening, sweet and impassioned. Paul Wranitzky followed with his String Quartet in G, another stupendous find. I realise there are so many more music makers out there from the past. The players had a sharp focus, and all the joy of the piece rang forth. Melodies were this eras bread and butter, as well as gentle dynamics and hushed listenability.

With Mozart in his first outing, the Horn Quintet in E flat, Erwin Wieringa had holistic flashes. This true horn which he plays, has charm and some warm, though it can be so muted and almost unruly leading to not so harmonious blends. After the break, Mozart’s Oboe Quartet in F had frilly moments, not the most outstanding work he ever did. There was panache for this quarter, thanks to Löffler as a soloist of high regard. Perhaps the most stimulating Mozart of the night goes to the Adagio & Fugue in C minor. This quartet from Mayumi Hirasaki, Georg Kallweit, Clemens-Maria Nuszbaumer and Katharina Litschig deliver a loving feel for the Baroque and Classical and what surrounds it.

The wrap up was another find, that of Carl Stamktz’s Quintet in E flat. It is the vigour I savoured most here, swoops and plunges all in a conventional but still adrenaline inducing all the same. Musically it owes to Mozart, though still has enough originality to stand out. The encore of Mozart’s Musical Joke finale got laughs and smiles abound. Those, at few notes of sheer discord are shocking and have always been highly amusing.

Photo credit: Mark Allan

(4 / 5)

Barbara Hannigan is thriving at the London Symphony Orchestra. Her USP of both conductor and singer is a bold feat and might not always work. Though on a night like this thing were all set for greatness. A rare outing of Albert Roussel and Le festin de l’araignée – Symphonic Fragments would herald the start. Though perhaps more curiosity than compelling, these very French passages have gusto and some charm. Roussel who rarely gets outings in the standard repertoire, has to work hard to get heard. All the right moments are there yet something hasn’t quite made the cut. I’d like to hear more and this again.

In an arrangement by Anthony Girard, Ravel’s Histoires naturelle’s is a marvellous setting of the poetry of Jules Renard. These lovely settings of the mostly avians sort see jilted peacocks, a restless cricket, an existential swan a content kingfisher and of course, a disgruntled gujnea-fowl. As always with Ravel (and now Girad) there are buckets of charm, this really is tellingly delightfully verse. As well as the snazzy orchestration, baritone Stéphane Degout is a native French speaker and is also a great actor to boot. All these silly moments spent with these critters and flying creatures, vividly portrayed by Degout, who never over does his voice, it was smooth and very listenable.

What really sealed the deal was Hannigan doing what she does best: sing and also conduct at the very same time. I’ve had some reservations upon seeing her in the past, I recall an LSO gig in Bath of Messiaen and Mahler. Though her conducting might just be a little rigid, when she sings and continues to guide the orchestra with her back to them, things thrive. With the poetry of Rimbaud, this romantic upstart gets the Benjamin Britten treatment in what his one of his finer short concerts works. Extravagant poetry mingles with Hannagan’s soprano in scintillating form. The strings of the orchestra also shone, when Britten gets is right…the score seem to marvel at all sorts of lavish sights depicted in the poems of fantastical antiquity. It’s her acting which also pulls you in. I found myself in a state of amazement.

It’s been just over four months since hearing Haydn’s London Symphony again at the Barbican. With Hannigan at the helm, the almost monotonous repeat of the melody could wain elsewhere. It was tight throughout this Symphony 104; its elegance is matched by its sincerity. You can often see Haydn winking in good cheer, naturally. Pumping rhythms mingle with pressed slower bars, this is often digestible and wraps up a concert in fine taste and cheery fashion. Maybe this fine soprano maestro is warming on me?

(4 / 5)

I’m aware of orchestras doing their utmost to get the younger audiences into their events. This feeling was apparent when at this latest London Philharmonic Orchestra concert and I am all for it. This highly eccentric programme would appease both new audiences and diehard fans. Kevin John Edusei as maestro would throughout the night maintain these odd works with vigour and joy.

Frank Zappa did a fine job blurring the line between rock music and orchestra writing. In what might be the strangest, yet most splendid music I’ve heard at a gig for some time, his music stood out in many ways. Maybe it’s the surreal names: The Dog Breath Variations/Uncle Meat; Outrage at Valdez; G-Spot Tornao, or the odd rhythms and timbres…it’s hard not to like. The standout were the percussive forces and a lone banjo later what appeared to be acoustic guitar. Zappa creates orchestral creations that would have appeased the MTV listener (we are talking roughly that era), its muscle lying within its curious meters. I found many smiles and raised eyebrows throughout. Ripping good fun.

A European premiere with Dinuk Wijeratne with a new Clarinet Concerto. With soloist Kinan Azmeh, thing started off very Ives like, as he played off stage as the string ensemble disturbed with eerie natures, a lone string piano played by Azmeh also stood out. This was it for numbers, strictly not brass, woodwind nor percussion so there was a profound sense of intimacy. Azmeh impressed with sounds from far afield, the middle east and strange registers within the instrument. Heaps of discord and the lone clarinet getting soaring cadenzas, thanks to the wisdom and clarity of Azmeh. Though what felt like a classical structure, didn’t necessarily keep, it proved to be a stimulating premiere one of notes in recent months.

This slight evening would wrap up with Bohuslav Martinů. His Symphony No. 6 (Fantasies symphonies) proved highly alert and absorbing. Though the pacing may be erratic, Martinů knew how to compress the listener with anxiety inducing music, thanks to a incredibly clever handling of orchestration. The intense tightening grip would scarcely loosen over us, we remain at the mercy over this intense symphonic work, all the types of instruments played tutti though no one group out did the other. I was compelled by the grip the players had over the piece, a work not even 30 minutes in length though very demanding yet constantly regrouping. This proves Martinů should be heard be here much more. This is genius levels of creation.

(3 / 5)

An all female driven programme is appealing with the build up to International Women’s Day around the corner. Cecilia Damström had a UK premiere with ICE. A fine little opener, the lone vibraphone and dense orchestral textures had a decent amount of unease. Blood curdling strings would offer severity to the pot, Damström clearly likes both worlds of music making: experimentation and more conventional forms. The addition of a bike bell is certainly unique!

It’s always a pleasure to see Clare Hammond back in Cardiff. A pianist of great renown, the chance to hear a world premiere should have been blockbuster. The Piano Concerto from Ninfea Cruttwell-Reade had smatterings of Ravel and Thomas Newman. Strangely, as the orchestra geared up to present the opening cadenza for Hammond, she played tutti with the orchestra. It was underwhelming, you could barely find her playing audible in the fray. These issues would continue throughout and as it went on, there was not a lot that stood out. A slow movement which went on too long, a fairly passable finale and an all round uncertainty over this being an actual concerto were the concerns.

Maestro Emilia Hoving offered up elbow flexing conducting. She is very watchable in charge, her endorsing of Grace William’s and her 1st Sympony had more allure. ‘Grace’ (as this concert has been titled) proved to be one of the finest composers from Wales in the last century. Also known as the Symphonic Impressions, this has promise (she would go on to write another symphony and plenty more orchestral work). Though…this is not really to my taste. A trumpet solo is extensive, the sense of alarm and clinging to Romantic sensibility are it features. It is very busy with its focus, never clear in mood nor pacing. A great amount of ‘searching’ seems to have gone into this, to create a symphony which for a first effort is fine, but needed more balance.

Listen on BBC Sounds

(4 / 5)

The new year in the Welsh capital saw concerns over the disarming of history, nursing and music studies at Cardiff University. The arts are becoming a deeply rooted concern, as well as further rug pulls, National Theatre Wales bows out as well. Still, St. David’s Hall the concert hall for Wales remains closed. This major hub for the BBC National Orchestra of Wales may not be in use for at least another year or two.

We’ve settled into Hoddinott Hall down the Bay, as have the orchestra for all Cardiff based concerts. Some of these events can boast sell outs, thanks to thrilling programmes and guest artists. Issues expressed before in reviews would prevail and need attention. I’m talking about the lack of physical programmes and tonight, a lack of a libretto for the French sung operatic outing (the equipped venue would fare well with a surtitle screen). No one really wants to read on their phone with a digital programme.

Jamie Martín is a natural conductor, who would herald the start of a fine concert thanks to Ravel’s ‘Mother Goose’. This being the full ballet version, as with the composer it is often light and mostly charming in execution. Typical tales of Beauty and the Beast, Sleeping Beauty and lesser-known stories are within these bars. The eloquence of the orchestration would go onto influence music inspired by fantasy and fairy tales in media, such as a standout it remains. Putting personal taste aside with Ravel, the whole work has hurrying, shimmering moments. I could see this being a nice intro to classical music for children, yet it doesn’t seem to be the first choice. The orchestra captured the fine bristle of all the movements, its grandeur mounting up to a sweet closing.

A rare opera arrival for Hoddinott, with that of soprano Danielle de Niese and Poulenc’s ‘La voix humaine’ or ‘The Human Voice’. One of the finest one-act operas from the 20th Century, this taking of Cocteau’s play sees an intimate scope. The only character is a lady who in a desperate flux, speaks to her lover on the phone, the conspiracy of a breakup the dramatic punch of the plot. With a sad send off, Poulenc and his full use of orchestra throughout is mighty. The pounding and plucking of the alert score become more engrossing as this woeful tableau goes on. The xylophone is the clever ringing of the dreaded telephone (who has a landline anymore?), as each call faces connection issues, wrongs numbers and flashes of this vanishing lover.

Ubiquitous to Glyndebourne audiences, this is de Niese’s first time with BBC NOW. I’d dare say it was a success, the French sounded perfect, the acting flustered, yet paced. Her voice holds truth and a graceful, unwavering flight, never a half measure in anything she does. It’s time we see her back again with Welsh National Opera. It must happen.

(4 / 5)

With the tenure of Antonio Pappano with the London Symphony Orchestra now under way, London will be treated to both concert and operatic offerings. The idea of these concert operas are mouth-watering, the first outing was Puccini’s La rondine.

One of the Italian masters lesser known works, it owes a lot to La traviata and the glamour yesteryear of Paris. Though the story has a focus on comedy for the first two acts, the love story flutters about in the third act, not necessarily fulfilling the narrative structure. Musically, this is a sparkly affair: lots of fun and mirth from all involved. The sweeping melodies are met with Puccini’s modern harmonies, clever in many ways. There is the famous aria and absurdly soaring high notes, ensemble moments that hark back to Verdi, who’s shoulders Puccini rests on. 

Pappano and the orchestra were pristine, this was their second performance of La rondine this week. Everything was acute and perfect. Strangely out of all the instruments aside the strings, it was the marvellous glockenspiel and harp that stood out. The piano also featured, though is used less effectively in the pot. The chorus were also a triumph playing rowdy students and party goes, all that was missing was the champagne bottles in hand. The time was brief though they shone in the middle act, you couldn’t resist their impeccable charms.

The cast were also great. Carolina López Moreno as Magda de Civry was the stand out, our beloved diva with a voice working extremely well here. Her control and drive for these luxurious moments never waned, a real star. Michael Fabiano as Ruggero Lastouc is here love interest and is just as fine. His hefty role for tenor has a lot in it, vocally very intense and Fabiano pulls many things off to acclaim. The maid Lisette, Serena Gamberoni has her nose in the air, with a genuine dislike for Magda, a second soprano role that is not always noteworthy. She seemed to enjoy the fussy role anyway and sang well. Paul Appleby as Prunier who is in love with Lisette, gets curious, funny bars his tenor working really well in Puccini. He gets the most laughs and is not a bad actor either. There were several party going supporting roles that also shone, too many to mention, but some up and coming and established singers were in the fold.

It’s a short affair under two hours and musically is rather pleasing. The story may not grip like other Puccini, yet for its size and colour it’s a lovely thing to admire. 

(4 / 5)

It’s been on the bucket list for a while to see the emerging superstar pianist Khatia Buniatishvili. With her season at the Barbican, she is playing in an array of varied repertoire. This is all very exciting and the time to see her live was upon me. Before this, Academy of St Martin in the Fields set of with Mozart’s Don Giovanni Overture. Director Benjamin Marquise Gilmore lead as first violin, taking over conducting duties without ever needing to conduct. The energy between him and the players is magnetic, Mozart’s spiralling themes and punches hit the audience as they have done for centuries.

Khatia had planned to rather ambitiously perform the solo for two Mozart concerti, though this would fall through. Though her time spent with his Piano Concerto No. 23. This was in many ways perfection, Khatia arrived to the stage in a golden dress, one statement of many. Her playing is effortless (so glad I could see the keys and her hands) graceful yet also violent. Her little moments of conducting, clutching of fists in the air after dramatic passages and her swaying are poetry. This famous concerto has wide appeal and with Khatia playing, each of the three movements were a joy. Her playing of the stupendous Adagio was creamy and oh so right. It’s empowering seeing a musician on this scale. The encore was the very well known Debussy that delighted the audience and left us keen to see her in the new year.

The cancelled other Mozart concerto was replaced respectfully with Mendelssohn’s The Hebrides Overture. The German composer vividly recounted his trip to Scotland with watery cleverness and a sweeping orchestration. Again, the players were were a resounding success, the balance calibrated to a fine set. Fittingly, Haydn’s Symphony No. 104 was the finale. Dubbed the ‘London’, this master of the craft gave thrills and laughs abound. Eccentric in nature, its four movements are curious and noteworthy for their almost ironic tone.

We were then gifted an encore of Sibelius’ Nocturne, the serene flute from Michael Cox the definition of pianissimo. I could not have found a better wrap up.