I returned to the Barbican, to watch American mezzo Joyce DiDonata who gave a supreme evening of hand picked songs and arias inspired by the thrill of nature. Even as we sat down, seeds had been left on our seats for us to take home, a sweet little gift. This had the feel of an ambitious work, the small platform Joyce loiters was constantly shifting, with two silver orbs courting around her, her own ring cycle if you will. Ives’ The Unanswered Question lost the trumpet and Joyce took on the role in an ethereal change to the notation. Rachel Portman’s premier of The First Morning of the World was a luscious evocation, leading to some Mahler, Copland and Gluck. Opera lovers will relish this buffet of sweet treats from Theodora, Orfeo ed Euridice and La Calisto.

I was filled with sheer joy to hear Joyce sing, the world simply glows when she does. There is a grand, sumptuous quality in her execution, I now know what all the fuss is about. Different languages are easily converted, Joyce easily going in between English, German and Italian with ease. A funny moment came when a part of the rotating rings disconnect and with a smile, she put a finger to her lips. The concluding Mahler, the final song from Rückert-Lieder was of such a devastating impact, I found it hard to keep things together. The words are of a figure dying, leaving the world to the feel of some of Mahler’s finest, calmest music. Joyce captured the intensity of the lieder and is one of perhaps the finest living singers to tackle it. I could have cried for longer.

Encores of Wagner and Handel were so appreciated. It also has to said how wonderful Joyce’s time spent with children in music workshops is, leading to a touching new song delivered by them all and performed to the audience of opera lovers and proud parents. She spoke of how we’ve changed after Covid and how they couldn’t find a choir for workshops in Luxembourg (think of that happening in Wales!). Children and adults alike need live music now after all we’ve been through. Grabbing her autograph, she remarked I was the first critic she’d met who was after such a thing. I will cherish it, just like this concert.

Joyce DiDonato: Eden runs at the Barbican Centre till 6 April 2022.

(3 / 5) Eva-Maria Houben & GBSR Duo

(5 / 5) Claire Chase Presents Pauline Oliveros

(4 / 5) London Symphony Orchestra

A intense weekend of events wrapped up nicely with the conclusion of SoundState at the Southbank Centre. I had officially crashed around this point, though keen to see more. Till the bitter end really.

Starting off with ‘together on the way’ from Eva-Maria Houben & GBSR Duo. By far one of the quietly intense concert experiences I’ve ever been too, the Queen Elizabeth Hall was awash in stillness, if not the odd cough and shuffle. One part quite demanding, it also found it rather zen, a well needed mediation after a non-stop few days. Nature comes to mind and outer space, the organ here only ever a drone to the interplay of piano and percussion. You can feel the spirit of Morton Feldman, though it doesn’t quite reach that plateau. Amazing how the organ could sound like train whistles or an an earthquake when the stops are teased. Wales’ own Siwan Rhys played oh so softly on the piano, with some Henry Cowell like string strums and stimulating chords. George Barton was another fine addition on percussion, an attractive array of gongs, temples bowls amongst other delights. Eva-Maria Houben had some deeply impressive concentration levels to keep the organ on the straight path in it’s never ending backing ambience.

Following on was a fine highlight of the entire festival. Claire Chase and the music of Pauline Oliveros was a mere 45 minutes in length and had a massive, lasting impact. Endlessly charming, Claire plays flute supremely well. Her acting also note worthy, since Oliveros demands a performer musicianship, something right up my line of work. Sounds from childhood, asks the audience to create noises they loved making as a child, something I had to abstain from due to my usually temperamental throat, Senem Pirler on live electronics capturing the noises for a unique performance then manipulated it into a brittle soundscape. She did a super job throughout.

13 Changes featured written, Magritte like visions leading to traditional flute, panpipes, and other similar woodwind, Claire showing her breadth in the field. A little boy behind me spoke of this confusion cornering the words, some funny little moments here. Ending with Intensity 20.15 – A tribute to Grace Chase, Claire has taken the posthumous poetry her grandmother left around. A fabulous circus theatre here, as the words become almost Gertrude Stein like, moment after moment of Jaime vu intensity, as the ludicrous heights only gets higher. Shoes and scrappy hand bags frequent the space as all this occurs. Her grandmother’s poetry is piffy, witty, with flickers of sharp observation constantly on show. The grand finale was a solo on the massive contrabass flute, a sight not to take lightly. This touching performance will be on my mind for some time.

–

To end the huge weekend was a trip to the Barbican, making me sadly miss the last event of SoundState Music of Today: How Forests Think. London Symphony Orchestra gave an evening of mostly new music, an exciting night of premiers. Finish composer Joel Järventausta’s Sunfall was a world premiere and had the heat of the sun going for it, inspired by our own very star and early, blazing impressionistic paintings. Helen Grime’s Trumpet Concerto featured soloist Håkan Hardenberger, in a slick three piece grey suit. Somewhere between jazz and contemporary classical, the piece never found any ground to call it’s own. Though the opening and closing was a clear reference to The Unanswered Question by Charles Ives. I felt little for the piece, though Håkan did excel her, face bright red in what comes across as a concert that will require further listing to really understand it.

The pearl of the premiers came from Spain’s Francisco Coll and his Violin Concerto. Soloist Patricia Kopatchinskja dazzled in her charcoal affronted white dress. She rarely stoped playing and the whole piece was frantic, alive in a locomotive bombardment. A touching slow movement was powerful, the final few minutes taking on a jolting, free form style as if the composition was buckling under its own weight The audience were very much impressed with this new work and it should do the round more. Coll is a composer to follow for sure. Even his self-portrait in the programme proves even further talents.

The evening would also feature two of Richard Strauss’ tone poems: Till Eulenspiegel and Death and Transfiguration. Whilst the first had cheeky, trickery inspired by the German trickster, the latter had a deep soul, fine harmonies leading to a rousing conclusion. Strauss excels in writing for orchestra, François-Xavier always on top form as conductor be it premier or a concert classic. He excites audiences every time he grabs the baton.

The London Symphony Orchestra concert will stream on Marquee TV for a future broadcast.

(2 / 5) Arditti Quartet

(3 / 5) Mark Knoop

(4 / 5) London Philharmonic Orchestra

Arditti Quartet Programme:

Christian Mason: This present moment used to be the unimaginable future (UK premiere)
Clara Maïda: … das spinnt for amplified string quartet
Betsy Jolas: String Quartet No.8 (Topeng) (UK premiere)
Tansy Davies: Nightingales: Ultra-Deep Field (UK premiere)

After the giddy thrill of seeing Meredith Monk live for the first time, I wanted to check out more of the Southbank Centre’s SoundState festival. In an intimate afternoon, the Arditti Quartet tackled new work, pushing the boundaries and listeners with the medium of the string quartet. I must put my cards on the table, and say I struggled with this repertoire. I find it hard to believe coming from me, who has always been on a journey of new discoveries. Christian Mason’s opening piece had an interesting use of space with two of the players standing towards the back corners of the Purcell Room, the piece ending with them all leaving the stage still playing.

It would be hard to pinpoint any markers within this music. My concern lies in the blunt method of music making, a hang over from the Second Viennese School. It would be reductive to say this felt like a Webern Fan Club, though his influence was there along with other serialists. The expected shrillness and unhinged sounds couldn’t formulate any visual stimuli, perhaps more abstract sights would be fitting? There was little in rest bite of the anxious, nimbly bow play, the strange prodding of the senses. For once I cried out for a melody…never thought I’d say that. I left flustered and with a headache.

There was some tinkering with show times on this Saturday at the festival and Sex Magic by Liza Lim was given a later slot, giving a three hour break after Arditti for Mark Knoop’s recital. I would miss Liza’s show and was sad to do so. Knoop’s concert had some curious work, a premier from Akiko Ushijima and more. Materia opened with rowdy electronics and Knoop proving his tricks as a musicians itching to take on bold pieces. A dance between man and the electric gave off a wondrous show. They complimented each other, the brittle noises joining the elongated piano writing.

Canon in C from 3 Canons for Ursula by Nancarrow was less impressive. Not the MIDI type playing the composer is notorious for, essentially piano music so complex a human could not physically play it. There is elegance in this Canon, Knoop fitting this choice and it left you hungry for more of that outrageous music. For my sins, I sadly, missed the final piece on the programme: Matthew Shlomowitz’s Explorations in polytonality and other musical wonders Volume 1. From what I did see I must express how invigorating it was hearing these strident works up close and personal. Will absolutely see more of Knoop.

–

Rushing over to the other side of the centre, a chance encounter with the London Philharmonic gave rise to a super evening from France and Germany. I’ve spoken in recent reviews about the unrepresented nature of female composers. With Lili Boulanger, a French artist who died tragically young, her sister Nadia is best remembered as one of the big teachers of composers in the 20th century. Lili’s Psalm 129 was only a few minutes in length, though had a big impact and a bigger heart. It is the early Debussy likeness and soundtrack feel that stand her apart, way ahead of her time. The chorus really pelting out some sublime harmonies, though brief and still teary. Olivier Messiaen’s Le tombeau resplendissant is a fine example of his early output of music, the influence of Stravinsky and his Catholic faith being most on stage. The exhilaration and veneration seeps throughout all the orchards groups shining with bold, rampant passages. Messiaen withdrew the piece from his canon for reasons we may never know, a strange decision since the piece is brilliant and a great gateway to the hurtling, mouth dropping later scores.

Edward Gardner continued to show his casual brilliance with Brahms’ A German Requiem. The might of the large orchestra and massed London Philharmonic Choir and The Rodolfus Choir. The singing also help up extremely well the constant declarations in this mass being direct and clearly executed. Baritone Roderick Williams remained highly skilled during his solos, a friend at the concert remarked his German was “on point”. Always soft and centrally one of England’s finest baritones, this cant be denied. The one solo featuring soprano Christiane Karg sat with the choir was a pleasant feature, praise indeed for her even it was the only time she sang. I’ll take or leave Brahms and this German Requiem may not always grab me, but I can’t deny the effort that was put in this and it execution bordered on the exemplary.

SoundState continues until the 3rd April.

SoundState | South Bank London

(4 / 5) Messiaen’s Quartet for the End of Time

(4 / 5) Montgeroult’s Etudes

French music filled the Royal Welsh over the past few days. In a concert entitled ‘Beauty in Darkness’ has at it’s focus the Quartet for the End of time by Olivier Messiaen, written whilst at a POW camp in Poland during WWII. The surreal nature of the piece stems from biblical protheses of the end of all things. Whilst the first part of the night had an unclear focus on composers effected by the Holocaust, these were unlisted pieces, which had a laid back and cheery feel to them.

The Messiaen quartet has such a strangeness about it, it’s hard not to be taken along. The oddball mix of instruments (violin, cello, clarinet and piano) proves the oddness though the effect on an audience since it’s first airing in the actual camp, can’t be underestimated. A devout Catholic, Messiaen saw hope through the darkness of his circumstances. A sparseness fills the work as the clarinet gets a resounding solo filled with bird song and staggering breath work. The cello has an unbearable and moving movement in the middle, the violin at the end reaching a similar sadness. The piano throughout is pounding, ethereal. It’s easy to underestimate the quartet but when sat there listening you feel the true power of Messiaen as a composer.

Violinist Bartosz Woroch has had the honour of performing once again, this piece where it first premiered. Here he leads, his love of the work always present. Fine musicianship.
On piano, Ayaka Shigeno battles the outrageous nature of her role, almost being the back bone of the work in a fierce display. I’ve heard Robert Plane play this piece with his clarinet a few times, he was replacing another ill musician. If anyone can truly do this part, it’s Plane who always dazzles. The rapt silence which fills his solo, the shrieks and sweet harmonies in other parts. WNO’s Rosie Bliss on cello makes her instrument weep more than usual, in an offering of such touching beauty. Few pieces in chamber music are truly as touching as this.

–

Composer Hélène de Montgeroult is a new discovery for me. With recent campaigns from Clare Hammond, new ears will get to hear more of a woman who lead a stimulating life. An aristocrat who fled France during The Great Terror, she would later be nearly executed were it not for her rousing variations on the French anthem. I’d like to think that story is true, you can already see the feature film on her life. With an army of students from the college, an array of her Etudes graced a small but eager afternoon audience. How utterly charming these pieces were. Somewhere between Mozart, Brahms and early other romantics with her own voice ringing through. There was a spiralling technique, with moments of humble resignation and a confidence in its music making.

The students did an impressive job of bringing these fluttery etudes to life. There may have been a misstep here and there, but the whole concert remained a delight. Looking back, I’d say the Etude no. 28 in E major stayed in the mind. The left hand notation for Etude no. 99 in E flat major for two pianos was another highlight. With the amount of musicians on stage, it went along swimmingly with the occasional adjustment to the piano stool as brief rest bites. Promising young musicians played in this and we all hope their time at the college is fruitful.

The real question remains why she has been forgotten to time? Is it sexism or politics? This remains an unjust crime which is in need of swift rectification. Consider me a proud convert.

Clare Hammond’s recording of Montgerolut’s Etudes with BIS Records is due for release in autumn 2022.

(4 / 5)

It’s all go for St David’s Hall and their International Concert Series. Though what surprised me the most for this concert was the surprising gaps of empty seats in the auditorium for the London Mozart Players. The rugby was of course on, it seems.

In a finely crafted concert, the focus was mainly in the first half of the 19th century, with a touch of the early 20th century to boot. In Prokofiev’s 1st Symphony (dubbed the ‘Classical’) we see the ground work for the early days of the composer, one who would go on to effect the musical landscape for years. It is rigid in style, even with some charming elements. Written the year of his countries shattering revolution, one must also consider the music later which would delight and disgust in equal measure. You’d never think listening to this symphony that a prickly, angular vision would form from the composer. No doubt, this is a rare sighting of a Russian work of music right now for obvious reasons.

The treat of the night came from Isata Kanneh-Mason for Clara Schumann’s Piano Concerto. I’ve spoken in the past how beguiling Robert Schumann’s music is, yet his wife has for the longest time remained in his shadow. Very much a power couple with a turbulent relationship, the Schumann’s remain some of the finest artist of their era. Clara’s Piano Concerto has a live, chattering quality hard not to love. From a renowned family of musicians, Isata has all the grace and standing the piece demands, even with some wonderful, clamouring moments. This was a testament to the underrated beauty of this female composer and only proves just how much we need her music. Time for Clara to shine…

A cheeky return after the intermission with Rossini and his overture to The Italian Girl in Algiers. Amazing how funny an overture can be, the timpani standing out in it’s blasts. The choppy, whimsy Rossini is well known for is heard as well as an undercurrent of malice. Ending with Mendelssohn’s 4th Symphony made for a familiar and effective finale. Known as the ‘Italian’, named so as he wrote the piece on tour, it shines with a breezy pace, never giving up its style or panache. Bulgarian conductor Delyana Lazarova all night, slashed away at each score, an intense scope on the music never let up, formulated by the players. The spritely musicians offered us an intimate evening, something which this Cardiff audience would love to see again.

(4 / 5)

It’s incredible to think that there has been just one WNO production of Madam Butterfly for around 40 years. Revived many times, of course, but still remarkable. So it’s difficult to put to one side the Japanese post-colonial setting with which so many of us are so familiar.

But lay it aside we must, and approach this new production, directed by Lindy Hume, with an open mind.

It’s worth it. We are catapulted into the future – quite when is not important – and the effect is startling. Unencumbered by place and time, our attention is focused on other aspects of stage management – set, lighting – and of course the music. Costume by Isabella Bywater, is stark, and yet subtle. White is the predominant theme here, but from which era? We see late50s/early60s-inspired dresses; boots straight out of the 70s; nods to early 80s New Romantics, all adding to our sense of dislocation of time and place.

Set and lighting take centre stage here. The Pinkertons’ Americanised home could be found anywhere, a stripped, blank cubic canvas in and around which the action centres. Framed in a harsh neon square of light, Butterfly and Suzuki in particular appear trapped by confinement. Contrast this with the soft and skilful use of colour washes by Lighting Designer Elanor Higgins, on the outer walls of the stage. Rose petals, the sea and the sky, dusk, daybreak are all beautifully captured through the medium of lighting alone.

Alexia Voulgaridou manages to capture both the tender love and the horror felt by Cio Cio San on learning her fate. Leonardo Caimi’s tenor is fabulous in demonstrating his sense of entitlement and Western superiority, and both Goro and Suzuki (sung by Tom Randle and Kezia Bienek) fulfil the demands of their roles well. Other parts are sung by Keel Watson, Sion Goronwy, Neil Balfour and Sian Meinir. As ever, one of the highlights was the magnificent orchestra under the baton of James Southall, and the ever-reliable chorus. The scene accompanying the hauntingly beautiful Humming Chorus will stay will long endure.

A bold production which, via its dislocation of time and place, serves to demonstrate that this saga of power and entitlement is, arguably, as relevant to us today as it has ever been.

(4 / 5)

I’ve been slow to return to our BBC National Orchestra after restrictions have lifted. For me, they remained a large part of my concert going in Cardiff, with many dates in the cultural calendar. 

Finally back to seeing them, a concert of Grace Williams and Mahler would dominate an evening. Born in Barry, Williams is evocative in her Sea Sketches, a vision of the Welsh coast during her exile in London in WWII. They give off a clear British feel, Benjamin Britten would trump this mood with his opera Peter Grimes a year later. Written for just string orchestra, it finds a way to depict the sea through scales and a tense underlay of notes. The chippy Sailing Song lifts the air and Breakers impresses, with he final movement Calm Sea in Summer being the most celebrated extract. More of Williams in the canon could only be a good thing.

The German conductor Christoph König is in demand internationally. It was in the 5th Symphony by Mahler that he really got to show off, bringing these stalwart players to attention. I might be sad to say that some moments in the brass were a little off, yet for a work which is about 70 minutes long, we can let that go. Also live on Radio Cymru, this large Cardiff audience lapped up this grand picture that the infusion from he Austrian composer. Some highly intense moments with the percussion and brass add to this sound world, the famous Adagietto a soft and somber ten minutes, a must needed rest bite from the dower thoughts and irony.  

I’ll confess this work is over played, been forgotten by major orchestra for the some decades. BBC NOW have embraced the piece, with most of his other symphonic works along the way. My heart yearns for the lesser heard things, the 2nd and 3rd Symphonies are extremely powerful examples. The visions of the Alps, forrest, waltzes, misery and the universe are never far away from Mahler, the 5th having some of the finest examples. The composer went through a lot in life and at this time I’m thinking of my own heart break, loss and health conditions. 

We hope the orchestra will continue with a more adventurous programme, something they were well regarded for in the past.