(3 / 5)

August is always a dry spell for classical music in London. It would be a brief spell after the all night Prom at the Royal Albert Hall, that a return to London would follow a week after this massive event.

This concert from the Belmont Ensemble was on the the much more popular side, essentially all the hits. The utter lack of air-con in St Martin’s made this concert feel like a drag, though the all lady players gave merriment and depth to proceedings. The Arrival of Queen Sheba by Handel is the playfulness you’d expect aside the heights of eloquence. Belmont played with clarity, not to heavy but on the right side of expectations. Bach’s Air on the G String is another eternal trapping from the great mind, clever in its melody, the players didn’t force too much and it went well. Canon in D is simply so overplayed its easy to greatly tire of it. Pachelbel’s one hit wonder (though he wrote more, people!) is a homestay of weddings and other cause for celebrations, its pacing plods, its main theme stutters.

I knew all on the set expect Handel’s Concerto Grosso in A, the first fun find. Not too long in length yet having some exponential ideas, the impact is delightful and often whole hearted. Bach at it again, with Jesu, Joy of Man’s Desiring perhaps the most touching of the night. I chose this at a family member’s funeral, its meticulous form is other worldly, Belmont giving it their all reaping the rewards. Ending with Summer and Winter from Vivaldi’s The Four Seasons, this is the most gimmicky of the lot. Yet, I grew up with this work and know its value. As the soloist, Helen Davies stood up to the challenge in a fiendish and tricky role. It worked for the most part, one or two passages the ensemble seemed to fall flat, yet this faded. Helen ended covered in sweat, lost in what she had just created from the concerto’s demand.

Listed in the flyer, conductor Peter G Dyson was nowhere to be seen. Was this an add on from previous marketing materials?

Photo credit: Mark Allen

(4 / 5)

The BBC Proms are only getting bigger. Yet there are some concerns from this writer. After a few years of trial gigs around the UK, official with the name, it now appears that the whole nation of Wales is not getting anything this year.  This puzzles me, as we’ve had events in Cardiff, Newport and beyond. This is a really disappointing blow. What is even more bizarre is the removal of the full Prom schedule getting the numbers removed. This was also so easy when sorting tickets and so on.

In a plunge into the deep end, an all night Prom was an exciting and exhausting endeavour. Not done since the early 80s, this is no small feat and we can thank Anna Lapwood and the efforts of the team, who assembled the whole monster. Breaking into things at 11pm, Anna chose an accessible if somewhat arbitrary set on the grand organ in the hall. Eugène Gigout’s Toccata in B Minor is heavily leaning on JS Bach, though this opener felt like the herald we deserved. Her praise on TikTok has seen a large flowing and this is all fine. Olivia Belli and her Limina luminis evokes the film Interstellar in its sensual minimalism, a vision of an astronaut gazing back at the sight of earth. Choices from Pirates of the Caribbean might be the most typical, though her brief singing and flair in the sea shanties and drinking songs were hard to not enjoy. 

In keeping with this merry vibe, Barokksolistene are a Norwegian folk band who excel in evocations of years past in taverns and pubs. We get a broad scan of Western Europe, naturally Scandinavia, Canada and further afield. Director and on violin, Bjarte Eike is leader of ceremonies, a charming silver fox with cheeky humour and some sour political swipes at the UK, its all rather fun. Whether or not musically it was a little twee or me I’m still on the fence about. Though moments of utter beauty shone and dancing beats would be met with movement and panache. Their encore was a phenomenal harmony that greatly touched, an Acapella joy that found real praise from this hungry audience. It would appear that their party continued even into their dressing room.  

Anna Lapwood would not be done just yet (far from it!) as she would return to conduct the Pembroke College Chapel Choir. Whilst this was their first performance at the Proms, it would be Anna’s last venture with them after nine years of collaboration. I was impressed by these young singers, some of which Anna pointed out are not even studying music. There was a sensibility and vim out of them. Kerry Andrews opened with a sweet ‘All things are quite silent’, and Anna’s very own ‘Arise, shine’ were conventional in form and clever it their simplicity. I’ve some reservations about Eric Whitacre and his ‘Sleep’, I’ve never found it to be very potent. His novel ‘Leonardo Dreams of his Flying Machines’ is trite in some ways, breaking down the artists remarkable inventions in flight. The singers wrap up with winds and whistle noise in a tacky mimicry of these contraptions. Bob Dylan and his ‘Make You Feel My Love’, arranged by Lapwood, sent me over the sickly metre. 

Well needed rests were spread throughout the 8 hours. Hayato Sumino from Japan gave an intimate piano recital, as there second set began things got much more intimate. Chopin’s Waltz in E flat and Polonaise are very famous and I found them decent fare. Hayato turned to the also present upright piano and played one of his own: Nocturne II: After Dawn. This slight venture was hushed and perfect on the sombre frame of the upright, its appeal lays in the gentleness. A take on Dance Macabre saw him on both pianos, in this busy arrangement by Liszt and H. Sumino. Lots of the music was fitting, the Dance included, skeletons jigging around the night as the cock’s crowing wraps up the party. The take on Boléro by Ravel was cut in half and less effective. Some percussive ticks and elbow slamming added to the drama of the latter few bars, though I doubt it works as well as its start: the grounding statement. Radiohead’s ‘Everything in Its Right Place’ and Like Spinning Plates ending the session and they were passable, on cello Anastasia Kobekina played in the later and this would tease into her own programme that would shortly follow. 

Anastasia’s time here is most certainly my favourite programme. By the time she was on stage it was coming up to 4am, the plucky audience around me has retired for the night and the intimacy would now reach utter concentration. Cherished Bach Cello suits were the mainstay here and I was loving it. Beginning with ‘O fronds virga’ from Saint Hildegard of Bingen, we met the sacred realm, then to stately Bach and Jonny Greenwood’s Postcard. The latter was written in lockdown and is so slight and under character, it is fifty seconds of cluttering string contact of little note. Vladimir Kobekin and his Narrenschiff (Ship of Fools) was the most theatrical and alarming. Dark and filled with mystery it stood out for its utter invention. I believe I recall Pēteris Vasks and his Grāmata čellam (The Book) – Pianissimo causing a stir in a concert in Cardiff with another cellist years ago. Most likely due to the actual vocalise of the player as well as cello playing simultaneously. Beautiful in its creation, unfettered by compilation it is a brief moment that glimmered. More Bach suites for the pot aligned with Boccherini’s Fandango, with foot stomping and cries aloud. Fabulous musicianship. 

After this I began to falter, it had been at least five hours. String group 12 Ensemble were next and they kept some of the programme from their concert at Wigmore Hall the other week. I think the audience struggled with the demands of ‘Many Fruited Dog Tooth’ from Isabella Gellis. Having its world premiere at Wigmore (and this night its Proms debut) this oddly moss inspired near fifteen minutes was a slog, its chirpy and hushed tones would not aid this sleep deprived audience. Edmund Finnis in the Hymn, after William Byrd was effective and stimulating. Oliver Leith’s ‘Full like drips’ from Honey Siren and Oliver Coates’ One Without’ from the film Aftersun were the alluring pieces to win us over in their sincerity. I was not expecting to hear Olivier Messiaen on this night and his ‘Prière du Christ montant vers son Père from L’ascension wrapped up their time with subtle intensity. 

My face was falling off after this, I had crashed and the ample caffeine intake was intense. A man who had travelled from Chicago remarked how “crazy” it was I was drinking coffee so late. No doubt, coffee sales on the night were a success too. A touch of diversity with Seckou Keita from Senegal would continue as the penultimate act. On kora, he plays the harp sounding instrument with a fluid melodic ambience. It’s pleasant, yet I wouldn’t say I was nourished by it. The singing is charming, as well feel the heat and the whimsy of his homeland. On percussion Mohamed Gueye added textures to the fray though was not heard enough, his time brief yet energised. 12 Ensemble would pop back for a finale flourish in ‘Future Strings’ to delight his send off. 

It would be fitting that this colossal concert would wrap up with an artist called Sleeping At Last. Hailing from Chicago, Ryan O’Neal got to the piano and most of the musicians from the night joined him to the climatic end. These are songs which are noble and insightful, yet they lacked any real punch. His vocals impress in typical soul and pop fashion and the songs written about the twelve personality types is inspired. Simple songs names such as ‘Nine’, ‘North’, ‘Touch’ and ‘Sight’ are a choice and one which seems to fit. This could have easily been Sam Smith or other pop stars I’ve lost the names of at present. Somewhat anticlimactic, the audience had given standing ovations for some of the acts, yet here appeared simply too tired to do one last time. 

Extensibly, a concert that will go down in history, though the idea won’t see the light of day for quite some time. 

Listen on BBC Sounds now. 

Asmik Grigorian as Salome. Photo credit: Chris Paradise 

(5 / 5)

I’ve really been savouring the stupendous opera concerts from LSO. We had sweet La Rondine back last year, Janáček’s brilliant Excursions of Mr Brouček in the spring and now an absolute belter. This concert version of Salome is their last concert of the season and what a fine choice to end with.

Rivalling the heat in London, this difficult opera by Richard Strauss is an acquired taste. This twisted,  biblical tale is seen through the eyes of Oscar Wilde, a play which alone cause riots. The opera also added to the chaos with audiences losing it over the depictions within. Arguably Strauss’ masterpiece is an unflinching one act tale, stunning in its expressive delivery, anaconda grip tension and an unrelenting scope of the future.

LSO always wow with their playing, here was no different. Some of these wild passages were caught with raw power, musicians who seem thrilled to play and doing so with fevered totality. Conductor Antonio Pappano never fails to make his players shine, his ear is one of the best today. Hearing this opera fully for the first time in over a decade, there stood out several moments. Herod’s interchanging bouts of hot flushes and cold bursts are brilliant orchestrated by the German composer. The image of dark flapping wings are also the chilling harbinger of dread which permeates the drama. It can only end badly…

The Dance of the Seven Veils is a famous, rollocking highlight, Salome dancing rather disturbingly for Herod, her step-father. Proposing she could had whatever she wants in doing this act, her obsession with John, the Baptist compels here to have him killed. After rejecting her advances, John is killed, his head being served on a silver platter. Herod, sickened by this, compels his guards to have them killed Salome. It was never a light story!

The cast did everything and more. As the seductress, Asmik Grigorian has all the right moves and get a huge rest bite in the middle. This is an exceptionally demanding role, post Wagner and the break from singing can only ever feel warented. Some acting is there, it’s more cold and calculated than total bursts of passion. Her ringing, chants and grace in the calmer bars remain noteworthy. Herod is Wolfgang Ablinger-Sperrhacke, with moments of humour, fury and through kingly demands he crowns himself as a fine singer indeed. His annunciation with the spilling words are exemplary.

Wolfgang Ablinger-Sperrhacke as Herod and Violeta Urmana as Herodias. Photo credit: Chris Paradise 

As John (Jochanaan), Asmik Grigorian had heaps of proud religious bouts and furious scorn for Salome and her mother. His one major scene defines the rest of the story, before and after is only heard in his prison cell off stage. Herodias is a glamourous Violeta Urmana who is perfect casting. The squabbles with her husband, support for John’s killing and general vampish tone were special. Highly gifted with grand voice the elements of acting was also present. Many other small roles feature including Jews, soldiers and more (there is no chorus proper), all these bit parts were cast with the right people, keen to impress.

Naturally, it all leads to the devastating ending, Gregorian soaring in this sick soprano role. The famous finalising chord Strauss concocted is loud, tangy and a complete revelation. No wonder audiences were disgusted…just imagine being there. This dark thrill ride has still got it well over a hundred years later. 

1st concert:
(3 / 5)

2nd concert:
(4 / 5)

3rd concert

(4 / 5)

To experience Bach Brandenburg Concertos in one day is formidable. Only once before have I heard it live, Florilegium in Cardiff back in 2018, notably we heard them in in descending order. You are easily won over by its pristine harmony, the playful sport within its players, the cleverness of the whole thing. Few would deny Bach’s genius, this is a fine example of it. Yet would the allure be kept spread out over a day?

Chamber Domaine has done just that with three concerts at Wigmore Hall. We are also treated to living composers who have reacted to these concertos and their impact on composition. Luke Styles and his ‘A Brandenburg’ is essentially just an arrangement of Bach’s eternal Toccata and Fugue. It’s all there and the frilly addition of ornament question if this can be regarded as a whole new composition.

We then lead into the Brandenburg Concerto No 1, our first of six on this day. I wouldn’t say this is the best out of the set, there are charming passages and the players feel like they are warming into the whole venture. Conductor Thomas Kemp leads with a lucid control, that  much is known. This short opener ended with ‘Sequel’ by Brian Elias. Written in 2020, to Taylor this was a world away from what we had just heard, its instrumentation remained the same as the concertos. Irregular rhythms and an all round sense of unease permeated the work, Sarah Burnett got intense bassoon solos and the harpsichord worked particularly well in the concoction. Amazing how different a sound can be.

A two and a half hour rest saw a return of the 2nd Brandenburg Concerto. Trumpeter Alison Alty gets many delights in a soaring solo, high and mighty. I imagine this is not easy to play, there may have been some scratches, but was mainly delightful. Purist would scoff at the inclusion of new work interspersed through some of the concertos. Aaron Holloway-Nahum added more atmosphere with ‘as the soul recedes in what the years bring’. The harpsichord strings got stroked in this solemn piece.

Michael Price and The Malling Diamond gave Alty got more special, sweet writing, following with the glowing notes Deborah Pritchard’s sacred offering of her Illumination. Zoë Martlew had the most evocative selection with Bacharolle. With humming and whistling, steamy pizzicato and the ghost of Bach haunting the space. I was impressed with this most. With the Third Brandenburg Concerto, entirely stings with harpsichord, this is more famous and endearing than the past two. Perhaps the most condensed, its clarity unwavering, the mood chirpy and heartfelt.

An even bigger break, would then see a final evening concert to conclude both the old and new together. Fatigue had kicked in by the night and I’m having a hard time trying to recollect Daniel Kidane and his Concerto Grosso. I’m recalling flair and fun, some audience members seemed irked by its nature. The fourth Brandenburg Concerto had alluring recorders thanks to the celestial efforts of Louise Bradbury and Annabel Knight. They really are a fine addition, adding to the pot harmonies of great respelandance.

Florence Anna Maunders really got the memo in writing for these specific instruments. The earthy sinew of her Big Koncher’ah was very telling, Paul Edmund-Davies on flute was a fiery performance, many attacks and trills for the eternal woodwind. The fifth concerto might be the most famous, on harpsichord Sophia Rahman had brows held high for her glorious solo (I’ve always marvelled at Karl Richter’s take). For me, this is the defining moment of the set.

Joseph Phibbs and Bach Shadows went both ways in music making, traditional and experimental. I think I saw Kepm blow a partly whistle. Fun all round. We hear bird song in tape before going into Gold and Precious Silver by Stevie Wishart. Not quite as attentive as I’d have thought, this would be last newer work in a telling selection of today’s composers reacting to Bach. The sixth Brandenburg Concerto is maybe the most refined, just for stings. Lead violin Tom Pigott-Simith held great swavs of momentum in tiny solos, quivering tremeloes and a ringing vitality throughout the day. It was quite an achievement hearing all this music in a day. The adjustments to the stage were also considerable as Thomas Kemp, the musicians and stage hands all frequently altered the changing space.

A pleasure to have spent a day with these musicians.

(3 / 5)

Benjamin Britten’s Peter Grimes is getting lots of play at the moment. We had the alluring production from Welsh National Opera, Nicky Spence’s first outing as the lead. A concert version at Cadogan Hall is days away. I caught New Palace Opera last year for a Wagner night, a newly discovered passage by the composer as well as a moving Walküre last act.

A first wrestle with Grimes should not taken lightly. I admire them for doing this. I had the same feeling when Kennsington Symphony did it a few years back. Everyone should try it. In one of my favourite operas and a well regarded 20th century masterpiece, lies Britten at his best. Never easy for singer nor musician, the complexity and cleverness of the whole score, sees the characters of George Crabbe come alive with nuance and flair.

The orchestra were up to the challenge, okay a few slips from the brass and some uneven tempos I’m patient with. The devastating force and beauty are what seal the deal. Whether it’s the magic of moonlight, oompa bands, terrifying storms and gleaming sea visions, the orchestration is simply astounding. I know it well now, proudly saying this is the fifth time I’ve heard it live, the Aldeburgh beach and English National Opera outing were my gateway. Some people on the night said they couldn’t hear the words, the stellar libretto by poet Montagu Slater is another benchmark for English opera libertti. There are so many lines I could now sing and quote by the dozen now…..

A fine effort from conductor Michael Throne, who reigns in this watery beast with defiance. The singers left a variable in casting choice. As Grimes, Jonathan Finney has the fitting acting chops, a wild, almost unhinged persona, but the singing was not always there. Flashes of Peter Pears (who created the role back jn 1945) are evident, but some fiery moment left the voice to vulnerable and compromised. Though, I did still love the ‘Now, the Great Bear and Pleiades’ aria in the pub, those outstanding harmonics from the strings are the first marker (the first sea interlude as well) of what a great work this would become.

Too many to mention in the cast, Phillippa Boyle as Ellen Orford paired well in the role. The hearty vocals and sympathetic air to the role is what made Boyle shine. Captain Balstrode from baritone Paul Putnins faired well. I recall his Wagner Dutchman a few hears ago (also with Boyle) and he is better suited in this secondary role. Bo Wang as Reverand Horace Adams is the gossipy father of the The Borough, vocally strong in one many silly roles. Mrs Sedley, the nosey busy body gets a fantastic mini aria, dark and murky in the last act, when Grimes has proven his bad faith in the safety of his fishing apprentices. Gráinne captured the ludicrous nature of the part with aplomb, the vocal shrieks and constant clutching of Pearl’s are often highlights. Even a magnifying glass to boot!

Zoe South might not have always given Aunty, the owner of the Boar pub, the full potential of the role. There is humour and moments of snarky jabs, as she puts up with a lot with a pub compromised by the sea, rowdy patrons and more. Her two Nieces: Elizabeth Stock and Elizabeth Moreland get odd, stroppy vocal pairings, the whining and teasing feature heavily. Swallow the lawyer, was Edwin Kaye, not every word was clear but he felt right in the role. The rest of the cast followed suit with potency and a strong will to try out these bizarre Crabbe creations.

I’ve said it before that Britten would be proud of these performances of Grimes. This also applies here.

(4 / 5)

Further discoveries in music of past has led to some wonderful discoveries. It would appear many have not got a look in with recognition until recently.

This concert at Wigmore was one of these discoveries. Mel Bonis (1858-1937) was a French composer regarded as a talent in the golden era of song writing in her century. Scandal, children out of wed lock, sexism, artistic yearning and this the fairly sad story that makes up her life. We heard all this delivered with grace and frankness from speaker Audrey Hyland. It’s easily another story of a female composer that should  have a film made about her.

These songs are accessible, they are honest and a fine handling of the written word is evident. This concert which was light and open, began with Songe, La mer and Le chat sur le toit, all proof of her talents. With two sopranos: Susanna Davis and Bella Marslen, they worked hard on these songs, accented and vocally alluring. They might want to check on airier high notes which did not quite land well. Mezzo Cecilia Yufan Zhang might have been the most interesting singer, the voice blended well with the allure of these eloquent, restrained offerings.

Countertenor Will Prioir will age into the singing group, not quite there just yet. Though his few selections had charm and romance. Sam Hird, baritone, was used little though had command in the odd song he was in. We had two sharp pianists with Louis-Victor Bak and Firoze Madon, talents who held these frank pieces as concentrated support for the singers. It’s important to see young people share with us lesser heard composers.

Chanson catalane was a flavour of Spain, Un soir a gentle flutter and the three ladies singing the wrap up Ave Maria, was sweet, if not the most compelling take. There seems to be much more of Bonis we have yet to hear, no doubt more is planned for the future. This is rather interesting to keen ears. 

(3 / 5)

An all Handel programme is what I’m needing right about now from Les Paladins and soprano Sandrine Piau. The Overture and a March from Ariodante would herald this one part concert. Les Paladins bring authenticity and pride to these period pieces, their tuning before the start was also considerable. Violinist Catherine Plattner had meaty moments throughout, though conductor and on harpsichord Jérôme Correas is the needle focus of the night. Together these two and the players evoke this era, the concert dubbed as ‘Enchantresses’ is rather fitting.

I dont think I’ve heard Sandrine Piau since 2008, with the BBC National Orchestra of Wales on the Messiaen centenary, doing Debussy. This was my introduction and I’ve gently followed ever since. An aria from Lotario was her opening gambit and it might not as enticed as much as expected. Piau voice is interesting, passages of deep focus and a restrained colour are evident. I wasnt so sure about the take on Piangerò la sorte mai from Giulio Cesare in Egitto, the embellishments give the singer the right to experiment in this wonderfully emotive piece. Piau left and the Concerto grosso in A, proved further the durability of the ensemble, its tricky and piffy dynamics are a highpoint.

Piau really came into her own with two arias from Alcina, next and at the end. This opera was proven more popular with Royal Opera and Opera North staging it. I’ve yet to see it fully, though if these arias stand on their own (and they do), this should be a potent experience. Piau’s acting also shone, this is a role I imagine she’s taken before. The psychological intensity is permeating from the stage, the beauty of this Handel never doubted in this opera, almost 300 years old. Il bistro maggio from Rinaldo also dazzled, though a more famous aria from this opera would follow on as a surprize.

The audience found it amusing that the Trio Sonata would have half of it not be performed. The announcer at the start declared this and I assume, the peace offering of the Ariodante march. Because of this, I cant judge it as a full composition, though what we did hear was bouncy and kenetic to the rest of the offering, if just cut short. They seemed unsure if they were doing encores, another flutter from Alcina and a standard Lascia ch’io pianga sent us away, adding to an almost slight evening.