(3 / 5)

Dame Felicity Lott and François Le Roux have done a bang up job in getting students who sing, the chance to develop their craft in the French repertoire. These recitals at Wigmore are fun, the promise of a gig in Paris is also enticing.

I might be wrong, but it appeared the programme was in the wrong order. I knew little to none of it, so I’d would very much like to discuss the singers and pianists who joined them. This programme (see below) was a mostly 19th century affair, conventional in some regards, filled with invention the other. The word piffy would apply for a lot of it, charming and regal as well.

Soprano Bella Marlen began with Debussy, effective in the murky pool of mysteries. She is decent to listen to, promise a word often used though here would apply greatly. It all seemed a breeze in her vocal ranges. Eliran Kadussi was a fascinating outing for countertenor, sweet and lively in his selection. His high range was sumptuous, acting decent with the material, hand gestures and eyes bulging. Baritone Johannes Moore was a standout as well, a fine actor with a voice that could easily suit Mozart, Wagner and Mussorgsky. He seems to relish the fun in these songs, the most animated out of the trio for sure. Fitting tributes to Fauré, who’s 100 anniversary of his death was a few days prior lingered, his delightful La bonne chanson selections pleasing to ears.

On piano Archie Bonham and Jong Sun Woo were partly overshadowed by the fluff and allure of the voices. Each brought sombre, pristine accompaniment when necessary for this French set. The response from the audience was positive. That final duet of Gounod’s L’arithmétique saw flustered finger counting aplenty, aside operetta stylings.

May we please suggest for the concert in October we have each singer billed as playing each exact pieces. We had the translated words to follow as we went, why not something clearer about who is doing what? Merci to all involved.

Programme:

CLAUDE DEBUSSY: Ariettes oubliées – C’est l’extase & Fêtes galantes Book I – En sourdine

EMMANUEL CHABRIER: L’île heureuse

PAULINE VIARDOT: Lamento

HENRI DUPARC: Chanson triste

GABRIEL FAURÉ: La bonne chanson Op. 61 – La lune blanche luit dans les bois, L’hiver a cessé

HENRI DUTILLEUX: 3 sonnets de Jean Cassou – Il n’y avait que des troncs déchirés

CÉCILE CHAMINADE: Mignonne

EMMANUEL CHABRIER: Villanelle des petits canards

MAURICE RAVEL: Histoires naturelles

CAMILLE SAINT-SAËNS: Pastorale

CHARLES GOUNOD: L’arithmétique

Wigmore French Song Exchange continues at the Salle Cortot, Paris on 30 Sept, then Wigmore Hall on 18 Oct 2024.

Opera Rara, still strive to perform the lesser heard masterworks of the 19th and early 20th century opera world. In a salon concert at a private residence, I was given a warm Welsh welcome, thanks to those performing aside the London charms of the hosts. Jessica Robinson, as seen on Cardiff Singer, might just be one of the most friendly singers I’ve ever met. Brief chats and all things Wales were on the agenda before hearing her sing on the night.

Sat near the front at this intimate concert, Jessica was never too loud nor overbearing. Everything was extremely smooth in her delivery. Her patter in Italian is lovely, years of training have really shown off her talents. This was a varied programme, Donizetti rarities ever present and other odd and compelling treats. Jessica’s acting though seen less here, was present for moments. Scarlatti’s Le Violetta, was a soft opener to guide us into a journey spanning decades and our continent. An aria from Handel’s Alcina was another vigorous triumph. James on piano also played with ease, his flow for all the songs was highly skilled, he seems to have great patience and passion for these delights.

For the first set of Donizetti songs we had varying moods, aside ‘Oriental’ musings and loved up extremities. Whilst I may not be completely taken by him as a composer, hearing these pieces hardly heard and delivered so well, it’s hard not to be pleased. Two Bellini flutters, gave Jessica Bel canto aplenty, proving she works well in the style, her trills impactful. Further Donizetti Billets chéris, interprètes de I’âme and Au tic tac des castagnetts prove his cleverness, the piff and sexed up vocal lines are never far away. Curiosities from Saint-Saëns and Reynaldo Hahn  featured words by Victor Hugo and some of the most sweet and evocative conjuring of the night.

Proudly, the programme ended with a Welsh legend: Morfydd Owen. I proudly told this London audience after how much she means to us in Wales, a female composer filled with innovation, taken from us far to early. I’ve compared her to Lili Boulanger, a sort of French equivalent to Owen. These two Welsh language choices, I doubt are hardly heard outside of Wales, though their impact ending the night was palpable. Tragedy mixes with gutsy storytelling, strong themes from her homeland, as these dramatic songs unite the traditional with the experimental structures of her day.

Like a lot of opera companies at the moment, Opera Rara are also in need of funding. Expectational concerts like this prove the professional, kind and inspiring ideas that are so much needed today. 

Photo Credit: Ben Ealovega

(5 / 5)

Another welcome return to hear The Mozartists. They were the last concert I attended in London before lockdown and one of the first when back to visiting again. Though the focus has been the boy genius, they have also defined Mozart’s life with his contemporaries and inspirations.

In this fine evening, the large audience at Wigmore were given an introduction to Italian composer Niccolò Jommelli (1714-1774). Having died 250 years ago, what is most upsetting is his lack of fortune in the centuries after. In his day he remained a valiant opera writer, amongst other amazing pieces. Disregard and forgotten, good on brilliant conductor Ian Page, who is always splendid for bringing this treasure chest of a programme to our ears.

There is a highly listenability to these arias. Whilst they may not have the complexity of Mozart, nor the sincerity of Handel, they are still wonderful items. Emily Pogorelc was indisposed, so my proud Welsh heart was delighted to see our Fflur Wyn take over the soprano role. My utmost respect goes out to Fflyr, who had a few days to learn all this, essentially something no singers around the world knows. I’ve loved seeing her at Welsh National Opera, her gliding high range and controlled middle register are standouts.

Each arias was from some of Jommelli’s 30 odd operas, of note was the finale to ‘Didone abbandonata’ from 1763. Taking the typical Dido & Aeneas story, this milestone is post Purcel and pre Wagner’s immolations. The exceptional wrap up sees a betrayed Didone yeild to her fiery temple of fate. She is not in aria mode proper, but somewhere between that and recitative. Chromacticlly this is very interesting, as the ensemble also plunge into depths, rarley heard for its era. Performances proved such success at its conception, that spectators demanded an encore of the finale. One could not blame them.

These arias all had rampant intrigue, I may not be able to detail all and I’d strongly urge those curious to acquire the recording of this immaculate concert when it’s available. It was all just so very touching, hearing a master composer writing his heart out, with fine singers and superb a ensemble of musicians. The rarity of these arias were stuffed with romance, vengeance, heart ache, fury and longing.

Each piece was such a treat you’d almost call it sinful. Mezzo Ambroisine Bré also wowed with subtle harmonies, with murky underworlds of fluid melody. Tenor Hugo Brady is a fresh faced hero in these parts, lots of Greek and Roman myths abound. His vocal range has spritely charms and a glowing aura, never over bearing which you can get with the singing type. The ensemble never disappoint, they live this work as they reach the hill of music making in completing Mozart’s full canon and these trimmings. Page as maestro melds all together in a fine mesh of serenity.

An encore of another aria, bleeding straight into a church hymn will be more things to cherish. I’d hope to hear the recording of this very soon.

The Mozartists future events are already popped down in my diary. They are a must when in London.

I

(4 / 5)

Saint Hildegard of Bingen is many things to many people. Born over 900 years ago in Germany, her impact on music, Christianity, botany, poetry and more should never be understated. This impressive show honouring the abbess is a collaborative process between singers, artists and composers.

Voice Trio comprised of Victoria Couper, Clemmie Franks and Emily Burn make up this sacred offering of Hildegard’s compositions and new flutters from Laura Moody, amongst others. This all works very well, musically fairly approachable, even with newer work trying out some fun tricks. The harmonies between Voice Trio are blend that is highly attractive and comforting. Personally, I believe Hildegard is more important as a historical figure than as a composer per se. I wouldn’t always say I emotionally connect with her rigid, almost stone music. Though glory of her God is in every bar, aside the natural world and other philosophies.

https://youtu.be/hgJ2THMUFrU?si=Tg3qwaZQJxaB6Cc8

Artist Innerstrings, adds a potent contribution with that of psychedelic visuals. A live stream of the singers is the grounds for a development of lava-lamp buoyancies, piercing acid saturations and bleached rhythmic constructions. The concert started with a note that the saint most likely got those visions due to migraines, leading to a visual decpcition of an optical migraine. This is an awful thing to encounter, something I had in lockdown, as silvery patterns in your peripheral vising lead to a horrendous head pain. So I can relate, though I can’t say I had the visions.

The newer work (see the full programme below) was perfect for theme and mood of the night. Spritely, tender and affirmed, all things were well for this hour. Near enough a religious experience without heading to church. Clever uses of spoken words, mutterings and varying touches of discord all added in. Laura Moody and her Hildegard Portaits felt like a backbone in the placement in the bill and the final ‘The Living Light’ movement had a deep atmosphere for the trio, the highest plateau of emotion to conclude this saintly service.

Programme:

Hildegard von Bingen ‘Antiphona: O successores’, Psalm antiphon for Confessors
‘Responsorium: Favus distillans’, Responsory for St Ursula and Companions, likely for Matins
Marcus Davidson Musical Harmony
Laura Moody ‘Humility and Universe as Body’ from Hildegard Portraits
Tim Lea Young Three Wings, Part 1
Hildegard von Bingen ‘Antiphona: O virtus sapientie’, Votive antiphon for Divine Wisdom
Stevie Wishart Azeruz
Laura Moody ‘Sermon and Sing’ from Hildegard Portraits
Hildegard von Bingen ‘Antiphona: O mirum admirandum’, Psalm antiphon for St Disibod
Stevie Wishart ‘O Choruscans Lux Stellarum’, On a cantus firmus by St Hildegard of Bingen
Hildegard von Bingen ‘Antiphona: O orzchis Ecclesia’, Antiphon for Dedication of a Church
Marcus Davidson O Boundless Ecclesia
Laura Moody ‘O Woman’ and ‘Love’ from Hildegard Portraits
Emily Levy How Sweetly You Burn
Hildegard von Bingen ‘Antiphona: Unde quocumque venientes’, Antiphon for St Ursula
Laura Moody ‘The Living Light’ from Hildegard Portraits

(4 / 5)

It would be another trip to London where I almost missed the transport to get me there. To add to this, Alice Coote who is a fine singer, had to bow out of this afternoon concert due to knee issues. I don’t recall ever seeing her before and this cocnert was hopefully the first.

I’ve no qualms with the replacement: that of Iestyn Davies & Sergio Bucheli. This most wonderful of recitals was a pinpoint in time and geography. I’ve interviewed Iestyn in the past and have always been taken with his counter-tenor. It is so pure and light, even the newer music he works on is thrilling. Though it is his look back to the baroque that is most potent, the time when the previous form of the singing range for men reached it zenith.

This splendid set of John Dowland, Purcell and more was so intimate, the hall became a clear space of tranquillity. Arias by Purcel define the early idea of Englishness in music, their openness shine through. ‘Lord, what is a man’ was one thoughtful highlight of many. The Toccata No. 6 on lute, from a rarer heard, Giovanni Girolamo Kapsberger was incredibly touching. Bucheli had a solo and it was almost time travel to its bygone past, pianoissimo abound. Another Purcel and his ‘Sweeter than roses’ stood out, ‘O solitude, my sweetest choice’ had depth and longing in its extremity.

A contemporary turn from Nico Muhly (born 1981) with a selection of his 4 Traditonal Songs  seeing both artists each having solos. Perhaps the most profound was ‘The cruel mother’, a horrific story of infanticide, made moral threat of damnation. Certainly the most moving passage in this concert. The other extracts had skipping melodies and considerate charms. John Dowland’s ‘The Frog Galliard’ and ‘Flow, my tears’ were other swell choices in a programme that has no doubt been finely tuned, such was it’s eleventh hour offering. We don’t hear enough Dowland, its beauty is rare for the era, its listenablity an ease.

Ending with Handel and the Saul song O Lord, whose mercies numberless, gave us a fine way to wrap up, maybe more Handel in the future. The sincerity from the German born composer never wains. Iestyn proving how strong he is here and excelled, Bucheli remains a master of the lute, gentle and proud.

Listen to this concert on BBC Sounds. 

(4 / 5)

Image Credit, BBC/Andy Paradise

A return to The Proms saw a change in conductor. Sir Andrew Davis, who passed away earlier this year, saw innumerable Proms, concerts and operas under his belt internationally. His biography is extensive and the programme did a good job in detailing all this. So with his absence, we got the always delightful, yet rigorous Martyn Brabbins, a chameleon in all musical styles, for a concert that will be, well remembered.

Stravinsky’s three symphonies each have their own quirks and USP. In his Symphony in Three Movement, the BBC Symphony Orchestra thrilled with this piece. Naturally, you hear flashes of his Rite of Spring from some thirty odd years prior, aside usual charms from the Russian composer. This performance was effortless, it exuded a breeze out into the Albert Hall. I usually don’t stray from Stravinsky’s three big ballets (maybe the Violin Concert), though this later work has a lot of appeal. The bouncy strings, fermented woodwind and impactful percussion all stood out. A fine opener.

In a UK premiere, Steve Reich has gone biblical with Jacob’s Ladder. Detailing the dream Jacob has about angles and accession, this should be a vivid encounter. This was anything but. It took a real long time to get the stage set for this, two vibraphones were positioned and the piano moved more centrally, many string players having seats taken away. Reich has written the same music since the 1960s and these new works are a ghost of the past. The Synergy Vocals had a less impactful appearance, the male singers starting off rather weak, even with the microphones. This felt restrained and lacklustre, none of the vibrancy we’ve heard before. At twenty minutes, it was gracefully short and left little impact.

One of Davis’s favourite composers is Michael Tippet. His Ritual Dances taken from his bizarre opera The Midsummer Marriage are a set of transformations and preparations all in a stinging, English storm. These eccentric moments don’t quite go far enough, some charm and flair exists but I wouldn’t say I fell off my chair due to their vivacity. The brass has a great time, lots of fanfare vibes and the strings got hushed moments, aside stellar wedding like festivities. I’ve less incentive to see the whole opera though.

Brabbins took to the mic after this and gave a loving memorial to Davis. Stories of his temper and humour are well known, yet his love of music making was never brought into question. With these sweets words, it ended with Elgar and the Enigma Variations. This felt extra special, an easily approachable Elgar and one of his most cherished compositions. Most movements are the abbreviations of his friends and those close to him. It’s rare a piece is perfect, yet the Enigma might just be that. Again, very English in manner, witty and ironic, not afraid to trifle and meander. We may never know what piece Elgar used as the basis for the Enigma melody, but special performances like this makes the mystery go on.