Photo Credit: Ben Ealovega

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.

(5 / 5)

My first encounter with Jan Lisiecki was around a decade ago at The Proms doing Schumann’s Piano Concerto. He’s matured a lot, being of teenage years back then.

In a stupendous evening at Wigmore, he presented an entire programme of preludes, spanning well over two hundred years of music history. I would rarely rush to hear Chopin, though his playing is event worthy. The Prelude in D flat is one of many famous pieces from the Polish composer, a fine start to an exquisite concert. Chopin’s sincerity beams through here, Lisiecki’s subtle hand stand out.

With no pause for applause, the first half whips through a broad pallet of delights. The two iconic preludes from Bach’s The Well Tempered Clavier Book I, were peppered well at both ends. Rachmaninov meet Lisiecki with big, beefy handwork as if a giant had written it (the composers large hands are well known). Glossy highlights from Morceaux de fantaisie and Preludes in D & G minor added to the pot, I’d say this player has some very good handling of Rachmaninoff, perhaps as sharp as his Chopin. Whilst the Szymanowski offering may have had less appeal, I found them to be satisfying, the performance as ever finely formulated.

For me the most wonderful moments came with Messiaen and Górecki, two of my favourites. Messiaen’s early Preludes are a rich cocktails of his inspirations and precursors to what would follow. Plainchant is a clear point of reference, the latter of a dove’s wing the evocative, Debussy like opener. The erratic nature wrung out of the piano, only becomes more eye bulging as Messiaen went on. Górecki’s Preludes Op. 1, were two of the four he wrote, that had a disturbing and gurgling power typical of his younger years. Tender moments are few and far between, more evident are the hellish furies and earth shattering bashing. Then at its end at break neck speed…Bach. Genius.

The second half was the entirety of Chopin’s 24 Preludes. Each of Preludes we heard in the previous half of the night are back here, even more sweet and filled with an openness. A range of emotions are present, joyous rapture, pain and regret, determination and pride. Liniecki was a total triumph, moments of contortion upon his face, the trills and cutting melodies child’s play. An encore of a Schumann Romanza only touched me more.

It’s rare to see talent like this often. His youth is also tantamount to this, with the prospect of future playing and recording highly enticing.

(4 / 5)

The BBC National Orchestra season has now officially ended in Cardiff. Whilst a showy wrap up was usually at St David’s Hall, we didn’t get it there this year due, to an ongoing cladding discrepancy. Most if not all concerts have been at Hoddinott Hall in the WMC this season and the year usually finishes with an extra concert there, though it would have ended there anyway. Are you following me?

The themes of Greek myth and a focus on the flute made up the evening. A Debussy heavy first half had the typical Prélude à l’après-midi d’un faune. Opening with the famous theme for flute, the seven odd minutes are evocative and sweetly scented. This brief ballet caused a stir at its premiere, Nijinski the dancer always up to provoke. Our national orchestra seduces us in this opening gambit, they make it looks like child’s play. Following on was the French composer’s Nocturnes, a powerhouse display of orchestration through merriment, nature and seascapes. The final movement of Sirens sees the ladies of the BBC National Orchestra of Wales give into some lovely wooing. The sailors who would wreck their ships, are lured by said sirens and there song is an exquisite offering. It is…a bit mawkish, though I cannot deny my palette for these sirens.

With the composer present on the night, Christian Mason’s Flute Concerto, dubbed ‘Thaleia’ proved to be the real highlight. With same orchestration as the previous Debussy Prélude, the story is of Thaleia, the Naiad-nymph from Mount Etna, with her exploits with the stroppy, amorous Zeus. With Gergely Madaras conducting and his wife, Noémi Győri as soloist this was a personal and powerful conjuring. Playing both flute and piccolo, Győri is a sensation in what must be a deeply challenging role written for her. Trills, flutter tongue techniques and whispering harmonics were all part of the demands. Musically strange, crammed with earthy allure and with many dramatic bouts, I was thoroughly taken with this geeky, Greek mythological inspired oddity.

Madaras, who introduced all the music on the night, for the last venture bigged up Belgiam native César Franck. The orchestra has recorded some select scores in the past, though he doesn’t always get a lot of loving. That changed with our finale: Part 3 of his oratorio Psyché. A small, patient selection of the Gents of BBC National Chorus of Wales joined the mass of ladies for a gutsy showing. This was a taster of the full, proud work and it left wanting more. Madaras, who stirred all night, was most alive here. Some sumptuous bars were compelling, I just would like to hear the full hour long work.

Review aside – Next season, we kindly request we have physical programmes back and some of the lumbering, black microphone stands be moved away from the front of the orchestra.

Here’s to more music making in the Hoddinott!

Listen out for this concert in the near future on BBC Radio 3, then BBC Sounds for 30 days.

(3 / 5)

In their official end of their season, BBC NOW would wrap things up in their trying year, with no St David’s Hall, at Hoddinott Hall. Though they usually have one last flutter in the Hoddinott before the last concert at St David’s (then off to the Proms in London), this smaller scale concerts still have a lot of punch.

A hefty Cello Concerto from Dvořák, with soloist Alisa Weilerstein was an impressive start. All the folksy, good hearted nature of the Czech composer’s homeland is here. Written both in the US (where he taught) and his home, the piece is a three-quarter hour delight. Retrospective in nature, the home sickness also messed into his past love affair with his wife’s sister, who originally never cared for Antonín. This didn’t stop him putting her favourite song in the concerto. You’ve got to really like the cello for this to truly work, though the orchestra do bring out some ringing moments. The brass felt rather loud, perhaps due to the direct acoustics of the reliable Hoddinott. It’s always looks silly for a percussionist to wait patiently and then just play one instrument…that being the triangle for this large piece. Alisa makes the solo role putty in her hand, she brought many truths and I also was taken with her passion. She didn’t shy away from broad, proud moments and subtle, tender bars were noteworthy. Not quite my favourite cello concerto, but lovely all the same.

Blue Cathedral was our post interval opener from Jennifer Higson. Inspired by imagery of a cathedral floating in the sky, this liminal space in musical form, had lots of percussion and flamboyant instrumental moments for the orchestra. Some serene, Debussy like phases flattered the audience and some little bouts of harsh dissonance cropped up as well. I found it appealing, though felt it didn’t quite find its footing in its ten odd minutes.

A real rarity followed and a problematic one at that. The joyfully energetic American conductor Ryan Bancroft has treated us to his countries great musical offerings most notably Charles Ives, with a 150th  birthday celebration this year. African American composer William Dawson saw great success with his Negro Folk Symphony in the 1930s. Though he could not bottle this popularity, he revised the work after visits to West Africa in the hope to rekindle its past success. Whilst Dvořák encouraged American composers to utilise spirituals and other music from Africa, he set the gold standard for its use. There is much flair and drama in Dawson’s symphony, the mark of slavery and faith pierce through. Its quite intense and theatrical, remarkably I was still bored by it. Even the lovely use of harp and an anvil at the conclusion didn’t win me over. Its fusion worked well enough, I just don’t think it maintained the stamina for the over thirty minutes. Whilst I have my own reservations, I cannot deny the works place in history nor it’s influence under diverse composition.

Listen to this concert on 13 June 2024 on BBC Radio 3: In Concert, then available for thirty days on BBC Sounds.