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. 

(3 / 5)

As Khatia Buniatishvili bids farewell to her time at the Barbican Centre, I’m already savouring her take on a Mozart Concerto. With that, the only time then I saw here live, this send off was a must attend event in London.

A blockbuster cast of artists aside a massive programme, this was set to be a excitable evening. Khatia, excels in her smooth playing, a gentle finesse that I’ve rarely seen. At this send of, she openly put herself in the background and let musical friends be the guide. Amira Casar opened with a reading of Robert Browing, later famous verse from Elizabeth Barrett Browning. Spoken with pride and nuance, I rather enjoyed them. But I did wonder why just this only? Its further relation to a night of music? 

It’s very easy to be jealous of Jakub Józef Orliński. This Polish countertenor, is a true triple threat of singer, athlete and model. His takes on Vivaldi, then Handel here were tremendous, real highlights. Tonaly everything a countertenor should be, acting with his eyes considerably. The audience adored him, he couldn’t resist showing off some break dancing at the ending Piazzolla, the well known Libertango. Nicola Benedetti is a fine violinist, her Massenet Méditation hits the sweet spot, movements from Frank’s Violin Sonata rich in melodious mirroring between the soloist and the piano. Axelle Saint-Cirel, the mezzo-soprano was seen in a slight moment just two short songs from Poulenc & Barber. We didn’t see enough, her, stage presence and mystery to the offering was impressive.

My issues with the concert were the unrelenting programme offered no intermission and ended twenty minutes later than advertised. This was a lot to truly take in and a break for everyone would have been welcome. All this music, a fair amount was solem, the lights dimmed for an atmosphere not befitting a celebration. The gaggle of other pianists were noteworthy: Sodi Braide, Hélène Mercier and Khatia’s sister Gvantsa Buniatishvili. A wonderous sense of friendship and love of music was evident when they played together, a rather creaky Gallop from William Tell had all four playing in this iconic romp. Arrangements of The Four Seasons for two pianos were fine, but having Benedetti there seemed like a waste opportunity, a violinist well known for this Vivaldi. 

These musical choices spanned centuries, they had little through line (I’ve said it before I just like using it in reviews) and were tonally very broad. Arvo Pärt’s Pari intervallo was the quieter side, a formidable silence from Khatia and Sodi, in a highlight for me. It might work best for organ, but in double piano it was extremely touching. The recently past Sofia Gubaidulina had a brief stint: Song of the Fisherman from Musical Toys. Folksy and shy, it had unashamed pianissimo and was another evocation. Choices of Brahms and Dvořák I was less stirred by, a cheery Nutcracker overture couldn’t be further from Christmas in peoples minds, another eight hander. Worries seemed to evaporate if only for mere minutes.

This meaty leaving do was considerably large, maybe a slight pruning might have faired better? 

Gabriel Adédèjì

(3 / 5)

Andrew Watts & Gavin Roberts

(4 / 5)

In something different at Wigmore lies their Sessions. Placed compactly into their Learning Room downstairs we were hit with congos, saxs and an upright piano. Gabriel Adédèjì introduced all his pieces rather modestly and with an openness. The freshness to the work sees jazz, blues and music from his native Nigeria. All of the pieces were in his native local lounge, (through Yorùbá folklore) and his singing voice is quiet, though refined. His friends: Isreal (Olá) Akindipe, Pietro Lacopini and Hannah Ledwidge gave thriving robust bursts of percussion and woodwind. Together all this was very fine, the African spirit of the whole fifty minutes rang true. I’d be thrilled to see more laid back session of the time at Wigmore.

Gabriel Adédèjì

Following on the next afternoon, Andrew Watts & Gavin Roberts gave a bizarre recital, one that often delighted. Watts has a following as a countertenor, a vocal group which attracts a gay following, more on that later. H K Gruber’s ‘3 Simple Songs’ would evoke Kurt Weill and Cabaret, fun all round a way to break us into the recital. Dame Thea Musgrave who has turned 96 is still composing, whipped up the new work: ‘Orlando’s return to London…as a WOMAN from ORLANDO – an Escapde’ Yes…that is how it was billed in the programme. Virginia Wolfe’s gender bending tale of an eternal figure of Orlando sees grief, yearning and hope. We’ve seen the countertenor in the tale before: Jimmy Somerville in Sally Potters film version is proof of this. The change in gender is now contextualised for rightful trans purposes. Musgrave have eloquence and vigour abound in this direct page rip from the book.

We had more new work, that from Raymond Yiu and his ‘Chinese Whispers’. Perhaps the most fascinating music on the programme, it went between verses breaking down the Chinese Communist Party’s love-hate relationship with Beethoven’s 9th Symphony. Policing and protest chants are the calling card to the piece, a break down as to why the symphony was performed in the past, but is now forbidden is expanded upon. Each verse is spread to the left and right of the page as we read along, adding to the poetry. A direct quotation from ‘Ode to Joy’ is all the more radical in this context. Yet, there was a lingering sadness to the piece: there are of course many works of music and media contraband in China.

The direct, effecting words of Elizabeth Barrett Browning, in Joseph Howard and his ‘Opium songs’ proved a highlight. With Charles Ives in sound and more sombre chords, this is a blunt depiction of drug use and one certainly of its time. Louise Drewett and two sweet songs had a feel of the musical theatre to them, honest insights and a simplicity of tone: ‘How I Heard’ and ‘Lament’. Watts has called this concert ‘A Countertenor Songbook’, all work within has written for him in mind. It’s clear he is popular and his voice is sharp, delivering nuance aplenty. The chemistry with accompanist Gavin Roberts proves fruitful. They’ve no doubt done concerts together loads and Roberts playing all these premieres with ease and a stillness of musicality is impressive.

Geoffrey King added to further queer themes with an inspired literally choice of ‘For Your Convenience – a guide to London’s Loos’ by John Poole from Paul Pry. Gay men have always found a way around the system and in the 1930s when it was still illegal, a work like this would be shared. From spoken advice to the printed form, this was also before Polari was used, gay men utilised this mixing of languages and puns to protect themselves. Their is innuendo in these ‘listicle’ songs, though it’s slight and could be easily missed by the masses. The ‘Cottaging culture’ depicted in this work has funny interludes, a melodica solo and many recognisable slices of the city, locals would know to this day.

Michael Nyman and his tender ‘If’ would be the send off, in a recital of many colours, beliefs and emotion.

(4 / 5)

In what appears to be a esteemed prize, the Concordia Foundation Artists’ Fund gives young musicians a true chance to get the platform they need. All this is excellent especially at this time. Mezzo Nancy Holt was the big sell, though the others shone to.

Nancy’s first set was quite stirring. An aria from Monteverdi’s L’incoronazione di Poppea proved her acting talents and rich mezzo voice. Messiaen followed with the early Trois mélodies, filled with impressionistic splendour. The last song, La fiancée perdue is perhaps most strong in its sprinting opening piano, played a equally infused Ashley Beauchamp. The typical bars over Jesus are most touching, the Catholic fervour always present. ‘Sta nell’lrcana pietrosa tan’ from Handel’s Alcina showed further talents from both, Nancy having fun with jumpy momentum and thrilling vocalise.

The double bass is a rare instrument to hear in this instance a leading player. Serbian Strahinja Mitrović wore flowery fashion and played with style, proving the star power the double bass yields. Henry Eccles (1670 – 1742) might not hold a familiar name, yet his Sonata in G minor for Double bass and piano was noteworthy for its listenability. With Strahinja playing, with the comforting Salome Jordania on keys this and more proved a joy. Elliot Carter (born the day after Messiaen and lived till the age of 103) with his Figment III was a fleetingly evocative mood swing of timbre and flung density, a strange treat. Though Reinhold Glière’s Four pieces for Double bass and piano started off as average, it gradually improved with a spark of impassioned concerto like panache. Its Intermezzo and concluding Tarantella are particularly fun to set ears to.

Nancy got a second set, with Ashley back for more. Flutters from Gounod’s Roméo et Juliette give this lesser heard work a chance to shine with an almost dance line intensity, the composer’s cleverness standing out. Highlights from Mahler’s Lieder eines fahrenden Gesellen are soothing, Alpine treat, sour with his usual cloud of dread through cheerier folk music. I heard Sarah Connolly do the whole set not long ago, the gold standard for any mezzo. Nancy got a hold of the selections with a mighty sense of urgency. An end with that oh so problematic musical: Carousel. ‘If I loved you’ is usually sung by the ‘orrible male lead in that show, though it can work for mezzo and like a few others choices in that it usually works in statement and enjoyability.

(3 / 5)

They’ve been on my bucket list for a while…Apartment House have had alluring concerts in what is now their 30th year. I was upset to miss a whole Saturday of three gigs filled with John Cage, what was a few years ago at Wigmore.

This celebration concert came as quite demanding in a Philip Glass heavy programme. The first half featured Glass’ Music in Similar Motion and Music in Contrary Motion. Whilst easy on the ear, the attention required to engage is considerable. People have thrown the word “minimalist” around, over what exactly it is and who is defined as such. This combination of synths, flutes and strings has an air of period piece about it now, both from 1969. The lapping of notes return and additions are made, only to return snap back to the starting bars. Unsurprisingly, the Contrary Motion work is much more interesting, as its unfolds with a sense of motion and decadence.

I was happy to attend thanks to Erik Satie and his Socrates. John Cage had a bad time trying to use one of his musical heroes in performances, so he found a way to write a double piano arrangement of Socrates. Through this, you do lose Plato’s vivid recollections of Socrates, the latter philosopher known for not writing down his teachings. I’ve had difficulties trying to acquire an English language version of the Sorate, but that’s another thing. In their own arrangement, via Cage, Apartment House still clasp onto the refined eloquence and unabashed serenity throughout its 30 odd minutes. The flutes and strings are still here, there have been after all few versions of this work starting with Satie’s himself. It’s very gentile, the keyboards are soft and lightly perfumed. The Death of Socrates is one of the best work Satie ever wrote, his late academic studies enhanced with highly eccentric method creation. Sweet and a dollop of emotion too boot.

Glass’ Music in Eight Parts has a curious back story: he sold some of the autograph manuscripts of the piece back in 1970s. One of which would turn up at a Christie’s auction in 2017. It sold for over $43,000. Glass actually bought it back for this figure and tonight’s European premiere is one of the versions from his original. Though no saxophones or voice, we get the alto flutes. This was undoubtedly the most difficult of the night. Less attractive in scope, its cycles never quite enthralling. Drops of more notes followed, the six part harmony would dictate our ears. These delightful keyboards from Mark Knoop (who I recall from a Queen Elizabeth Hall gig few years back), Eliza McCarthy and Kerry Yong, lead entirely. You get a feel of the range they can offer up in timbre, distortion and much more.

With no encore nor intro to the last Glass (which is a cool little story), this celebration felt a little flat. A wider choice of composers on the programme would have fared much better.