Photo credit: Guy Harrop

(3 / 5)

On their last leg of their Welsh tour, Swansea City Opera have made a personal and sweet show about the older men in our country. Inspired by the Mens Shed craze, which started in Australia and now is world-wide, it has seen men in the community overcome barriers and have a go at wood work. Though the craft element is the pulling force to join, many friendships have been made and its looks like men are opening up about their traumas and hangups.

This collaboration with the opera company saw a piece inspired by these stories, of men coming out of their shell after grief and turmoil. It’s a slight story one which, might not have needed an intermission. Brendan Wheatley as director and librettist, also gave a pre-show talk breaking down his role and the opera itself. He likes puns and rhyming, aside many Welsh tics and mannerisms. Lenny Sayers score was accessible for those new to opera, holding up as a spritely, pseudo Jazzy and Blues fair. A surprise and a delight to see a vibraphone and a saxophone in with the musicians. The former I imagine eventful when touring around Wales. A Gnome aria held up as an absurd highlight, only ever a good time. The inclusion of both the Llysfaen Singers choral bouts and the Lisvane Mens Shed for bouts of wooden chorus slamming felt right, proving the true community side of things.

We follow times spent with Ioan, Dai, Rhys and Charlie. Gwen, daughter of Rhys, drags him along to the shed to get him out of the house and to find a vocation. Popping along, he is warmly welcomed and comes out of his shell. The rest of the opera is the other three guys at the shed and what they have gone through, their reasons to join. This did feel like one big advert for the sheds, though if it does get extra members I can only see that as a positive.

The quartet of male singers: Robyn Lyn Evans, Dyfed Wyn Evans, Aled Hall and Wyn Pencarreg have tuned the show after said tour and previous stagings. Their humour, light and hearty singing is the bulk of the show, their histories of anguish and pain bubbling up. BBC Cardiff Singer finalist Jessica Robinson was a fine Gwen, she address the audience through speech and sung with a firm clarity.

I’ll applaud the show for giving opera to those who never thought they would go and also for its support for a mightily important endeavour. You know…I might just pop over to my own shed after all.

Photo credit: Tristram Kenton

(4 / 5)

Performance artist Marina Abramović knows a thing or two about death. Earlier this year she almost died and remarkedly got a boat over to London for her few months here (health prevents her from flying). She is stretched between time at the Royal Academy, South-bank Centre and English National Opera. The latter of which is what this review shall discuss.

Her obsession with opera diva Maria Callas started in childhood, Marina overcome with tears upon first hearing Maria on the radio. Marina’s artwork has always been extreme in command, duration, content and context. I was curious just how this would go down with opera audiences, most known for conservatives tastes and values. Well, traditionalists will find favour in these 7 deaths, each one of Callas’ most revered arias from Verdi, Puccini, Donizetti and Bellini. So seven sopranos treated us to these famous arias, each one as wonderful as the last. Some ENO trained ladies and other international stars really made this show shine. Marina during these hits remained static in bed as Maria.

Fellow Serbian Marko Nikodijević composed the fibers between the arias, creating a subtle yet somehow harsh soundworld. The video work of Marco Brambilla was hypnotic, sprilaing vortex and storms, another highlight. Marina even planned the set with Anna Schöttl, a lavish tribute to the Callas aparment in Paris. Giant video work towers over all on stage, Abramović and Willem Dafoe muck about with various inspired threads on the deaths of these operatic heroines: Tosca’s plunge, Norma’s immolation, Carmen’s stabbing et al. More performance art is here as you’d expect and some of it is captivating, other times a little on the nose. The Ave Maria from Verdi’s Otello paired with Marina covered in huge constricting snakes might just be the best thing you’ll see on stage this year.

The whole opera builds to the seventh airas and we get a scene change after it. Marina directs herself with idiosyncratic spoken word, as she has done during the intermezzos all evenings. Here, her guide to life reach the steps for Maria to end her life: getting out of bed, opening the curtains, smashing a vase on the floor and leaving the room. The seven sopranos come back in, still dressed as their maids outfits to tidy up the mess. Marina returns all golden and sparkly, she does her thing as we finally hear Callas, as her Norma is cut short and the show ends.

One of the more stanger and wonderful operatic exercises this year.

Its runs till 11th Nov 2023.

Marina Abramović at the Royal Academy runs till 1st Jan 2024

(4 / 5)

I recall fondly the form of Cardiff Opera Julius Caesar from Handel prior to the past pandemic. I’ve noted they seem to now do events both here and in Bath. This onward rise would see them tackle on of opera’s most absurdly strenuous offerings…

In these scenes from Götterdämerung, the final part of Wagner’s Ring Cycle, worlds end and new life is restored. This ‘Twlight of the Gods’ remains one of Wagner’s and the art form’s finest creations, innumerable leitmotives are heard yet again, mutated and used as a psychological jab in its effect in the listener. These highlights were around 2 to 3 fifths of the full opera, though the absence of lead hero role Siegfried and to a lesser extent the Rhinemaidens aside the Vassals was apparent.

Guiding us through the harsh narrative terrian of the story, Dave Key-Pugh was an approachable and added humour. I think I heard a mispronunciation of a German name here and there, though it was of little significance. David Hutchings assisted the singers as conductor, with a consideration for the heft of their roles. Nicola Rose as accompanists, took on the fury of the orchestral role reduced to piano with a mighty passion throughout.

The opening scene sees the Three Norms here from Charlotte Collier, Wendy Silvester and Charlotte Whittle. Some quivering notes didnt quite reach their mark, though mostly this scene was fine, as the Norns wheel the thread of fate, as this absurd story is wrapped up over the next four hours. William Stevens has feathered before with the company and his Hagen is quite impressive, his time with Longborough covering the role is note worthy. Hagen who conspires to  obtain the ring from Siegfried, gets some deliciously evil moments whenever on stage. His half brother and sister was from a fitting Alexander Learmonth as Gunther and a returning Charlotte Whittle as Gutrune. Here both singers come into their own, Alexander playing up the character’s insecurities, whilst Charlotte shapes the role with stellar vocals. As Alberich, Niall Hoskin is the thieving Nibelung, who set off the whole story, here speaking to his Hagen in an apparent dream scene. Niall got the delivery right, he makes the role his own.

Wendy Silvester gets what some say is the full Cycle’s highlight: Waltraute’s Monologue. Fellow Valkyrie sister of Brünnhilde, she comes to warn of their father Wotan and the eventful fate of all the gods. Wendy got into this rich solo, meeting the onslaught of delivery. It would be towards the end where her voice buckled, though if not due to the intensity of the writing, I’d put it down to the chillness of the venue. Laura Hudson faced Brünnhilde with a polished scope, the lasting legacy of this role being it’s soaring vocals, redemptive honours and climactic summation. As a funeral for Siegfried is taking place, Brünnhilde beings her massive final epic aria, her immolation triggers the end of all things. Wendy got the pacing and grandeur of these last 20 minutes down well.

I dare say, when are they doing the full shebang?

Cardiff Opera do Puccini’s La bohème at The Mission Theatre in Bath 14th to 17th December 2023. 

It would be a fleeting affair in London to make sure I was celebrating with The Tallis Scholars. Something I did not want to miss. In the wonderful atmospheric Middle Temple Hall, known for its first recorded performance of Twelth Night, the evening went by in a flash.

Drink and canapes were flowing throughout, as things started off with Palestrina’s Magnificat Primi Toni and the eternal Misere by Allegri. The balcony space was utilised for both works, this opening gave you the feel for this choir, their mastery over polyphony and admiration of religious works. There was a marvellous vibe to proceedings, the audience blessed to hear such things. The latter was a highlight, with its serene high notes and it’s tennis match between both choirs in the space.

American writer Leon Wieseltier gave a fabulous speech about his first time hearing the Scholars. Passing the church in which they were singing, he fell in love with them all those years ago and has continued to give unwavering support to them ever since. His writing was highly eloquent and often funny. Caroline Trevor, wife to conductor Peter Phillips, also recounted many years with the choir as singer, leading later to romance. Their was a nice slab of gossip in this speech, personal insight which went down well, Peter beaming in the wings.

I’m glad there was a world premiere, this time from Nico Muhly and his A Glorious Creature. Taking Thomas Traherne’s words, a piercing perspective on the sun and its radiant light giving, Muhly has written a piece which didn’t excite me. It was a sort of strange slice after slice of the words, the singers each getting turns in the polyphony. It was pleasent, but left me a bit chilly.

John Tavener’s Song for Athene needs little introduction. Written as a perosnal tribute to a family friend, it would later be catapulted into fame with it’s usage at Lady Di’s funeral. Here the Scholars offered up a well sculpted and tender version, I found myself in bits. It was a special addition with Lady Tavener present, we lost Sir John some ten years ago. Arvo Pärt’s Virgencita ended this second set with more touching auroas and a reminder of his talents still going stong in his 9th decade.

James Jolly, Editor-in-Chief of Gramaphone also recounted good times with the Scholars, we were offered a tribute copy of the magazine with a history of the choir. Peter Phillips gave the final word, in a speech filled with pride, also acknowledging the pitfalls of the past and present taking them on international tours. We we given goody bags with the aforementioned magazine and Peter’s unexpected flutter into book form about the restaurant they frequent after reharsals.

It was all very inspiring seeing how much of a success they have been, 50 years is quite a long time really. Of course, things had to end with Tallis himself and we had three works: Loquebantur variis linguis, Suscipe quaeso and Gloria from Missa Puer natus. It couldn’t have ended on a finer note with their namesake composer that they have honoured countless times. These sweet pieces crowned the night, their affirming faith, their simple simplest registers and easy listening appeal had us leaving the event with much contentment. 

Photo credit: Christophe Abramowitz

(4 / 5)

The goal of more accessible concerts at half past six is one of London Symphony Orchestra’s outputs. It’s a swell idea, with one 30 odd minute piece getting the spotlight and a talk before going into more detail makes for a grand hour.

Here, Barbara Hannigan as conductor and speaker, delighted with insights into Pulcinella by Igor Stravinsky. Heavily inspired by the music of 18th century work by Pergolesi, this would turn out compromised as most of the music featured is not by him. Hannigan went into detail about Stravinsky’s dip into neo-classical ideals, a return to form of less experimental nature. You can hear it’s still very much Stravinsky’s arrangement of this bubbly, happy music. It’s a world away from his earlier ballet work, this being a collab with Picasso and other artists.

Hannigan as conductor, created form the way she is known for. She seems to executed good vibes bringing this out to us. The players shone with the return to Italian standards, peppered by the Russian composer’s rampant vitality. A trio of singers: Fleur Barron, Charles Sy and Douglas Williams has few solos, though these characters from the Commedia dell’arte proved good actors and suitable vocied and ones to watch out for. It’s the little extra details Stravinsky adds that keep you thinking after it was over.

Photo credits: Mark Allan/Barbican
(3 / 5)

A rare visit from the Munich Opera orchestra would be a treat for London based audiences. I missed them the night prior, a selection of Victoria Poleva, Berg and Richard Strauss seemed promising.

In a very Germanic second evening, Wagner’s Prelude to Tristan and Isolde is total romance. Many speculate it’s sex set to music, the passion of the Celtic story cannot be deined. Conductor Vladimir Jurowski swooned his way through, the buttery fluidity highly sensual. This is easy Wagner to access, the famously coined bleeding chunks. As an opener it was very fine.

For Schumann’s Piano Concerto, we saw Yefin Bronfman as soloists. I do find this piece apprachable and easy fair, Yefin had restraint in many ways. Wagner absolutely quoted at least one melody here for his Flying Dutchman. As a concerto the piano gets many flights and retrospection, Schumann’s lovely sence of dynamics are ever present. There is also the feeling of the promise what the piano concerto will become, there’s not really violence here nor harshness. Yefin faired well, but I wasnt wowed. An encore of Chopin pleased most.

I’m hearing Mahler’s 4th a few times this years, the LSO in Bath last. Here, in what is not my favourite of his lies a symphony filled with sleigh bells, sweet melodies, moments of pain and a soprano singing as a child in heaven. A bizarre brew, which does not always hold up for its hour demands. Yet when right, it sparked and transformed, Jurowski proving his fine maestro sway over the mass of players. The boyserious, Austrian air I think about in Mahler is in this, though is done better in past symphonic work. Louise Alder for the saccharin finale also added to proceedings. Her voice matched the tone well, the delight of the child in heaven playing and seeing the saints going about their jobs told through the vivid verse.

A final gift of Bach’s Air on a G String wrapped up well. 

(4 / 5)

A rare treat from OVO in London with The Threepenny Opera. Most well know for the hit song Mack the Knife, the show’s titular anti-hero, this remained a delight. From the mostly young cast was brought new life to this peculiar show. High res jackets and made up mannequins are the home stay of the production, directed by Adam Nichols and Julia Mintzer.

Kurt Weil excelled as caberat songs, symphonies and film score. This is some of his best work here, the bouncing, acidic metres and remaining tunefulness are total highlights. Story wise, Bertold Brecht was never one to turn down a sort of fable lecture in most of his work. Mack the Knife is one of London’s most infamous criminals, falls in love with Polly and gets his commpuence…or does he?

My plus one was confused over the meaning and the ending’s choice. I always see it as Brecht’s cutting look at society and the systems we engage in as flawed, corrupted and horrible. This was Peaky Blinders for the Weimar period. Much respect to the springy, witty ensemble. This is such a Cockney piece and the accents felt genuine (this London after all) and the leads impressed. Peter Watss as Mack, bringing out all the stops for the scary, yet loveable thug. It was nicely performed and should see him in the role agian.

Polly was a delight from Emily Panes, musically well suited to caberat. The role does not have a lot to do, but when she engages with Mack and warding off his other lady friends things take flight. Mark Carlisle adds mad inventor vibes and Jonathan Peacham, engaged with money making schemes with homeless people. The delivery was telling and his timing well paced. Annette Yeo as as Celia Peccham in an amuzing costume and shrill theatrics is another enjoyable flutter.

The ensemble acted, sang and played the instruments and well done them. Czech conductor Lada Valešová added a serious, if still fun tone to proceedings. Her sometimes engaging with the action was dry, these little moments helped break down the show, being in the round, in English translation and by a group who didn’t focus on making a very showy show.

It runs till 7th Oct 2023. More information here

(4 / 5)

A return to London, making an effort to go and see something before even going to my host. In this marvellous afternoon concert we heard from JS Bach and other varying delights.

This was really an opportunity to show off Chouchane Siranssian on the violin. I loved the effort of a sensual Leonardo Garcia Alacón on harpsichord and Balás Máté giving patience and nice drone work as supporting cello. The Bach works: the Violin Sonata in G and Adagio from Violin Sonata in C minor had that had real compassion, Siranssian seems to soar in this repertoire. Amazing to think how much the repertoire has changed, yet Bach was such a game change in his own right. Complexity met beauty in what we should expect from Bach, the passion of these players was a highlight.

Though the Bach got the audience in, a delight from Carlo Farina and his Sonata quinta detta ‘La Farina’. Of note is it’s strange momentum, seemingly slow then without warning pushes forward with swift rhythms. I hadn’t heard anything like, certainly not from the era of the composer (1604-1639). More discoveries like this make you realise just how much innovation there was over the centuries.

A short fire trip followed with Johan Jakob Walther’s Passacaglia from Sonata No. 7, Krikor Naregatsi with his Improvisation on Havun Havun and Pietro Antonio Locatelli’s Sonata in D minor. Siranssian shone once again here with one part of high pitched squeals from her violin, her accompanists also getting fine musical moments. Bleeding well into each other this choice of three works was fine, its was all very touching and highly sweeping. The broad steps of musical style and expression never waned.

Ending with Andrea’s Anton Schmelzer and his Violin Sonata ‘Victori derby Christen’ prove more brilliance from this trio, this hour with them a joy. Siranssian I assume read out the name of movements in German as the piece went on, its approachable nature made for easy listening. We’d love to have them back soon.