Photo credit: Kirsten McTernan

An evening of water as the life blood of the city and the world from the Royal Welsh College, Sympony Orchestra in a lovely programme. First was Elizabeth Maconchy and her Coronation Overture: Proud Thames, with mood of Walton and other English composers was heard anew here. It had that easily percecbale sound you get from over the border, it was full of chest puffing brass and percussion. Quite lovely really.

Gershwin’s An American in Paris Suite is a delightful venture, evoking the imagery of Gene Kelly and the extravagant ballet sequence from the classic film. Jazzy and brilliant, we get tuned car horns, ear worm after ear worm and a never ending passion for this fusion of great music. Staggering how much of this would go on to impact upon later musicals. It’s the American thrill of the whole thing, conductor David Jones drinking it in, sharing the fun with the students.

Vltava by Smetana flowed through, another glorious and popular choice. It never loses its appeal, the fine orchestration and melody making brings smiles all round. The rhythmic whirling of the notes easily evokes water and the brass bring larger scenes to life. The wedding and other tableaux are also noteworthy, the strings shine here, not to mention the opening. Wrapping up with Respighi’s Pines of Rome remained a vivid panorama of the city through time. The horn solo, the enthralling opening, the recorded nightingale audio and the powerful Roman legion finale, appear unforgettable. More of Respighi should be known, though this piece gets a lot of love.

Photo credit: Sisi Burn

(4 / 5)

It would be my last pop at The Proms this year that might just be my highlight of the trip. The Academy of Ancient Music, Philharmonia Chorus with conductor Laurence Cummings wowed with this years take on Handel. The German composers times in London proved fruitful and even today the city appears to adore his work. Samson is an oratorio, quite static in nature, not an opera and most of the main events of this biblical story happen off stage. Of course, the joy with Handel comes with sincere and exquisite arias, music which has held up very well over the centuries to a very height standard.

A fine cast of singers stand out here. As the strongman lead, Allan Clayton is Samsong who waves in and out of the music, his rich timbre always on display and his operatic presence never waning. As Delila, the downfall of Samsung, Jacquelyn Stucker is seen very little for these two and a half hours. Though her subtle vocals might not have command the great hall there was joy in her aria or two, her actions changing the story forever. Joélle Harvey as the Israelite Woman was clear and refined, her famous ending piece Let the bright Seraphim (with galloping trumpet) the crowing achievement of this fairly drab and solemn story. 

Photo credit: Sisi Burn

Wagner stalwart Brindley Sherratt is Harapha, adding conflict and further drama, his voice smooth and a fine baritone to hear here. Jess Dandy in the fictions (a creation of John Milton, not from biblical sources) holds the piece up with a fine contralto, her time on stage extensive, her music affirmed. Bass-baritone Jonathan Lemalu as Manoa, Samson’s father, added pathos to the final act as fate is settled. Lemalu suprisee with another golden voice, the varied male roles getting lots of opportunities to glow. Will Pate as a Messenger was brief, though in fine footing.

Some arias are highlight, the Dead March featuring the flutes and the choral numbers were touching. You’ve got to like your arias, otherwise you will struggle with a thing like this. Cummings both maestro and on one of two harpsichord had so much energy it was staggering. It all glided along smoothly, perhaps just the odd moments which left me unsure. I think the audience was taken with this work. We hope more Handel will follow. I imagine it will.

The BBC Proms are available to listen live on BBC 3 and after on BBC Sounds.

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Photo credit: Mark Allan

(3 / 5)

I’m still reeling after the Londin Sympony Orchestra and Simon Rattle doing Messiaen’s Turangalîla-Symphonie a few weeks back. As Rattle begins to leave the maestro role with them, it looked like The Proms might just be his last potential concert with them.

This is the first time the full work of Das Paradies und die Peri has been done at The Proms. Schumann’s not quite opera, not quite oratorio proved highly popular in its day, with tours around Europe and even going to New York. Based on Thomas Moore’s Lalla Rookh, the Peri in question is semi immortal creature who strives to make it to heaven. Through three redemptive tries, a drop off blood, a sigh and a tear all fail her, expect the final attempt. Journey to India, Egypt and then Syria, this strange piece has surprisingly fallen off since the 20th century, its success something of the past.

This is an era of rampant orientalisation, Moore’s story a popular read at the time, mirroring Scheredzade in the story telling arch and locations. Its pacing is slow in all fairness, though the music is fairly touching, little is done to make the exotic stand out in the music, Schumann’s early German sound is rich and at times compelling. Each part is one of the Peri’s attempts to try and get into heaven for an three act structure. There appears an almost unifying scope where characters from both Islam and Christendom are referenced, as we venture through supernatural forces and the geography of the Orient. 

Photo credit: Mark Allan

There is decent music from Schumann here, though certainly, not his best. You get a flavour for his style, though nothing really stands out, the arias and chorus moments swells and sway throughout. Rattle loves this piece and you really feel this as his choice to make happen. His mastery over everyone on stage was noteworthy, his grey, curly mop proudly on display tonight. Lucy Crowe as the Peri offered stunning vocals for this strange role. The Angel was an equally strident Magdalena Kožená, the Narrator from Andrew Staples framed this odd story together, his tenor very firm and a lovely addition to the cast. In supporting roles, Jeanine De Bique, Floria Boesch and Linard Vrielink offered compelling and soaring vocals, their characters the defining aspect if the Peri goes to heaven or not.

LSO and its Chorus delivered well in what I imagine is a work they rarly take on. It proves how German music would progress, even if Peri is something we see much less of now. It’s a good piece, I just don’t think it needs constant revival.

The BBC Proms are available to listen live on BBC 3 and after on BBC Sounds

Photo credit: Sisi Burn

(4 / 5)

There is much to be said about returning to how music used to be played. What is its purpose today? Should we look back at all? Will it keep getting audiences? In comes Les Siècles, best remembered for their Lully some ten years ago, now boasting a 20th birthday this year. The serious but playful maestro François-Xavier Roth keeps everyone in check, his little turn to acknowledge rampant coughers during a movement breaks was funny. He usually exudes confidence and gives lots to the players as well.

The genius of György Ligeti is front and centre for his centenary celebrations. The Proms have already honoured his usage in 2001: A Space Odyssey in concert, now parodied in this years billion dollar busting Barbie from Greta Gerwig. There could not be a better time to hear this most eccentric and outrageous of composers.

In its first ever Proms outing, his Concert Românesc from 1951, is a pristine find. Taking over from Bartók, this is the next level from Transylvania folk findings and new inventions along the way. It’s quite vanilla for most part in the first three movements, things seem to plod along nicely with flavourful songs and an all round infectous charm. Though the final movement, the peasants fiddle melody turns on its head as unusual tuning techniques have been applied here. The spooky last movement would have upset Soviet sensibilities and apparently had it banned for its rockstar quality. It still saw performances anyway, proving the pieces popularity.

Decades later, Ligeti wrote one of the more strange violin concertos imaginable. Isabelle Faust as our soloist really got into what feels like a highly difficult work. Broad new ways of playing meets overtones, ocarinas and swanee whistles in the woodwind and hushed cadenzas propel the Violin Concerto into a surreal realm of possibilities. Faust fiddles with a piercing, passionate flair, just trying to tackle this piece should be commended. The percussion was also note worthy with vibraphones, glockenspiel and little cymbals, some of the work being inspired by music from Papua New Guinea. Multiple listens would envelop the questions you find yourself asking. An encore of Kurtag’s Doloroso from Signs, games and messages was so painfully quiet, you could hardly take it in.

Photo credit: Sisi Burn

Now, we come to it. Sound levels. In keeping with said tradition of faithful music making, here is where the concert fell on its face. By using a forte piano for Mozart’s Piano Concerto No. 23, it was simply to quiet for his monumental hall. Fine playing from Alexander Melnikov, who seemed to relish this odd return to form. Yet it was as if his refined playing was not there at all, the crumbly, slight sound of the fortepiano giving him very little to work with. A man in front of me cricked his neck and cupped his ear to try and hear better (we were in the side stalls, not that far away). I’ve always seen the instrument as the stepping stone between the harpsichord and the piano we know today, it’s easy to see why it fell on the way side. The lack of dampener is also disheartening and just might be the major problem point. That aside, it was pleasant enough (its touching and has room to breath) and the orchestra revelled in this Mozart which proves to be popular at the Proms.

Luckily, the final piece, Mozart’s Jupiter Symphony (No. 41 in C major) kept tuning and instruments of its day and still worked! I kept finding lovely moments in this famous piece, all the players shone throughout, defining how the symphony was changing and evoling in his day. I could feel the energy, the green and floral nature of it a real testament to Mozart’s genius. Motifs grow and rouse towards the gripping finale. This is how it’s done. Popping a bell jar on the past, without setbacks. No encore, though I think this audience was quite happy.

Listen to all Proms concerts on BBC Sounds

(4 / 5)

After the recent Mahler from the BBC Symphony, a late night Prom would be on offer. I’ve been a bit of a groupie (respectfully), seeing these wonderful musicians in Cardiff, Bristol and London, this time getting got a second Prom. Amazing how laid back it was between both concerts.

Neon by Hannah Peel started off with music inspired by the dying art of the light feature. How lovely it was, taking minimalist touches and ethereal tape work to create a swell concert opener. SERENITY 2.0 by Ben Nobuto might have been the highlight of the night, a queasy mix of Messiaen, John Cage aside guided meditations and a broad audio refrence pallet. Talk before confirmed it might be the most complex piece they have done and you can really feel it. The momentum rarly wained and it had that “Gen Z energy” spoken off prior to playing. The quartet had rampant moments, the percussion with went off in the best way and the tape worked was head spinning in many respects. Top stuff.

Oliver Leith looked to the past with his A different ‘Fantasie from Suite No. 4 in G minor’, feeling mostly timeless though had contemporary inflections. It was of worth, though hearing how hushed the huge hall became for David Lang’s Glory from his Mystery Sonata No. 7 made an unforgettable sound. Quite simple in form, it held up as rather touching, Rakhi Singh needs to do little to show her talents, the solo violin never sounded sweeter and more warm. Grand stuff.

Straight into Steve Reich’s Double Sextet, here with a recording of themselves to mirror the duo aspect. Have grew tired of Reich a few years back, but it’s hard not to be lost in the energy and joy found here. The stamina is commendable , their musicality unbounded. I wished I could have stayed for applause, though my tube was calling for home.

(3 / 5)

Back for the Proms and it looks like a fascinating year. There’s been some fine music making on the telly, radio and in person for people to choose. Finally making it back, I ventured to a firm favourite of mine.

Mahler’s Third Symphony is a chunky wombat of a piece, feature length at 95 minutes and requires quite a large orchestra. For me it’s one of his best out of his cannon. Whilst the BBC Symphony here, I felt the pathos, though it lacked some Germanic rawness to it. Conductor Sakari Oramo shooed away invisible flies, other times waded in the senseless of the music. He often franticly looked about the orchestra, yet he still managed to make the piece feel longer still. Mezzo Jenny Carlstedt has a fleeting solo, fraught with typical angst, oily and just right. She stayed on stage after her moment, openly weeping for the applause. The ladies of the BBC Symphony Chorus and Trinity Boys Choir had fine harmonies, both equally on point for the particular fibre added into the symphony around an hour in.

Many moments to savour, the sweet pathos of the offstage bugelhorn, the touching trombone solo, the bells and doubled timpani sets. The universe never leaves Mahler’s music and here it is most evident. The strident leaps, the painful doldrums and agonising irony all feature. The use of popular music of his day and Alpine folk songs also stand out. You have to take the good with the bad when it comes to Mahler. It’s usually very rewarding. Maybe I was too tired to really drink in this heady brew after a day of travelling.

Though, I still feel it needs more of a kick to it, gusto even. Oramo maintains the texture through a decent pace. The final movement which js one of the finest things Mahler created, was good but just not incredible. The solemn strings, the trumpets reaching that high notes, the soaring medley line and more. The grandiose end sees the two timpani players effectively play out as the other percussionists get a well earned rest. The universe is a true, beautiful thing in that moment and we need to cherish that. 

(4 / 5)

As the 150th birthday of Charles Ives looms next year, now is the time to get to know this most American of Mavericks. Well known for his involvement in a extremely lucrative insurance firm, Ives composed on weekends. What was conjured from his hand remains an outburst of outrageous and outstanding pieces, way ahead of it’s time.

Orchestra New England have delighted in these devilish sets some of which are premiere recordings. Granted, most of these pieces are recycled from his ludicrous and sensational songs (of which he wrote many). Its curious to see his original version of The Unanswered Question, essentially the same work if rushed, even if it maintains its sharpness in concept. Conductor James Sinclair brings these oddities wonderfully together, without a drop of novelty. I did recognise some of the songs: the brief, yet angular The Cage, an enthralling cowboy ballad Charlie Rutledge, the queasy bout of Like A Sick Eagle and more. All delivered with a fiery acknowledgement of irony and some tender moments which border on the touching.

Perhaps those keen to take the plunge with Ives might fare well with this fairly accessible recording before venturing into the more out there stuff. It’s the way he did things that’s so fascinating, concepts and discoveries that predate movements decades later. These sets define a sort of Americanism, something hard to pin down at times. Pick any of the sets at random and you’d be surprised. You can pick out old hymns, spirituals, vaudeville, marching bands, jamerbies and other noise which caught Ives’ ear.

The time for Ives is now.

Buy now on CD and digital download.

(4 / 5)

In what might be the most interesting venue in which to attend a concert in 2023, Bristol Opera had a big old bash for their 100th birthday. They couldn’t believe their luck, a century of activity establishing themselves as the go to opera makers in the city. They haven’t shyed away from working with big composer, nor large scale pieces either. I’m ashamed to say this is my first venture with them. I can feel the passion, the good vibes and of course the love of all the music they embrace.

Curiously, we got to mingle around the Concorde Museum in Filton, seeing inside the inconic plane and bits and pieces behind glass. With the smell of the diesel still in the air, Bristol Opera showed of their best. It was a tour of the past hundred years, looking back at past productions, starting with their first: The Snow Maiden by Rimsky-Korsakov. In the marvellous Prologue we got a glimmer of the Russian master’s cleverness. Clare Daly as the Wood Sprite gave a brief solo, showing promise.

There was a lot of expected things: Carmen, Aida, Lakme and more. The fact they took on Verdi’s Don Carlos is impressive. The chorus clearly practice feverishly and produce a sweet sound of note, getting many numbers for them to sing here. The orchestra also have many great moments, the venue helping the sound along. Sophie Kirk-Harris faired well with her O mio babbino caro from Gianni Schicci. Ever the touching aria, Sophie found a good fitting in it. The Flower Duet from Ethel-Jane Cormack and Heather Holmes added a perfumed aura to the night, a very popular work that is never easy to do. Louise Geller as Olympia for her Doll’s Song from Offenbach’s Tales of Hoffman. Her voice was subtle in the French, she had fun and seemed to know it well.

For the celebration, a new opera was created. Fish by Joel M. Baldwin tells the story of Anne Harriet Fish, a Bristol born artist who’s art got into the crème of top fashion papers. Very much saturated in 1920s flapper culture, her elongated figures brim with whimsy. The opera sees her dream of characters she has created and historical figures who’s writing she could utilize for new art. In a second more sombre scene, the mood is a bathroom where Anne recounts her salad days, years after the first scene is haunted by ghosts of the past in a steamed up mirror. She falls and hits the taps in her tub and is no more.

This curious piece had a lot of potential and worked well. Its eccentric nature matched that of Anne’s own quirkyness. A fine quartet of singers brought out great things. Rebecca Chellappah as Anne was a great success, these new, bold piece she seems to take on with gusto. Fine singing as ever, previous reviews have said the same as well. Andrew Shore, an opera legend and past performer for Bristol Opera played Anne’s husband Walter and also Persian polymath Omar Khayyám. Shore has still got it, his baritone remains a real feast, his Wagner and Rossini also noteworthy.

Sophie Kirk-Harris was back and played both Eve and Lady Carstairs, characters rom Anne’s art who delight and haunt her in equal measure. Sharp voice and good presence showed Sophie as another talent. Guy Withers is a familiar face playing Edward Fitzgerald, translator of Omar’s classics. A jolly tenor, who I found endearing, Edward finished the cast of singers with aplomb.

Conductors Arne Kovac and William Stevens kept face for the classics and this premiere, easily accustomed to conducting duties with flair. Other highlights were Shore doing Doctor Bartello’s manic breakfast aria from Barber of Seville and the surreal turn in the finale: The Toreador Song from Carmen. Rebecca gave us Mon Coeue from Samson and Delia. I couldn’t have asked for anything more.

I’ll have to come and see future work now.

Bristol Opera perform in Feb 2024 with The Merry Wives of Windsor by Otto Nicolai.

Image credit: David Monteith-Hodge
(4 / 5)

Very much well done to the music students at the Guildhall for a curious double bill evening at the opera. Holst’s Sāvitri is taken from the Indian epic the Mahābhārata and looks at love beating death, a theme seen in opera for zonks. It’s a very English affair, Holst has little time for any commitment to traditional Indian music, unlike later English ones like Sir John Tavener.

There is Wagner and Richard Strauss to be heard, but it is the tea and cricket heritage that rings out. Lorna McLea is a resounding Sāvitri, Steven van Derek Linden her partner Satyavān also strong with death just in his door step, vocals which proves promise. As baddie, Death is played by Jacob Harrison, intimidating in delivery and statue, though his kryptonite being love over death foils his plans over our super woman. The real nice touch is a vocalising ladies chorus which suggested an exotic nature, a fad heard in other Indian inspired music of the era.

A much stranger second work by Judith Weir followed. We just heard her new work at the Coronation and I had the pleasure of meeting her last year, her friendly and passion for music making never wains. In Blond Eckbert based on the story but Ludwig Tieck, we get an absorbing and nasty piece. Dubbec a “pocket version” of the opera, the whole endeavour was weird and wonderful. The story became more of an oddity, the woods and fate being major themes and visuals. The Bird is Louisa Stirland, a narrator who tells the tale she has been enamoured in for years, high, vocals and irregular movement. Feeling like quite a demanding role, she makes it look easy.

Eckbert is Emyr Lloyd Jones a role filled with regrets and anxiety. Well placed here, he maintains the tension needed and has power to it all. Berthe, his wife is Rachel Roper who might be the most fascinating character, the plot vastly surrounding her circumstance. Her recounting of her abusive youth and espace was well poised. Jonah Halton as Walther holds a lot of the story in his hands, there are spoilers here for those curious. With his slight build and thick moustache, all is not what it seems and his tone is terrific. The reveal concerning his characters is quite shocking also disturbing. The score as well has loads of suspense and quirky, flavourful orchestral writing.