(4 / 5)

It’s a joy to watch these live streams all the way from California. San Francisco Opera are celebrating their 100th birthday in a big way. New opera from John Adams and a return to old productions have seen this celebration brought anew.

Not seen for 30 years, their take on Richard Strauss’ Die frau ohne Schatten or The Woman Without A Shadow has still got it. There are still some problematic aspects that are baked into the opera, some might say it was an anti-abortion piece and seeing white people clump about in middle eastern costumes (quite possibly Turkey and further into India) does not fare well in todays climate. Having said this, Roy Rallo as director has taken this strange, exquisite opera and made it work very well. David Hockney’s staging is vivid, over the top and immensely colourful. The costumes of Ian Falconer evoke vintage productions and also have an outrageous quality about them.

This fairly tale opera is hefty, the libretto of Hugo von Hofmannsthal harks back to old German stories and Goethe quite effectively. Strauss’s score is a revelation, one of my favourites of his, now finally hearing it. Ever pushing boundaries, there is also jazz, wild waltzes, piercing modernism, mimicking of a falcon and other delights. Even a glass harmonica features for a slight few bars in a decisive moment in the final act. What could feel quite demanding is essentially a story a out love, aspiration, fate and loyalty. It remains captivating.

In the cast there were no slip ups. Linda Watson gives great theatrical dame as The Nurse, a cunning role and the make up is almost drag like in appearance. Her voice is rich and perfect for this part. David Butt Philip as The Emperor handles the high notes well, in this briefer role, the ladies very much reign supreme here. Camilla Nylund as The Emperess might be my favourite voice of the night, the woman without a shadow in question on the quest for one. Her stratospheric heights in the third act were hair raising and her presence throughout was touching and absorbing.

A magnetic turn from Nina Stemme as Barak’s Wife, the dyer, whom the Empresser yearns for her shadow in order to save The Emperor from turning to stone. Stemme is electrifying in everything she does and here is no different. Her commanding vocal is emboldened in solos and soaring in ensemble moments. Barak himself, is John Reuter, world weary and tired of the hardships of life and his distant wife. Gruff and frustrated, it another awesome role with dramatic vocal parts for the only character in the whole opera with an actual name.

The supporting troupe of dancers, children’s choir and on stage musicians also wowed in this hefty opera that needs a lot more love.

Its runs till 28th June 2023

The next live stream from San Franciso Opera is El último sueño de Frida y Diego on 22 June and is available for 48 hours from 10am PST.

Photo credit: Mark Allen

(5 / 5)

We bid farewell to Sir Simon Rattle as the London Symphony Orchestra’s Music Director. Of course, he’ll be back to do more concert in the autumn. His swansong were two evenings of the same programme, one which will not be forgotten in a hurry.

A world premiere from Betsy Jolas continues to improve her twilight success. At the age of 96, I even had the pleasure to meet her last year (I’veonly just discovered she knew James Joyce). She has lead a fascinating life, never quite clamping onto any of the fierce Male dominated experimental musical cults. Rattle has put the spotlight on Besty these last few years, though she has said that ‘Ces belles années…’ will be her last symphonic work. Translated as ‘Those good years…’ this has the composer looking back at wonderful summers filled with music, her love of the Aix-en-Provence Festival unwavering. The work is strange, theatrical with the musicians clapping, whispering and stomping. Happy Birthday is quoted and a modulating form hits the ear. Soprano Faustine de Monés arrives on stage during the piece and comically waves at the orchestra, most of which wave back. The use of staged directions makes Besty’s work stand out and Faustine sang with affectionate love for these bygone days. Its was all very touching and amusing.

Photos creidt: Mark Allen

Following on with the big guns, Messiaen’s Turangalîla-Symphonie remains Rattle’s show piece. This is a work I fell in love with some years ago. It remain the chattering, clamoring joy of the piece that stands out. Quasi-romance and galactic musing are super imposed with Indian and Greek music with devastating effect. Strangely based upon the Celtic myth of Tristan and Isolde, it’s a loud, unwavering avalanche, thanks to Rattle who kept the mass of instruments on stage in check. His joy in playing came through, Peter Donohoe in the piano solo is a head spinning sight and the demands he met with grace and agility. Cynthia Miller playing the ondes Martenot adds the ethereal sound to proceedings, you might mistake for a theremin. Her aura adds wonderfully to the exotic pot, though her passion is inward, the instrument being a small, early synth from France. Though she was surrounded by the speakers which pipe out the generous sounds of the ondes.

I’ve haven’t heard the piece live for nearly ten years, though it loses little impact. I saw some people in the audience with their mouths open in shock or disbelief. The lady sat next to met knew not of the piece and amazed when it was over. Much love to the players of the virbraphone, keyed glockenspiel and celeste who all featured at the front, behind Donohoe. I heard their colours well thanks for being sat near to them, the battery of percussion is also noteworthy for their bravado and skill. All the players deserves credit here, I’ll give them that. What a thrill to was to hear this with Rattle agian. I found my whole body shaking and tears abound, in the all consuming nature of Messiaen music.

This will be a concert I’ll cherish forever.

This concert will be aired for future broadcast on Marquee TV & Mezzo.

The concert will also be aired for future broadcast on BBC Radio 3.

(5 / 5)

Finally the wait is over. After four long years in exile without an audience, Cardiff Singer of the World is back, and is celebrating its 40^th anniversary, along with that of its host since the first competition in 1983, St David’s Hall, the national concert hall of Wales.

Having been fortunate enough to see the Welsh representative, soprano Jessica Robinson, at a recent lunchtime concert, I was very much looking forward to Heat 2 of the main prize in which Jessica had been placed, together with her fellow competitors Toni Nezic (bass, Croatia); Meigui Zhang (soprano, China) and Ogulcan Yilmaz (bass-bariton, Turkey). The judges for the evening were Sir Brian McMaster, former director of the Edinburgh International Festival, Argentinian mezzo-soprano Bernarda Fink, Welsh soprano Rosemany Joshua, multi-award -winning composer Errollyn Wallen, and returning as chair of the jury, Aidan Lang, general director of Welsh National Opera. The singers were accompanied by the National Orchestra of Wales.

First to perform was Meigui Zhang.  Meigui is an elegant singer, who clearly enjoys throwing herself into operatic roles. Her mellifluous tones rang out around the Hall. Her choices of Donizetti, Bizet and Lehar suited her voice type well, though a greater variety would have been welcome.

Ogulcan Yilmaz followed, with a selection by Rachmaninov, Mozart and Bellini. Ogulcan stated that he had been successful in making the heats after a few attempts, and the experience will have been highly valuable for him. Again, a wider choice of repertoire might have been beneficial in order to experience the vocal variation in style.

Next came Jessica Robinson, to rapturous applause for the “home girl”.  Jessica was the only singer to select five pieces (by Donizetti, Mozart, Verdi, Grieg and Jonathan Dove) and much thought had clearly been given to breadth of style and showcasing of technical skill and range. The audience clearly enjoyed this performance immensely, and Jessica’s ability to engage her audience via her pure theatricality was  palpable.

Toni Nezic was the final contestant, with a repertoire of Halevy, Verdi and Bellini. His warm bass tones, demonstration of range and ability to capture the audience worked well for him, and he will no doubt go far in his operatic career.

As ever, The National Orchestra of Wales, under the baton of Ryan Bancroft, accompanied each of the performers beautifully, and played no small part in enhancing the enjoyment of the evening.

Jessica Robinson emerged as a worthy winner, to the delight of the audience. She will be an excellent representative for the host nation in Sunday’s final. Good luck Jess!

Photo credit: Linda Farrell

[USR=4]

This most recent trip to London was met with little sleep, tube closure and sweltering temperatures. This first night in, I wanted to see a group who have established themselves since the 1950s in their love of music making.

Chelsea Opera Group’s most recent concert was Mozart’s La Clemenza di Tito, his last opera. I’ve been curious to hear this for years, it’s a ancient Roman setting filled with deceit and vengeance, or so we think. I’ll confess this was a Mozart which didn’t grab me as much as other pieces, I still went along with it. It was shorter then the more famous work and though the story is slightly more dense then it needs to be, had sharp moments of drama. As for the music, there are very many marvellous arias, some duets and a chorus who pop up to declare how great their empire, Titus really is.

The plot may some issues with pacing and there are gender crossing roles as well, so some head stretching does occur. I was impressed by the professionalism of the while thing. The orchestra were right, the chorus had some proud moments and the soloists were right for the roles. Conductor Paul Wingfield occasionally shocked with grunts and stomps on the podium, his passion was shared with all others on stage. There was a grace to the composition, though almost certainly not historically accurate, the piece remains a fine example of letting things go, even if you’ve been greatly wronged.

The cast shone here. Helena Dix was a delight as Vitella, the most dramatically dressed in vivid gown and laurels. It’s a role mostly of plotting, her voice very strong in a commanding role. Sesto was played by Kezia Bienek, also indulges in cunning with the plot to destroy Titus. Here she left little doubt over her mezzo, it was clear and noteworthy in the part. Polly Leech also enthralled as Annio, a trouser role here and the audience was very keen on her. Simon Wilding was Publio, a minor role though one he filled with suspense, he is a bass to keep an eye on.

A last minute replacement saw Ben Thapa as Titus, a strange character one not seen for most of the opera. This is a commanding person to take on, though his clemency comes later he can be a bit of queen per se. Ben tackled this arias with vigor, though the final one might have featured some unsure moments. The fact he came in at the last hour and did this is also impressive, his voice is  quite enthralling and rouge. In the smaller part of the show, Servilia played by Ellis Laugharne was a brief affair, though had some lush moments with Polly, their love for one another define in duets and sweet arias.

The whole evening remained impressive. I’d love to come back for more!  

Chelsea Opera Group’s next performance at Cadogan Hall will be Verdi’s A Masked Ball 22 October 2023.

I’ve seen much less of our BBC National Orchestra this year, I’ll admit that. Though what I have seen has been dazzling, I’m thinking back to the Charles Ives and John Adams a few weeks ago as a highlight. Our bright, American conductor Ryan Bancroft as Principle is choosing much more stimulating music than usual.

First we begin in Wales with Grace William’s and her Concert Overture. On a sad day, Grace chose to destroy manuscripts of several of her pieces, this overture being one of them. Other copies from previous performances had been salvaged and the piece is saved from being lost. It’s a jumpy, jolting few minutes. Grace’s vibrancy for orchestration is proven in this early work, I’ve never understood why she doesn’t get more love outside of Wales? The strings got a lot of attention from the composer and you can feel a unburdening anticipation to it all.

Next, a fashionable performance of Mozart’s 39th Symphony. Ryan made it breezily cool and light. The only discrepancy was a rogue phone from the audience going off between movements, holting Ryan in setting off into the rest of the symphony. I think we had some new concert attendees who didn’t quite grasp phone etiquette, especially when we are live on national radio. You don’t see Mozart symphonies as much with BBC NOW and I’d be down for more. You can feel the passion and the genius, thanks to our loving conductor who really cares about this music.

For this finale concert for the season, we had a rarity: Richard Strauss’ Don Quixote, a strange tone poem, which is also a cello concerto. Taking Cervantes’ famous epic of the mad Spanish knight, this made for one of the finer discoveries for this year. Lead cellist of the orchestra Alice Neary wowed here, were so used to seeing her in the thick of the other players, all eyes on her here. Not an easy piece to play, she delighted in the odd nature of the beast. The ironic waltzes, loved up romance and the acidic modernism that could only ever be R. Strauss. The discordant bars when Quixote famously mistakes windmills for giants are piercing, no doubt triggering a few audience members. On viola, Rebecca Jones adds to the joy as Quixote’s man servant Sancho Panza, not really a soloist though some curious playing for the much mocked viola is appealing.

Cardiff audiences would love to see BBC NOW players get more soloists roles not just for budgetary reasons. A chance to get to know who we’ve had all along in this marvellous orchestra. I only ever get more proud of BBC NOW.

Listen to this concert on BBC Sounds till 1st July 2023.

(3 / 5)

I’ve  not seen a classical concert so hectic at St David’s for years. The Hallé made the call and Cardiff answered with an impressive audience. Sat in Tier 5 I finally got to see the conductor’s face, that of an emboldened Dalia Stasevska. She turned and gave time to all the players, though I could hear her scoffing quite loudly doing dramatic moments. I love her though, she makes for a fascinating maestro to watch and seeing here near head on made for a highlight. 

Sibelius would being and end the night, Karelia Suite open with a typically Finnish, folksy fashion. It remained delightful, the last movement partially jolly within it’s ringtone nodding vibe. To be nearer the woodwind I could hear them much clearer and they ring out in a work like this if only for moments. One of the composer’s more accessible works, the symphony which follows might also be applied in that category.    

Sad to say Beethoven’s Triple Concerto for Violin, Cello and Piano left me mostly unmoved. With Nicola Benedetti having to cancel, Hyeyoon Park was up for the violin solo, aside cellist Sheku Kanneh-Mason and pianist Benjamin Grosvenor. This busy concerto has little going for it, though the three soloists made it more attractive then it really is. With so many soloists, little time is given to really get into the nitty gritty of a concerto proper. Some earth moments you’d expect from Beethoven are here and the usually rollicking passages were here. Hyeyoon and Sheku shared thematic elements due to their instrument being in the same family. Benjamin did some noodley piano from old Ludvig van, though little if anything took flight. Having said that seeing these three young talents on the Cardiff stage was quite touching. 

A surprise form Sweden and Andrea Tarrodi with her Paradisfåglar II (Birds of Paradise). With the first piece being just for string orchestra, here the second imagining is a lush and livid depiction of the jungle and the birds who frequent it. Inspired by Planet Earth from the BBC, Andrea was taken aback by the beauty of the Birds of Paradise, a subset of endangered birds who seem to have drag plumage and delightful dance moves. Wonderful glissandi evoke the shrill songs of these birds (though which specific bird of paradise is unclear), Fien orchestration sees a tam-tam struck very gently a few times and the string still shining in most of the piece. 

Dalia wasted no time and went straight into the next Sibelius: his Seventh Symphony. Surprisingly slight around 20 odd minutes, it lost momentum a few times and a musical storm did feel like it was coming. Dalia dazzled here, in the brief affair, the breeze and fire of the composer lived. The ending was full of promised and went off well, a finale which develops in the under current for such a brief piece. Brass and percussion here were devastating. I’ll have to listen to this again.

The short second half, left wanting more though still remained an evening full of bold and memorable music making. 

(3 / 5)

It is lovely to see Wales based singers out and about, here the Camenae de Cymru visited Bristol for an evening of Vivaldi. Though they had two dates in Cardiff and around the area, a little trip over the border is never a strain.

All Saints Church in Bristol is a great find. Wrecked by Blitz bombs, the restoration in the 1960s is staggering and theatrical, the vivid stained glass work of John Piper also dazzles. The fine selection of lesser know Vivaldi in his operatic arias were fascinating and touching. Kristina Bitina as vocalist gave these a good shot, the choice from her opening Gloria stood out. The opera choices from Judith Triumphans and Orlando Furioso prove they should be performed more, they stand out for helping the opera art form develop as we know it. Kristina delivered in proud song and more of these lesser known feats would be highly encouraged.

The main event would be the famous Four Season concerto we all know and love. Yuri Savkin on violin needed no sheet music and was up for the challenge for this pristine piece. On cello Tabitha Selley made for a marvellous addition, whilst on harp Ben Creighton Griffiths was suitably Baroque in appearance and played with ease and contentment. Our host for the evening was singer and writer Nichola Bojczuk, with some fitting lesser known poems past the composer’s era. This as well as her own verse was fitting for the Seasons and a reminder that in the UK we are drastically losing our bird population.

Due to the size of the church the music was sometimes drowned out by it’s unrelenting echo, the harp at times had an overbearing bass. I’d be intrigued to hear more music in the church, I just cant get over how impressive the space is. There was a crunchy noise heard throughout the concert, which no one could seem to detect. Popping outside in the intermission, it may have had to do with the stained glass, though I heard little when out there. Apparently someone had taped protein glass earlier in the day, a strange ambient noise which felt watery aside the Seasons.

A pleasure to come and listen.

Camenae de Cymru perform in Penarth the Best Romantic Music of the 19th Century on May 13th 2023 at All Saints Church.

(4 / 5)

WNO is filled with promise. With new singers emerging from our fine country, the company are on the quest to seek them out and give them the platform they deserve. For this newest recital, Dafydd Allen took the helm in a string concert.

Though programmed as a baritone, an introduction would state he has transposed into a tenor (at least for this programme). A selection of songs by Henri Duparc: Cinq mélodies Op 2, would be of great, evocative appeal and here Dafydd delivers. Though some strain with a few high notes and I assume some recital jitters may have come along, his voice does grab attention. Good acting must come into play for these songs, joy, anger, merriment et al, which continued in the choice of Hugo Wolf songs Mörike-Lieder. The last piece Abschied or Goodbye, has good fun and Dafydd seemed to enjoy himself. Light music from Eric Coates and Ivor Gurney, was sweet and a selection of Welsh songs also proves his native talents. Dafydd has so much to offer, though I do wonder about the singing range he will find himself in and no doubt, any vocal blips can be ironed out. We look forward to seeing more of him with WNO and further afield!

Soprano Isabelle Peters followed with a stunning selection of Debussy with Ariettes Oubliées. This was the real deal, no doubt here time with WNO giving her a lot of support and guidance. Further Richard Strauss and Brahms also thrilled, the German sounding good as well. Her voice just seems effortless in moments, airy and touching. Britten using Robert Burns, Spanish and Irish folk songs also felt like a treat, Isabelle proving see can sing in an array of languages and styles. Even some Rachmaninov at the end with Zdes Khorosho, had a vitality to it. An encore with both singers would be a duet from The Merry Widow, they seemed to have voices which moulded well for this soupy departure. 

Hats off to both Dafydd and Isabelle for a lovingly sung recital that proves talent after talent.      

(5 / 5)

The most wonderful concert occurred at St Martin’s in London. German baritone Benjamin Appl wowed with a fine evening of songs that will remain an unforgettable vision.

Starting with the UK premiere of David Lang’s ‘flower, forget me’, we had a ghostly atmosphere that was heavily inspired by the Schubert we would hear after. Its floral ambiance from all the poems by Wilhelm Müller that Schubert did not use for the latter cycle. It’s all very subtle and typical Lang. Both Appl and Lepper quite subdued for most of it, strange feelings of pain and disappointment predominate. Few notes are played by Lepper, what appears to be over thirty of Schubert songs in quotation form. Appl is soft and smooth here, his English showing very little of an accent. This new work should find it’s place with the now popular Lang party.

Straight into the Schubert with his Die schöne Müllerin, the bulk of the evening. These twenty songs prove the composers mastery over the lieder. The evocative sights are of nature, love and loss remain almost unbearable in their intensity. I was amazed at how brilliant Appl made things, he seems to eat and sleep these songs. I spent little time with the English translation, I simply wanted to watch him and his fine acting as well. It was his adorable little smile, his snarling, his teary turns that got to me. The song Pause, The Huntsman and the finale The Brook’s Lullaby remained as highlights, though numerous passages did also stand out.

This was the real deal in many respects, Appl seemingly taking the baton from singers like Dietrich Fischer Dieskau amongst others. Simon Lepper remains a staggering pianist, who impresses in everything he does. Even a moment lost between the sheets, he was able to find his footing, as Benjamin held a note patiently. The chilly air of the church would give Benjamin his own brief phase of coughing though nothing intruding upon his singing and he kept it well under wraps.

Consider me an absolute fan.