(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.