(4 / 5)

It has been a pleasure seeing a select few of the performances at the Southbank Centre’s Multitudes festival. It’s a thrill to know it will be back in 2026, who knows what bold work will be created then?

This Carnival from Frantic Assembly and Auroa Orchestra was a truly fine send off. I see the kiddies got a ‘Family edit’ of the show in the afternoon. I honestly think they could have sat through this full one hour fifteen of the full event. They would have loved it. How simply marvellous is it to finally hear Saint-Saëns’ The Carnival of the Animals live. This beloved piece is well worth the hype. As Dr. Frompou, actor Christopher Akrill shows off hyper ringleader skills and his mime, in a role which thankfully did not grate. He controls the musicians in everyway, as is continued in the premiere which followed.

The players have great comic timing, some lifted into the air for dramatic effect. The chemistry was a joy to see. Voiceover for this work was Naomi Frederick, with droll broadcaster voice and the piffy script by Kate Wakeling also was humorous and tight. The many passages of the score are tributes to the animal kingdom, the French composer never published this in his lifetime. Snobbery, no doubt was a reason, yet it remains a treasure in his canon. Aquarium was notably evocative, L’éléphant is a rare double bass solo mocking a slow can-can. The finale is a standout partially for the building up lower string harmonies, Volière sees birds, Fossiles sees as such. The Swan a timeless classic and was wonderfully rendered. Mischievous director duo Jane Mitchell and Scott Graham must have had a blast with all involved.

I was one of the few critics who adored Welsh National Opera’s Peter Pan by Richard Ayres. The Cornish composer always has trickery afoot in his score and in Dr. Frompou’s Anatomical Study of an Orchestra proves this. The Dr. is fleshed out more in his tyranny, keeping the players locked up at night. All sorts of silliness shines through, flatulent deep brass, frightened wind players with quivering legs (no doubt notated into the score) and a flautist’s ever growing instruments. Ayers’ irony is perfect, there are conventions, yet the experimental moments are glorious. The sythns are set on a particularly vibrato rich, vocal setting, something I’ve only heard with him. The final funky trumpet solo was also note worthy, as the musicians all appear to finally be free. This didn’t really have much of an ending, but the journey was the pleasurable experience.

I’d honestly love to see this Carnival again. 

(5 / 5)

In what might be the finest hour of music making have seen in London for some time, I was caught off guard with The Purcell School. These musicians are filled with the spirit of music making that is oh so needed in these desperate times.

Robert Saxton had a premiere with his Le Tombeau de Ravel. The French composer was the mainstay of the day, his 150th birthday a major cause of celebration. Saxton’s way with orchestration is curious, the sinew of melody and harmony always dissolving. The players handled the course material well. Saxton had worked with the next composer: Luciano Berio. Having his own 100th birthday bash, the School did one of Berio’s finest creations, the Folk Songs. Eleven female singers took up these wonderful arrangements, some of which are Berio’s own invention, others well established folk standards from the United States, France and Armenia. Every works as a total triumph, delight after delights is heard and felt thorough the clever arrangement. Perhaps most potent is ‘A la Femminisca’, a Sicilian call to church with metal coil, tam-tam and tubular bells.

What had wow factor was on violin Juila Majewska, with Phoebe Papandrea on piano. Ravel here channels Spain and Hungary with Pièce en Forme de Habanera and the famous Tzigane. I felt like was watching stars in the making, Majewska was an utter sensation on the violin, a second nature next to brilliance. Papandrea also proves to have a considerate chemistry, you feel they are friends. The feverish vitality of these works prove why Ravel is interesting and of note. There are many congratulations to be had here. Promise beyond promise.

To wrap up more Ravel in a four hand version of of La valse. Arranged by Ian Farrington, the waltz becomes an absurdly whirling terror that only seems to crescendo. The players Luca Newman and Stephanie Qiao impressed, their modesty at first diminished through violent playing in this four handed thrill ride.

A genuine joy to see young musicians play on this scale. 

(4 / 5)

In Ravel’s 150th birthday years lies the opportunity to hear much more of his music. Those bored of Bolero and are driven mad by Mother Goose, may find solace in concerts like this. Seong-Jin Cho was the winner of the First Prize ten years ago at the Chopin International Competition. He has truly made a name for himself as was proven by this busy concert at the Barbican.

To have done in one night the entirely of Ravel’s lifetime of piano work is no mean feat. The first set showcased early work including the delightful Jeux d’eau and the instantly recognisable Pavane pour une infante défunte. The rest here prove less interesting, you fell he finest quite master things until he goes on in his career. Seong-Jin is stimulating to watch play, performing entirely from memory. The talent of this pianist should never be doubted. His furious attacks and fluid patters are the utmost poetry. I think I could hear him breathing and panting at times.

What really sold his was the second set of Miroirs and Gaspard de la nuit. Ravel is alive her with total impressionism, expressive and bold playing for Seong-Jin who makes worms meat of the score. Great to hear Ravel in more experimental modes, as some moments would evoke Messiaen perhaps even Ligeti latter music. Birds and boats are the imagery, seascapes and night time musings. Gaspard de la nuit is also a treat for its impassioned state, its touching sweetness too.

The last set looked the longest and felt like it. Valse nobles et sentimentales was the bulk, impressive for its major pallet of dance and conventions. Further preludes are slight and passable. Le tombeau de Couperin, which he later orchestrated is another joy, evocative and some of his most essentially happy music, even out of the WW1 context. Through it all it was Seong-Jin’s determination and utmost respect for the material that rang through. His talents are plentiful, his endurance a standout.  

(4 / 5)

In the perfect setting for Messiaen, St George’s in Southwark proved a stunning evening for Britten Sinfonia. With no strings in sight, this wind ensemble would also feature brass and the famous percussion too.

Stravinsky’s Symphonies of Wind Instruments is often paired with Messiaen Et Exspecto. These delightful few minutes features shrill, bouncy moods followed by more sensual bars. The deep acoustic of the cathedral may not have faired well for this opener. The Choir of Merton College, Oxford followed in brief motets by Poulenc and Duruflé. These were the real deal, powerful stuff from these young singers. Poulenc’s Tristis est anima mea might have been the strongest, though all were truest declarations of faith.

Stravinsky’s Mass may prove why he didnt write much choral writing. Moments had promise and an experimental edge, yet it doesn’t quite take off.  Passages of Orthodox singing and strange murmurings were note worthy, the wind players getting the expectedly angular writing. Benjamin Nicholas shared the baton with Nicholas Daniel both driven with the fire of this music. Daniel, best know as an oboist have a lush solo for Messiaen’s Vocalise-étude. This is lovely in its mawkishness, brief moments of flower scents and an unbroken style that could on be Messiaen. The Choir return only now at the entrance to the cathedral with the continuing French composer’s O Sacrum Convivium. The music levitates in real time, its just so warm these singers sung it flawlessly in their last feature of the night.

In Et Exspecto Resurrectionem Mortuorum, Messiaen conjured a terrifying memorial to the dead of both World Wars. A stunning array of tubular bells, tam-tams, cowbells all feature heavily and shine. The loudness is considerable, though I think the larger tam-tams could have had the crescendos a little more stretched out. Even in Messiaen’s whole canon there is nothing this earthy or alarming. The silences between each movement are baked into the score, another powerful feat. The finale sees temple gongs played ad nauseam, as all players blast and scream through the horror. It’s quite an unforgettable feat.

Nicholas Daniel, who is now leaving the Britten Sinfonia. We will dearly miss him.