My support for English National Opera goes back nearly two decades. I’ve loved the passion, the commitment to the art of opera and music making. With recent setbacks and issues, I still need to support the company, yet I have some doubts…
This is an odd choice, Kurt Weill and Bertold Brecht’s Rise and Fall of the City of Mahogany would be the latest premiere from the company. With Weill’s love of all thing’s cabaret and Brecht lectures for the audiences…it’s an often-heady mix. Directed by Jamie Manton, this is a stripped back show, with Brechtian sensibilities, one which typically vexes.
I found there to be several issues, I think the English translation let’s it down, it should be in German for that acidic pout of clever-told-you-so storytelling. ENO’s commitment to opera in English has always been the gold standard, yet not everything works. The humungous Coliseum may have proven to be two large for the opera intimacy, within many moments of the first two acts.
The City of Mahogany comes about as dessert delivery workers can go no further with their toil. They choose to set up in the wasteland, creating a utopian idyll where everyone is equal, at a price. A strange band of characters including Jimmy MacIntyre and his lover Jenny Smith make the city their home, though flaws fixate and unpaid debts cause fatal flaws in the city’s ideals. This is where Brecht gets to shine with his annoying storytelling parables. There are no prisoners for this lucid narrative, less about sharp character development and more social and political, issues of the day, now seen with fresh eyes – today.
Weill’s score is highly eccentric. With the addition of banjo, acoustic guitar, an under used saxophone, (I think I heard pianola at one point) and other fun additions, I do stand by this being an opera if highly unconventional in its vocal delivery and orchestra fibres. Many merry Oompa moments and toe tapping bars should appease, yet this is not always the case. The first part of the night with act one and two conjoined, felt like a slog and the intermission after the first act would have been graceful respite. The third act remains the most ‘operatic’ as the story finally gets some heightened momentum with Jimmy MacIntyre’s execution for unpaid whiskey bills and other heinous acts. Story wise, that’s pretty much it!
The chorus and orchestra of ENO are always a thrill and under the baton of new music director André de Ridder, I think there is little to be worried about. The concerns lie with an arts council who have openly chosen to comprise the company base of over ninety years in London, with Manchester flutters for their own Brech-like agendas. You can see this in the sets of Milla Clarke, though ‘alienation’ as a proven point, the set back on this funding would slash many ideals. There is good singing from Danielle de Niese, Simon O’Neill, Elgan Llýr Thomas, Mark Le Brocq and more. Some eccentric dancers would add to the fray in often bizarre and comical ways. My only regret is that I just wish I’d enjoyed this screwball rarity much more.
Side note: I should be off to Hamburg later this week for Monsters Paradise, another German twist on the American dream, where Trump will fight Godzilla. Now that. Is. Entertainment….
It would be further new discoveries in music that would present Ensemble Près de votre oreille and their concert of William Lawes. He would write for Charles I and his involvement in the English Civil War would see his fate sealed. Yet, why do we not know of him better?
With dimmed lighting and a solemn air, this hour was quite evocative. Lawes pushed boundaries in an era which he found himself in. Baroque would be the time, yet everything is sharp, the ensemble brim with a youthful punch. With singers Marion Tassou, Anaïs Bertrand and Olivier Gourdy, their series of Choice Psalms held such intimate secrets, a journey back to the past and one of great impact. Extracts from Lawes Harp Consorts were other thrills, it’s the simplicity, really. The ease with everything was held together tight but was just so soft and alluring.
Director Robin Pharo, who was playing viola da gamba throughout, spoke halfway through declaring it was the ensembles first time in the UK performing. This broke the spell for me a little, I think the whole hour could have easily sailed on peacefully. Perhaps Robin could have spoken before the first piece? What followed was still sweet and profound in many ways, as more Harp Consorts and Choice Psalms wafted around us. We must strongly encourage Ensemble Près de votre oreille to come back and do more stellar work such as this.
There is no doubt about it, 2:22 A Ghost Story is a global phenomenon. Since its debut in the West End in 2021, the production has had seven seasons in London, a record-breaking UK and Ireland tour and has inspired over thirty productions across the globe. It’s safe to say that the play penned by Danny Robins has enjoyed huge success and is still as popular as ever.
Judging by the gasps at the climatic twist in the tale, there are still people who are brand new to experiencing the plot of 2:22 for the first time. Even for someone like me, who has seen it before, the play still carries huge weight and the twist in the story still hits hard. The action sees a couple hosting their friends at their new home, with renovations still in full flow. What the play does so well is bring together four people who are clearly from such different places in their lives, careers, social backgrounds and more, and throws them together in an evening which tears their nerves to threads. The premise is simple; having just recently moved in with their newborn daughter, Jenny has started hearing noises through the baby monitor, whilst her husband, Sam has been travelling. The key point is that these footsteps always happen at the same time, 2:22am.
What follows is the pursuit of the truth and what is really going on in the baby’s room. The dynamic of the two couples is well played and scripted here, with each character’s beliefs and backgrounds bouncing off or colliding with another character. Sam is a scientist and therefore, complete disbeliever of his wife, chasing away her theories with flawless logic. Lauren seems more inclined to believe Jenny but is still sceptical, whereas her partner Ben is a firm believer. The clash of personalities here is excellent and very believable. These people come from all walks of life, and this is clearly executed throughout the script.
Sound and scenery add to the tensions of the piece. The stage remains fairly unchanged throughout, but the passage of time is marked by sound, blackouts and the stage proscenium being lit in stark red lights. This is highly effective, along with the dramatic sound effects, in ramping up the tension exponentially and the crowd often descended into nervous, anxious giggles in each of these passages of time. The effects on stage are also very good; not overdone, but when they are delivered, they’re very believable. It’s the lack of ghostly happenings rather than them being overwhelming and constant which makes the tale palatable and draws the audience in even more.
A small cast, but one that delivers in spades. Grant Kilburn is excellent as Ben, delivering much needed comedic relief which helps ease both the ghostly and social tensions. He is partnered with Natalie Casey’s Lauren, an eccentric, zealous peer of Sam. Casey owns the stage with gusto and swerves between comedy and drama with ease. Shvorne Marks is hugely capable in the role of Jenny. Her fear is palpable, and we are instantly on side with her and want to believe her story. She is the perfect counterbalance to Sam, portrayed by James Bye. Their relationship is very well delivered by the pair; their love is evident, but the marriage is scarred by their differences and inability to agree on this divisive topic.
I was very impressed with the play’s rewatch factor, as I have seen this before and obviously knew the twist in the story. It still had massive impact for me though; I had huge enjoyment spotting the clues cleverly interlaced throughout the script! If you’re up for a night of jumping out of your theatre seat, this is definitely the one for you! But it’s not just played for scares; it’s a well-constructed play full of great comedy, social commentary, fractured relationships and, of course, the devastating climatic ending which will leave you open mouthed. If you do manage to grab a ticket, just remember, ‘Shh! Please don’t tell!’
If you’re wondering how Tempo Time Credits can offer you Pitch Perfect moments beyond volunteering, let me share my recent footy adventure at the amazing Cardiff City Stadium.
🎟️ What Are Tempo Time Credits?
Tempo Time Credits are a brilliant way to get rewarded for the time you spend volunteering. For every hour you give back in your community with a Tempo partner, you earn 1 Time Credit. And guess what? You can spend those credits on all sorts of cool experiences — gigs, theatre trips, museum days … and yes, even football tickets!
It’s dead simple: volunteers, earn credits, and then browse the Tempo network for available activities. ! For the match I booked and confirmed using my Tempo Credits, via email with the support of the team at Cardiff City FC Community Foundation — no money exchanged, just a great way to get something back for my volunteering with Get the Chance.
⚽️ Matchday Buzz
The Cardiff City Stadium sits right in the heart of the city, I parked in the Cardiff International Sports Campus, I easily booked a ticket on Eventbrite, costing £10.00. Parking runs from 12-5.30 giving you ample time to arrive and suck up the pre-match atmosphere!
Parking at Cardiff International Sports Campus
I showed my electronic ticket at the turnstiles (super quick and easy with a QR scan), and then it was straight into the ground
🟦 Cardiff City 3 – 1 Luton Town
And what a game it was! Cardiff were on fire from the off. Here’s how it went down:
🔵 David Turnbull opened the scoring early, firing in a great goal to get the home fans roaring.
🔵 Joel Colwill added a second before half-time, slotting home with confidence.
🔵 Perry Ng made it three before the break with a thunderous strike that sent the stadium into overdrive.
⚫️ Luton did grab one back from the penalty spot through Jordan Clark, but Cardiff held firm to secure a 3-1 victory.
The crowd was singing, the players were buzzing, and to be there live watching that turnaround — honestly, nothing beats it.
🍿 Half-Time & Highlights
Half-time was a treat in itself — great food stalls, friendly fans, and loads of chat about who’d step up in the second half.
💙 Why Tempo Time Credits Are Amazing
Using Tempo Time Credits to experience a match like this felt unreal. It’s one thing watching football on TV, but being in the thick of it — hearing the chants, feeling the tension, celebrating goals with fellow supporters — is a total game changer.
Whether you’re into sport, theatre, gigs, museums or something new altogether, Tempo opens doors to experiences that make volunteering feel even more rewarding!
Eleonora Savvidou-Missouri currently studying at the Royal Welsh College of Music & Drama, Cardiff talks to us about her experience of curating the conference ‘Chamber music: synergies through time, places and spaces’.
Hi Eleonora, How did this initiative begin?
I’m not quite sure myself how it all began, one day, about a year ago… is it possible to suddenly, out of the blue, set your heart to running a conference?
Perhaps unconventionally, it wasn’t just advocacy for a particular research area that led me on the journey of leading a conference only a couple of months after starting my master’s degree. Like many in their early twenties who are trying to navigate their desired career path, I was shaken by the realisation that finding a means for my enthusiasm to be embraced seemed fraught with difficulties. At the same time, going from a university to a conservatoire setting made me realise that what I envisioned as musicology – something that can ignite fireworks! – was not a common consensus. More often than not, it felt to be conceived as something foreign and scary.
I’d say that the emergence of the conference is attributed to my desire to spark change. I wanted to make music research feel like a space brimming with excitement and possibility – a place where people from all career stages can work together and become friends over shared passions. In hindsight, choosing chamber music as the conference theme was ideal: beyond the thrill of the field’s multifaceted nature, it closely reflects values which I hope will resonate through the event. Friends coming together to talk, perform and celebrate is where it all started, both in the eighteenth-century and now!
How did you choose the guest speakers for the conference?
It was only a couple of hours after I’d first conceived the possibility of hosting a celebratory chamber music conference that I contacted Laura Tunbridge (Heather Professor of Music at Oxford University) to ask if she was up for joining me on the journey. Her course on String Quartets was my favourite part of my undergraduate degree, so it felt like there was no better person to be the keynote lecturer for the conference! From the very start, her support for the event has been unwavering; I can’t imagine the conference without her being a part of it.
Attending one of Julia Plaut’s ‘Little Concerts’ inspired my idea to include a panel discussion on education and engagement as part of the conference. Founded in 2021, Julia’s ‘Little Live Projects’ charity offers interactive live chamber music events to families and children across South Wales; imagine stories set to music, shimmering lights, laughter…
I hadn’t been in contact with Lucy Green prior to the conference, but I feel as if I’ve known her for years through her work. My high school curriculum was based on her teaching philosophy, and I vividly remember my excitement when my music teachers handed me a copy of one of her books to read around 8 years ago. I never thought I’d have the honour of meeting the person that the whole world seemed to know of and talk about.
My choice of inviting Susan Young came through high recommendation; she has been a driving force behind the education programmes at Wigmore Hall and the London Symphony Orchestra, among many others. I had recently come across Wigmore Hall’s ‘Chamber Tots’ scheme and found it particularly compelling – only to realise that it was Susan that had written the programme’s research report!
Keen for the panel discussion to reflect the perspectives of educators, researchers, and performers, Clíona Ní Choileáin will be joining us to represent ‘Hold the Drama’. ‘Hold the Drama’ is a chamber collective of 6 classically trained musicians who curate and deliver live music shows that ‘tell stories to explore mental health’.
I’ve been really struck by the generosity, willingness and enthusiasm of all the guest speakers to be part of the event. I know I’m biased, but we seem to have the most amazing line up!
If you were to offer advice to others your age, based on your experiences with the conference, what would it be?
I feel that many students and graduates often encounter barriers: there always seems to be someone or something to remind us of how competitive everything is or the difficulties we will face. What often goes forgotten, though, is how much every discipline needs more people that genuinely care for what they do. If I’d give one piece of advice to anyone my age it would be to think of something that combines everything you’re passionate about and do it – no matter what. It will make the world feel a better place, it will give back like nothing else can. But the magic will only work if you set your heart to it…
Join us on the 13th of March at the Norwegian Church Arts Centre in Cardiff for a one-day conference celebrating the place of chamber music in past and present communities and advocating for its continued livelihood as we look into the future. The event will feature a panel discussion on Education & Engagement with Prof. Lucy Green, Dr Susan Young, Julia Plaut and Clíona Ní Choileáin, a performance of Mendelssohn’s Octet by the Carducci and Vita Quartets, and a keynote lecture by Prof. Laura Tunbridge.
“Our Town is a play about life, love, and community. That’s what matters to us in Wales; that’s what matters to me. It’s a play that compels us to celebrate the everyday, to hold the ones we cherish. I can’t think of a better play to welcome audiences around Wales” – Michael Sheen
Thornton Wilder’s three-act play Our Town was written in 1938- yet its themes certainly stand the test of time as is proven in this ground-breaking revival by the Welsh National Theatre, a new company founded by Welsh actor Michael Sheen.
The original play introduces the fictional American town of Grover’s Corners and the everyday lives of its citizens between the years 1901 and 1913. First performed in 1938, it went on to have enormous success on Broadway and received the Pulitzer Prize for Drama. Wilder made great use of metatheatrical devices throughout the original production- setting the play in the actual theatre where it was being performed, writing his main character as ‘Stage Manager’ (a narrator who frequently addresses the audience, breaking the ‘fourth wall’) and presenting a bare stage, with actors miming rather than using multiple props. These theatrical tools are also present throughout this new production and yet the piece has been elevated beautifully through use of physical theatre, the addition of economical objects to represent various items, buildings and so on and lighting design to end all lighting design- from blood orange sunsets to starry skies…it’s simply magical!
It was widely known that the decision had been made to move Grover’s Corners to Wales for this reimagining- the Welsh accents and the period costume creating a real Welsh spirit and aesthetic. However, a lot of Wilder’s original references to American placenames, historical events, and certain other Americanisms (dollars, high school etc.) remain, which makes for a rather confusing edit. There is a certain disconnect between the new setting in Wales and the old text which hasn’t been amended- a creative choice which feels a bit odd and left me wondering why. If you’re going to bring the story to Wales, surely you’d want to fully immerse your audience by making the change a complete one?
Then again, when a piece of theatre is as clever in its accomplishments as this one, perhaps this tale could be set anywhere in the world- for its actual relevance is in its themes. Themes which seem more important today than ever. In a world of chaos, war, terrorism, technological advancement, we are transported to simpler times here; where teenage lovers communicate through opened windows at night, mothers tend to their gardens and are members of the church choir, where meals are eaten together with family at the table rather than on laps in front of the television. And yet these people still loved, lost, had passions and dislikes, hoped and grieved…as we do today. We follow parents attempting to bring up their children, young people falling in love then building a family, an alcoholic hiding his sexuality…a community simply trying to navigate through life. A superbly strong cast play an array of wonderful characters- each providing us with something we can relate to. It’s impossible to single out any one performer for neither would work without the other…a fantastic nod to the overriding theme of community.
The triumph of this production is in its staging. It is seamless, flowing, almost militant in its execution. We hear music and see dance throughout, but the whole piece is comparable to one epic, flawless piece of choreography. Credit to Francesca Goodridge, Director and Jess Williams , Movement Director. Moved by the cast, wooden planks become houses, tables and shelves, chairs transform into lawn mowers, boxes, soda pumps, and ladders of varying heights are used for levels. Even the cast take on a few transformative challenges- including becoming the farmer’s milk cow…physical theatre at its absolute best!
The first, and much longer, of the acts is filled with sentimentality, love, hope and joy, yet we begin act two with a much more sombre mood and a plotline reminiscent of Dickens’ A Christmas Carol- with ghostly figures, time travel and feelings of regret- a message to the audience to celebrate life, hold your loved ones close and enjoy yourselves, as much as you can. So, despite Our Town having been written almost one hundred years ago- the moral of the story will forever be relevant.
What an extremely strong start for this new company and at the helm, a leader who has used his celebrity status to do good- to bring this play to life again, to create theatre in Wales at a time where Welsh arts and culture continues to go through a challenging period, often due to financial restraints, and to offer opportunities for emerging artists and future generations of theatre goers, makers and creators. I very much look forward to following their work, hopefully for a long time to come.
Our Town completes its run at Theatr Clwyd on February 21st.
Cast:
Michael Sheen — Stage Manager Rithvik Andugula — Howie Newsome Peter Devlin — George Gibbs Aisha-May Hunte — Wally Webb Rebecca Killick — Rebecca Gibbs Alfie Llewellyn — Joe & Si Crowell Rhodri Meilir — Mr Webb Christina Modestou — Mrs Soames Yasemin Özdemir — Emily Webb Sian Reese-Williams — Mrs Gibbs Nia Roberts — Mrs Webb Kingdom Sibanda — Sam Craig Gareth Snook — Professor Willard & Joe Stoddard Matthew Trevannion — Dr Gibbs Rhys Warrington — Simon Stimson Kimberley Noble — Ensemble Gareth Tempest — Ensemble Jâms Thomas — Constable Warren
Creative Team:
Thornton Wilder — Writer Francesca Goodridge — Director Russell T Davies — Creative Associate Hayley Grindle — Designer (Set & Costume) Jess Williams — Movement Director Ryan Joseph Stafford — Lighting Designer Dyfan Jones — Composer, Musical Director & Sound Designer Sam Jones — Casting Director Dena Davies — Assistant Director / Theatr Clwyd Dewi Hughes — Voice & Dialect Coach Haruka Kuroda — Intimacy Director Pádraig Cusack — Executive Producer (Welsh National Theatre) David Sloan — Executive Producer (Rose Theatre)
The second, Get the Chance, Cultural Impact Awards, 2026 sponsored by Ffilm Cymru, Tanio, Tempo Time Credits, Theatr Clwyd, and Porters Cardiff, are now live!
The Get the Chance, Cultural Impact Awards, 2026 celebrate high quality, cultural activity that reaches a broad range of the public and its positive impact on their quality of life.
The Award event will take place at Porters , Cardiff on Sat March 28nd, 5-7 pm a representative of all nominated organisations/individuals will be invited to attend.
The Awards are sponsored by Ffilm Cymru, Tanio, Tempo Time Credits, Theatr Clwyd, and Porters Cardiff. Individual Category sponsors include, Common/Wealth, Christine O’Donnell, National Dance Company Wales and Theatr Iolo.
Caroline Lane, Partnership Manager, Ffilm Cymru Wales said,
The Get the Chance Awards bring people together to celebrate the people and organisations that are delivering exceptional and engaging work through arts and culture. We are delighted to be part of the celebration of cultural activity that enriches people’s lives through participation, connection and storytelling.
Lisa Davies, Chief Executive, Tanio said,
Tanio are delighted to be supporting the Get The Chance Awards again this year. We need more opportunities to come together and celebrate the exceptional work happening across Wales, from grassroots community arts to large scale events! All Important for the culture and wellbeing of the people of Wales.
Rachel Gegeshidze, Chief Executive, Tempo Time Credits said,
“At Tempo, we believe that culture, the arts, and heritage should be accessible to all, and we are incredibly proud to support the Get The Chance, Cultural Impact Awards 2026. Volunteers are the backbone of our communities, and through Time Credits, we recognise and value their time, opening doors to new experiences. These awards shine a light on the incredible cultural initiatives and volunteers that give their time to make a real difference to communities and people’s lives, and we are privileged to celebrate the individuals and organisations leading this work.”
Liam Evans Ford, Executive Director and CEO at Theatr Clwyd, said,
Get the Chance shines a light on arts and culture in Wales, offering a positive and supportive critical eye on what is happening across the country within the cultural sector. We know the impact made by our sector is varied and wide ranging, and what a brilliant thing to have an awards highlighting some of the wonderful work undertaken. We don’t have enough of this in Wales, and so this is wholeheartedly supported by Theatr Clwyd.
Dan Porter, Director of Porter’s Cardiff said,
‘As a venue we want to remain committed to new, emerging and unsupported artists. We are happy to support the Get The Chance, Impact Awards and what we can help others to achieve at Porters Cardiff”
Dan Porter, Alice Rush and Frankie-Rose Taylor
(Photograph: Moreton Brothers)
The awards are a great opportunity to celebrate the impact cultural provision in Wales during 2025, many of the individual categories are sponsored by a range of project supporters.
*Please get in touch of you are interested in supporting this event
Further information on the Categories and nomination process can be found below
These awards aim to highlight and showcase the vibrant and diverse nature of culture, heritage and the arts within our Nation each year
Criteria
For the purposes of these awards, we have a broad definition of cultural provision which includes community arts volunteering, education and heritage. Nominations will reflect a range of areas in the cultural life of Wales, nominated individuals or organisations can be either voluntary or professional. All nominated parties must be from or based in Wales for the majority of their creative activity and nominated area. The nomination period is Jan 01-Dec 31 2025.
The purpose of these awards is to raise awareness of high quality, cultural activity that reaches a broad range of the public and its impact. Due consideration shall be made on the resources of the creative activity and its impact on the public.
All work must have a strong Welsh connection, and this will form part of the scoring process.
The nomination form can be found at the link below.
The final deadline to submit your entry is Friday 13 March 5pm.
Description: Awarded to a public production, exhibition or cultural event that demonstrates high artistic ambition and quality which connects with the public. The activity should take place in and be produced by Welsh and Wales based creatives
Considerations
What impact did this Public Event have on the general public?
How the event has demonstrable high artistic quality, did it receive reviews, press coverage or industry awards?
Audience reach – roughly how many people saw it and were any specific groups reached such as children and young people etc?
Audience reach – where did audiences come from? Did it tour or was it large enough to attract people from outside the direct performance area?
2. Creative of the Year
(Sponsored by Porters Cardiff)
Description: Awarded to a Creative who demonstrates the highest artistic quality in work which is created and/or publicly exhibited, performed or displayed in Wales.
Considerations
What Impact did the work of this Creative have on the general public?
How has the Creative demonstrated high artistic quality, did their work receive reviews, press coverage or industry awards?
3. Community and Education Project
(Sponsored by National Dance Company Wales)
Description: Awarded to a community, participatory or education project e.g. choir, dance, theatre, visual arts or heritage group which provides regular, inclusive access to culture for local people.
Considerations
What Impact does the community, participatory or education project have on the general public?
Did the project receive positive feedback and satisfaction from participants?
How many people took part?
Was the project inclusive? For example, supporting people from diverse backgrounds or those with disabilities or who, for other reasons, might otherwise not have the opportunity to take part?
Did the project receive any positive press coverage, reviews, other awards or recognition
Did the project work in partnership with other organisations?
4. Facilitator of the Year
Description: Awarded to a cultural facilitator, teacher or practitioner who leads inclusive community, participatory or education projects in Wales
Considerations
The impact the individuals work has on the group or individuals
Any reviews, press coverage, other awards or recognition
Any feedback from partners or funders
5. Culture and Health
(Sponsored by Christine O’Donnell)
Description: Awarded to a cultural project, event or series of workshops which support people living in Wales to improve their health and wellbeing.
Considerations
The impact the project has had on its participants
How many people took part?
How the project/event positively impacted people’s health?
Any participant feedback/testimonial?
Are there any ways the activity has reduced reliance on other services such as the NHS?
How the project used culture and participation?
Any reviews, press coverage, other awards/recognition?
Any partner feedback?
6. Cultural Champion
(Sponsored by Tempo Time Credits)
Description: Awarded to an individual from the creative community, e.g. a volunteer, administrator, technician, curator or board member whose work makes a significant positive contribution to the cultural life of the Nation
Considerations
The major project/event/activity/display in which the individual has played a significant role and what the impact of their role has been?
How the individual positively contributes, beyond their own participation (for example supporting others, volunteering etc)?
Any support or feedback from project/organisation leaders or facilitators?
Any reviews, press coverage, other awards/recognition for either the individual or the project they are involved with?
About any feedback from colleagues, participants and other relevant parties?
7. Commitment to Education in Arts, Heritage & Culture
(Sponsored by Theatr Iolo)
Description: Awarded to a teacher or lecturer who demonstrates significant commitment to and celebration of the arts in the broadest sense
Considerations
The impact the project has had on its participants?
What cultural activities does the school offer?
How many students are involved?
How is this offer different from traditionally provided education activity?
8. Disabled Creativity
(Sponsored by Common/Wealth)
An award recognising the achievements of an organisation or individual creating awareness of Disabled led work.
Considerations
What impact has the organisation or individual made to Disabled led work?
What cultural activities does the organisation or individual offer?
In this exclusive interview for Get the Chance, we interview the members of the band, Melys on their career to date, future plans and an exciting gig at The Gate, Cardiff with The Vita String Quartet. The Quartet share their thoughts on this new performance opportunity and how they hope to reach new audiences by mixing musical genres.
Hi Paul It’s great to meet you, to start, how does it feel to be celebrating 30 years as Melys ?
PAUL: It feels pretty mad to be 30, we all separate the years into three parts. Early Melys, The nothing period, and new Melys. Although we are 30, there was a long period where we just did ‘Life’
https://youtu.be/_SWGrcutrw0?si=VZbo_HvhKk3so8DR
GARY: Its great revisiting old songs, but it feels new again to be honest, we’re recording again and it just feels like a new begininng.
IWAN: Its all new to me as I’ve only been in Melys for just over a year!
ANDREA: This Melys feels the most happy and relaxed than ever before, we still get nervous though!
Partnering with a string quartet feels really special — what inspired you to bring The Vita String Quartet into this anniversary performance on Fri, Mar 27, 7:00 pmat The Gate?
PAUL: We wanted to mark the fact we had reached a milestone by doing something special. Having real strings is something we have always wanted to do. We did it a long time ago when we recorded our debut album but never in a ‘live’ context. What has really impressed us is the way Vita Strings have taken all our thoughts in their stride, like nothing is a problem. That’s so refreshing.
ANDREA: We have an outlook with Melys right now, where we do things for the experience rather than playing gigs in places where we don’t want to play but feel we have to.
GARY: Yeah, its special, the venue certainly lends itself to it too.
How did the idea of blending your indie pop/rock sound with strings first come about, and what has been the most exciting moment in rehearsals or arranging for this collaboration?
PAUL:We played with a quartet called The Electra Strings on our first album and it was lovely.
GARY: We played a TV show once with strings too and that also worked really really well.
ANDREA: What has been exciting is we are visiting songs we would normally never play live, so its both challenging and exciting. You may hear lots of mistakes!! from us, not the strings!
For young musicians who might be nervous about collaborating outside their comfort zone, what advice would you share about making creative partnerships work?
PAUL: You have to try new things, be open, its surprising what may happen and the things you will learn. With Vita Strings, we have purposely said, just enjoy it and do your own interpretation. We haven’t sent them scores or anything, we want them to have relevant input and have fun.
ANDREA: I think its a case of not being to stringent with your expectations ,a bit of give and take is needed to get the best out of both artists.
IWAN: Stripping down the songs like we have will hopefully show off Vita Strings rather than them just being a backing instrument.
GARY: We want Vita Strings to be able to express themselves and enjoy it so we don’t want to impose unnecessary rules on what they bring.
Your career has had incredible highlights — from Peel Sessions to Welsh music awards — has reaching 30 years reshaped how you see your music or your audience?
PAUL: We’ve been very lucky as Melys, seen wonderful parts of the world and had a great time. Our audience were fantastically loyal and its been lovely to see that a lot of those original fans are now realising we are playing again and coming back to see us after all these years. Its humbling. We’ve a long way to go though, the industry has changed so much. You need to be a digital marketer with thousands of followers to do anything worthwhile these days. These new young bands have it much harder to break.
ANDREA: We are grateful and surprised that anyone remembers us to be honest. We still get really nervous in case no one at all comes to see us. Like Paul said, its more than the music these days, thats a big difference to when we started.
With Oasis reforming last year to huge success and Super Furry Animals selling out their tour this year, what is special out about the live experience, that online listening can’t compete with?
PAUL:When you see Melys, we try our best to bring the songs alive, mistakes and all. Surely going to see a band should be an experience you can’t get from a download, record or CD?. Bringing strings in just enhances the experience in my opinion.
Get the Chance champions opportunities for young creatives — what opportunities do you wish you’d had when you were starting out?
PAUL: Wales seems to be more open with funding launchpads for young bands these days and great funding and support groups such as Focus and Horizons etc sends them all over the world. It would have been great to get that backing and funding when we started but we can’t be too serious about it, we were lucky and thankful for everything that happened to us.
Small music venues are under threat, with sadly many venues in Cardiff and nationally in Wales closing over the last 30 years. Why are these cultural spaces important to support?
ANDREA: Everyone will miss venues when they’re gone. Unfortunately the funding for these cultural spaces is poor compared to other European countries. The small venues are not getting people in to see young bands like they used to. Money is tight everywhere. The bigger venues need to share the wealth!
PAUL: It’s so important to look after our venues. We’ve lost some great spaces. It’s so sad.
What’s your go-to track (Melys or otherwise) when you need a boost before a big show and what’s one of your current Top Tunes from a contemporary Welsh artist?
ANDREA: I don’t really have a go too song, I have a lot of songs I love, one of them is ‘Babies by PULP as well as Los Campesinos
GARY: Anything by Sigur Ros, I also like Panic Shack
IWAN: Gotta be ‘Skating’ for me. I start work every morning listening to it.
PAUL: Primal Scream, Moving on Up.
The Vita String Quartet
Hi, it’s great to meet you. To start, how does it feel to be part of such a milestone performance, celebrating 30 years of Melys, at The Gate?
We are all really excited to be part of Melys’ 30-year anniversary concert! Melys are described as ‘one of the best bands in Wales’ (NME), and being part of a performance that celebrates 30 years of that journey is an honour.
String quartets are often associated with classical spaces — what excited you about collaborating with a pop/rock band like Melys for this anniversary show?
While string quartets are nowadays most often heard in concert hall spaces, it was in salons, and informal performance settings that they were first heard in the eighteenth-century. The malleability of the genre, which has persisted through time, is reflected through our collaboration with Melys. Performing with an award-winning pop and rock band highlights that the string quartet really is a genre which has no limits.
You are all currently studying at The Royal Welsh College of Music and Drama and are part of a Music residency at The Norwegian Church in Cardiff Bay. Are you enjoying your course of study and performing creatively to a variety of audiences?
Our residency at the Norwegian Church has definitely been a highlight of our time as students at the Royal Welsh College of Music and Drama. It has given us the opportunity to curate a wide variety of events, ranging from formal concerts to outreach workshops. Seeing the impact of our performances on the local community has been particularly fulfilling. In addition to offering us a welcoming space to bring stories to life through music, the residency has also introduced us to entrepreneurial aspects of concert organizing such as marketing and the importance of building a social media presence.
When you first heard Melys’ music, what stood out to you as a string player, and how did you begin translating their sound into string arrangements?
What stuck us most when first listening to Melys’ songs was how well-suited the tracks were for string quartet. The homogeneity of our four instruments, and the intimacy of the genre, closely reflects the soulful emotive soundscape of the tracks. To translate the tracks into string quartet arrangements, we focused on each track’s distinct textures in relation to the lyrics as we sought to capture the underlying messages of the songs through our instruments.
For audiences used to hearing strings in more traditional settings, what do you think a live crossover performance like this offers that recordings or online listening can’t?
In concert hall settings as well as online recordings, there is often a distinct separation between audiences and the listeners. Live crossover performances, which require performers to step beyond their familiar performance spheres, highlight how collaborative music-making can contribute to the dissolution of cultural boundaries. In live performances, this is evident not only between the musicians themselves, but also between performers and their audiences.
As musicians who work across genres, what advice would you give to young players who might feel hesitant about stepping outside classical or formal training?
The increasingly versatile performance landscape of the twenty-first century underscores the importance for young musicians to be encouraged to explore a wide variety of genres. While this can initially seem daunting given the prescriptive nature of classical music training, embracing the unfamiliar with an open mindset is a huge part of the way to building a multi-faceted musical career!
A Senbla production of an Ellen Kent Opera featuring the Opera International, Kyiv, Ukraine.
(4.5 / 5)
On tour nationwide until May
Take a beautiful, enticing, manipulative woman, add a soldier in his finery and then a virile toreador and then stand back to watch the sparks fly. That is the premise behind Georges Bizet opera, Carmen.
The character of Carmen is ebullient and vivacious and she is not above using her charm to get what she wants. Her story involves a love triangle between herself and two suitors, a soldier and a bullfighter. The soldier, Don Jose succumbs to her wiles and is forced to leave his regiment after falling out with his commanding officer. In the meantime, Carmen has met with the toreador between which there is an instant, mutual attraction. Don Jose goes returns with a childhood sweetheart to see his ailing mother but then the power of Carmens seduction draws him back to her. Consumed by jealousy when Carmen taunts his love compared to her bullfighter, he kills her.
To play Carmen well, good acting skills and a great voice are needed and Mariia Davydova exhibits these in abundance. The opera is famous for its sultry and seductive songs, such as Habanera and Seguidilla that ignite passion and you could not help warm to Davydovas presence on stage. Opposite her, Iurie Gisca played Escamillo, the toreador with strength and confidence and Oleksii Srebnytskyi played Don Jose. While Srebnytskyi did not have the stature of many soldiers his voice was striking, clear and impassioned. Together with Davydova, they captured the mood of the opera really well.
The supporting cast attack their role with enthusiasm, accentuating the devil may care attitudes inherent in the opera, however the fight scenes need some attention. In the denouement, Carmen practically walks onto the knife in Don Jose’s hand and in the conflict between Don Jose and his superior officer they seemed to flap at each other ineffectively. One nice comic touch was to see soldiers being beaten into submission by factory girls wielding bouquets of flowers. The scenery and costumes bring the environment in southern Spain to the fore and add a dramatic backdrop to the action.
The story has elements that come across as odd in a modern age, describing cigarette smoke as “sweet smelling, rising up to heaven” and equating it with love. I’m sure the anti-smoking lobby would disapprove of those lyrics. The opera also illustrates how limited the choices were for women and people of a labouring class. Carmen’s character has an untrammelled joy at times, describing love as a bird that can not be tamed, or a gypsy child that knows no laws. This illustrates an intriguing theme within the opera, the desire for freedom which conflicts with duty and obedience to the law for the sake of avoiding chaos.
In many respects, this is a stirring show. There is plenty of humour, some playful optimism yet with a tragic ending filled with pathos. It is definitely a show to pull on the heartstrings. Alongside La Traviata and Madame Butterfly, this is part of Ellen Kents ballet and opera international farewell tour and they have certainly picked out some action packed operas to present. These three shows should be high up on the ‘must see’ list of anyone with even a vague interest in opera.
A Senbla production of an Ellen Kent Opera featuring the Opera International, Kyiv, Ukraine.
(4 / 5)
On tour nationwide until April
La Traviata, a tale of forbidden love and loss with some hauntingly beautiful melodies. Can a man from a well to do background fall in love with a fallen woman and find acceptance from his family no matter how rich she is?
Ellen Kent’s La Traviata followed a pattern established over recent years. The set was simple, an intricate backdrop that stayed the same for each act, with little, yet effective scenery and an orchestra that played subtly. In effect this drew attention strongly to the stage, the costuming, voices and the acting. As a visual spectacle this show was pleasing to the eye, the costumes suitably opulent and the background evocative of a grand ballroom. The voices were superb but movement on stage was often more pedestrian than animated.
The story, based on a play, the Lady of the Camellias by Alexandre Dumas is a tragedy. Violetta is dying but when she meets a gentleman, Alfredo, they fall passionately in love. His father persuades Violetta to abandon Alfredo to preserve the family’s honour and protect the reputation of a younger sister. However, once Violetta is nearing her end, she is reconciled with Alfredo and the father shows some remorse for causing their rift.
The storyline dictates that the spotlight is very firmly on the soloists and in particular the lead soprano, Violetta, played by Viktoriia Melnyk. Her voice was rich, powerful and striking especially when hitting the top notes. Her duets with Alfredo, played by Hovhannes Andreasyan in Act 1 and with Alfredo’s father, sang by Iurie Gisca in Act 2 are heart warmingly memorable. The large company support the leads well although more could be made of some scenes for example when the Baron challenges Alfredo to a duel. I expected to see much more anger from the Baron.
By modern standards, there are some weaknesses to the plot. The father, despite being told that Violetta is dying asks her to make a huge sacrifice stating that Alfredo will fall out of love with her when her looks disappear in the future. Hardly the most understanding attitude to someone in the last throes of tuberculosis. However, like any story it is a child of its time and attitudes have changed. Of course women today have more personal freedom and their success in life is not defined by achieving a good match. Society is also not as condemnatory towards people with a so called illicit lifestyle. No matter how good a person Violetta was, she could never achieve respectability because she was a courtesan.
This production of La Triaviata is part of the farewell tour for Ellen Kents opera company. It is accompanied by Carmen, also showing at Venue Cymru, and Madame Butterfly. Over the past 30 years, Ellen Kent Opera and Ballet International has established a reputation for producing high quality opera and opening up the genre to a wider audience. La Traviata is a classic opera that lives long in the memory and is therefore a fitting part of this farewell tour and leads to a sense of expectation for the next instalment, Carmen.
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
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