Ever the one to try something new, The Music Box looked like a fascinating attempt to honour the work of the band Genesis. This is a new one for me, I was sat amidst die hard fans and veterans of the era. It proved to be an exciting prospect that I was down for.
The evening started with a slump. I doubt anyone sat in this audience wanted to watch a 20 minute documentary about the stage effects of Genesis’ live shows, though it did give a glimpse of some of the Polaroid snaps not used in the live show. It did feel quite cheeky to pop this little doc on and then have an interval, only for the main two hour show to end at an eye watering late 11pm. Ditch the video stuff, get drinks in before the show and stick to a prompt 8pm start and you’re laughing.
Overlooking this discrepancy, the main event was a bizarre, thumping thing to behold. The story of Rael, a young lad living in New York City and the strange adventures he finds himself lost in remains pretty abstract. I wouldn’t say there was a clear through line in the story, more so a chance to embrace sexual liberation, consumerism, nature amongst other big topics. A lot of the chosen imagery proves it as a period piece, with some questionably misogynistic material. Though a lot of the chosen video works sees broad strokes of Dalí, Hollywood film posters, lithographs, collages and saves of other sights.
Musically, it’s quite appealing though I personally wouldn’t say any song stood out enough to be a classic. The title track was funky and so much of the album blazes with mind-bending stylings its hard not to like. The Musical Box seem to transgress the idea of the tribute band and deliver something so genuinely authentic you’d think they were the real deal, Peter Gabriel and Phil Collins from the band have expressed their love. Denis Gagné as the vocalist, gets to keep up a lot of energy and the vast variety of the vocals. He excels taking on what was Gabriel’s part in the original album and show. The band as well deliver some feats of pure thumping rock and a choice section of other genres. They never waver.
Many surreal moments abound. Denis as the Slipperman see’s him birthed through a suggestive tube, his costume to showcase deformity and disgust. A strange song to say the least, though the multi costume changes offers the original clothes from the classic show. He also gets moments out of Trash Humpets and hammer horror in masks and dress, these moments giving off glam rock vibes.
Even with the late end and often lack of a conventional story, the show was a success. Though I think I should leave it to the fans of the album to really savour it. More chances to see The Musical Box are a must though!
Directed by Bill Buckhurst, book by Cheri Steinkellner and Bill Steinkellner, additional book material, Douglas Carter Beane
Produced by Jamie Wilson productions, Kevin McCollum, Gavin Kalin, Robbie Wilson and Curve
Music by Alan Mencken, Lyrics, Glenn Slater
(4 / 5)
“This is a house of worship” “But this could be bigger than Broadway! Bigger than Vegas!”
The premise behind Sister Act is great: a nightclub singer and gangsters moll on the run after witnessing a murder finds sanctuary in a convent and turns good while transforming their choir from a discordant mess to angelic sweetness. There is plenty of room for farce and slapstick in here and a thrilling ending to go with it.
There are some excellent parts to this production, especially the singing, as you may expect from Sandra Marvin as Deloris, Lizzie Bea as Sister Mary Robert and more surprisingly from Clive Rowe as Steady Eddy who stole the show a couple of times. There is a nice line in humour and some great costuming and choreography. The set is imaginative and the change from nightclub to convent to police station and back again is slick. Leslie Joseph is both assertive as she dictates what she expects of the order yet vulnerable as she sees firstly her church community and then the sacred traditions threatened by modernity and the whirlwind that is Deloris.
As this play is based on the 1992 film of the same name, there are some tough acts to follow. Does this play manage to recapture the appeal of the film? I have heard some people bemoan the fact that the music is totally different, but this underestimates the quality of the songfest here.
However, from memory, one thing the film did well was get a good balance between respect and parody. Like all institutions, the church should be open to being satirised but they are entitled to be represented fairly as well. I am not sure the play does this as successfully as the film. I was not convinced with a lyric from the mother superior that questioned whether God existed. In addition, the lyric where the young novice expressed the desire to choose rather than to obey misses the point which is that the monastic life is one where you chose to obey. In both these examples the musical seems to underestimate the power and depth of personal devotion.
The limited scope of the stage compared to the film set also precluded the emphasis on service to the community which was a major feature in the original and is something that any faith community should seek to do. However, there was a willingness to debate the relative merits of a materialistic and spiritual lifestyle and plenty of respect was paid to those who have taken the vows of a nun. Whenever a play has some gentle moralising, it is important to get these social issues comments correct.
However, such criticism is perhaps unfair on a production that is primarily a musical show with a happy ending. In this light, the play is highly successful. All in all, this was a good nights entertainment and was warmly appreciated by the sell out crowd.
A return to Cardiff saw little time for respite. I’ve also made the discovery that more cafes are starting to become more hostile to those with laptops, limiting the time you can have on yours and asking you to move if you are taking up a table for 4 people (fair enough for the latter). As a journalist in need of such spaces, this could easily be a whole article, though it was a bit of a ropey start back to the Welsh capital.
With this in mind, I ventured back to what will hopefully remain the main venue in Cardiff for classical music. BBC NOW making a Sunday afternoon slot with German and French programme of concerto and choral works. Canadian James Ehnes faced Brahms’ Violin Concerto with a strident force and grace. It’s not one of my favourites, though the pain and concentration upon his face when not playing was of note. I find the final movement gives the piece a lot more of worth, the German command the music has is not always exciting nor stimulating. It does little for me, though Ehnes brought out a lot of the majestic qualities the concerto has, again the last part being a final flourish of string playing with panache.
The Chorus got a brief little solo with Olivier Messiaen’s ‘O sacrum convivium’. They shone here, this hushed five minutes one of the composer’s smaller works though still with a big impact. Messiaen’s mind blowing music stands decades and here is a calm, gentle little number in F sharp major. As a full blown Catholic, Messiaen was asked to write this setting from the words of allegedly St Thomas Aquinas and this fine little work premiered in 1938. Playing with chromatic harmonies, the glowing nature of each bar is some of Messiaen’s most accessible work, the rest being long, dense and explosive. Fine stuff, conductor Ludovic Morlot excelling in both orchestra and choral features throughout, generous to both parties.
Now for the crowd pleaser. Fauré’s Requiem remains Classic FM fodder, your nan’s favourite choral work (I did pick some for my own nan’s funeral to be fair) and featuring in the odd film and advert. It’s a type of the French style of music we know and love, but it remains the mawkish nature of most of it. The perfume and prettiness which goes against it did give the chorus some fine moments, Rhian Lois in the sublime Pie Jesu felt more like a mezzo at times, bass-baritone Neal Davies always decent in his mournful declarations here. Organist Gregory Drott getting some marvellous ethereal moments of harmony with the chorus, yet not featured enough. You can love it and you can hate it. It depends on this critics mood, I’d say.
In our latest Playwright interview the Director of Get the Chance, Guy O’Donnell meets Actor and Playwright Richard Mylan, They discuss his career to date, his first play Sorted for Grand Ambition, the companies focus on creativity in Swansea and Richards personal approach to creativity and sharing his life experiences with the wider world.
Hi Richard, great to meet you, many audiences in Wales know you from Theatre or TV, can you tell us how you got started in the arts? I originally trained as a dancer, got into a Lloyd Webber musical where I spent 4 years (which was very much my schooling). Started dipping my toe into acting, loved it- I’ve been an actor over 25 years. Now I co-run the resident theatre production company Grand Ambition at the Grand Theatre, Swansea along with fellow creatives: Michelle McTernan, Steve Balsamo and Christian Patterson.
Richard Mylan, Christian Patterson, Michelle McTernan and Steve Balsamo.
We’ve had an incredible first year, we produced a Gala performance to celebrate 125 years of the theatre and ‘A Number’ by Caryl Churchill.
As well as many community outreach projects and the formation of TAG (The ActorsGroup). We’re currently in rehearsals for my debut play Sorter our first original production.
So, what got you interested in the arts?
Rubbish in school- got positive attention for dancing so went with it… It was the gateway really, once I discovered the different forms of dance, choreography- I was hooked. It was my first glimpse of creativity as apposed to learning.
Why do you write?
Sorter is my first attempt at writing. I wrote it to make sense of 20 years of my life as a heroin addict. I was originally going to write it in diary form- just to get it documented & out of my head. But I struggled to write in the first person. Probably because I felt disconnected from it all… or in denial. So I went to a very familiar place as an actor – play form, my lived experience through two characters and when I did that, 20 years flew out of me in three weeks. It was a very cathartic experience.
Can you tell us about your writing process? Where do your ideas come from?
For me it came from real life. Before I began writing I knew the basic structure. I also did A LOT of research. Before I attempted to write real life vicariously, I made sure I was heavily informed. That way, I could deviate from the structure if I wanted to…go with it to a certain extent. Sometimes it was a blind alley, sometimes it was a welcome discovery.
Can you describe your writing day? Do you have a process or a minimum word count?
It’s just structured writing time, but I don’t really have a process as such- or a word count. I’m far more productive if I don’t put pressure on myself.
Do you have a specific place that you work from?
Not really. I can work anywhere as long as it’s an environment where I can focus, but that could be at home with the TV on in the background or a busy cafe. Sometimes life going on around me can put me into a rhythm.
You first play Sorter will premier at Swansea Grand this March. The marketing information for the production states that you wrote Sorter, to “come to terms with your battle with heroin addiction & hope it can lead to a bigger conversation with addictions treated with empathy, dignity & understanding.” has it been difficult for you to share so much of your own personal journey on the page and stage?
I’ve been in recovery for over 10 years so I feel safe enough to explore it all. I’m also incredibly supported by the Grand Ambition team, the staff at the theatre and Swansea Council.
As well as your professional writing debut, Sorter marks the premier production for Grand Ambition a new and exciting creative collective based at Swansea Grand Theatre focusing on a new perspective to capture the arts through the Swansea lens. It’s a collaboration with Swansea Council and Swansea based professional artists – Richard Mylan, Steve Balsamo, Michelle McTernan and Christian Patterson.Why did you and the other creatives involved decide to launch this new company now and what has been the reaction?
We felt that Swansea people should see themselves on stage at the Grand Theatre, their lives and communities reflected in quality work. We also felt very strongly that we could help to create opportunities for those living in/from Swansea. Historically we’ve haemorrhaged creative talent as a city and when you look at our incredible cultural heritage that doesn’t make sense. So we want to add to the brilliant work from theatres & companies like Volcano, Lighthouse, Fluellen etc. We want to bring our collective experience and help to enrich the ecology of venues and output.
What are your future plans for this new company?
To tell Swansea stories, bring new footfall into the theatre, build opportunities for Swansea talent and inspire the next generation of theatre goers and theatre makers.
As well as being a Writer and Actor the public also know you through your documentary Richard and Jaco: Life with Autism. The documentary provided a fascinating insight into your and Jaco’s relationship and the form of autism Jaco lives with known as Pervasive Developmental Disorder (PDD) Both the documentary and Sorter share aspects of your personal life with the wider world, beyond your professional work. Why is it important for you to work in this way and have there ever been times when it’s caused you any doubt?
I’ve always had doubts about sharing my personal life. But its always come from a genuine desire to change the common narrative. It was a joint decision to share Jaco with the world and he’s very glad that we did. But ultimately it was because our experience with Jaco is one of joy, hope and personal learning and growth. I’d not seen any documentaries that reflected that autistic experience.
With my addiction issues it was different because I was carrying it around with me. A huge negative weight that was affecting my mental health. So going public was really about unburdening that weight. But also it was because professional addicts are not generally known about because stigma and the fear surrounding it stops anyone sharing their experiences.
You can listen to Richard sharing his personal journey in the Podcast below from the Stop and Search series. He shares his battle with addiction in hopes that he can raise awareness for other people who may be struggling, and to wipe away the stigma that can often come with addiction. In this special episode we have a very intimate conversation with Richard about his heroin use which lasted twenty years – how and why he got to that place of addiction, and his advocacy for a change of attitudes.
There are a range of organisations supporting Wales based writers. I wonder if you feel the current support network and career opportunities feel ‘healthy’ to you? Is it possible to sustain a career as a writer in Wales and if not, what would help?
It could and should be better. It’s healthy in terms of output but not so healthy in terms of support. Output- because freelance writers are resourceful, determined, used to fighting to support their own ambition by any means. But that’s not sustainable. I think organisations realise this in general terms, but more needs to be done to support our network of writers, from budding to established. I learned a lot from my time with Swansea & District Writers Circle. We can all learn from support networks such as these.
If you were able to fund an area of the arts what would this be and why?
There are many areas of the arts that need funding but In Swansea right now and in Wales, there is a real shortage of technical talent, designers, set builders, stage managers, lighting designers and stage technicians. The infrastructure to nurture talent is there so I would fund grassroots and pathway opportunities.
What currently inspires you about the arts in Wales?
The quality of work currently being made in Wales is a huge inspiration to me. Companies like Theatr na nÓg, Leeway Productions, Sherman, Clywd and then creatives like Hannah McPake, Seiriol Davies, Tracy Harris, Dan Lloyd, Francesca Goodridge, Sophie Melville- the list is long!… they’re all smashing it and inspire me.
What was the last really great thing that you experienced that you would like to share with our readers?
Yesterday during rehearsals. The process of bringing Sorter to the stage is blowing my tiny mind! Every day is a great experience at the moment & I can’t wait to share it with our audiences.
My time was up in Bristol, only for now. A varied programme of music would end with a firecracker night at Thekla. The story behind Rebecca Black has a chequered history and is turning out to be a hit.
Whipping things forward was warm up act Jessica Winter who wowed with her strident pop bonfire. I remained amazed with her talents, the audience loving her funky tracks. There was a whiff of Kate Bush and even Chrystabell. I knew not who would be the warm up and was delighted with the outcome. I would be sure to check her out as a leading act as well. Without hesitation.
As for Rebecca’s set, I was highly impressed. The absurd mega meme of her private music video Friday, left her with a torrent of abuse. It’s clear she can in fact sing and has some great moves to boot. The discovery of her latest songs remain a delight: Crumbs, Destroy Me and Doe Eyed as highlights. What remained was an electrical storm of sounds, very rock like more than I expected. The drummer who did not get enough billing was also spectacular. Rebecca who has opened up about being a member of the LGBTQI community and the impact of what Friday delivered to her and those around her.
https://www.youtube.com/watch?v=iCFOcqsnc9Y
Any aspect of novelty is stripped away, though an encore of her hyper pop take on Friday remained a joy. The song is on her terms, the company who wrote the song appear to be be involved with the track one way or another.
https://www.youtube.com/watch?v=oohYOjVy5vU
The audience space was packed, her respectfully gay following was heightened by her stint at Heaven in London the night prior. It was the unashamedly thumping pop sound that permeated through. I found most of these songs to be highly catchy and a lot of fun.
Rebecca’s career is only on the rise and I am here for the journey.
It’s nearly ten years since Sir John Tavener passed away, his impact on British choral music truly a colossal influence. The Tallis Scholars are fast approaching their 50th birthday and there are no signs of slowing down.
In this rather safe concert, both John Taverner and Tavener featured. The former a Renaissance composer, the latter the aforementioned, acclaimed composer (there was talk of a family connection, though this is disputed). Old Taverner’s music from centuries ago can be fairly dull, little seems to happen in it and his polyphony is fairly sober and unexciting. Paired with the more recent Tavener we get the usual list of hits. The Lamb from William Blake, is a sweet few minutes, As One Who Has Slept remains a fine example of the total harmony for the singers, who make it sound so easy. The Funeral Ikos is a wonderful lament, heart touchingly warm when all the singers come together to recite each of the ‘Allelujahs’, a piece already being popped down for my own memorial service.
The pairing of the the two composers is fitting, though I myself am much more keen on Sir John. It’s the fascination with Greek and Russian Orthodoxy that he opened up to a lot of people, his popularity has never wavered. Even after his death there is buzz about his last piece Krishna will be premiered at Grange Park Opera. Even being friends with King Charles, he always seems to have been a part of the establishment and some of his music has been pretty mawkish. Having said that, I’ve been moved to tears on more than one occasion hearing his stuff live and I would say I remained a big fan.
The dense latin names of the earlier John make his work stand out as being by him as the latter John has more poetry and is usually an English name. The Song for Athene, famously immortalised at Princess Diana’s funeral remains a fine feature, the singers defining the work as a classic, a rare treat for more recent choral music making. The bass singer maintains a drone throughout most of it, Tavener saying this was a feeling of god in the music, these drones featuring in numerous works of his. His take on The Lord’s Prayer has a gently pulsating nature, the words well known to anyone who learnt it in school or remains a Christian.
Sat in the back row, I wouldn’t always say I was lost in the intimacy of the event, there are only ten singers on stage, after all. St George’s remained a fitting venue, the Greek mosaics lingering above the stage felt fitting. The Tallis Scholars have a deep, rich sound which is very gentle in a lot of accepts. Peter Phillips as director painted the glory of the music with a vibrant brush, he knows the singers well and wants the best for them. They all delivered great singing in a somewhat familiar and conventional programme that will please most.
The BBC Singers perform extracts from Tavener’s The Veil of the Temple, alongside music by James Macmillan, Kristina Arakelyan, Judith Weir, John Pickard & Cheryl Frances-Hoad at St George’s on 23 February 2023.
A New Old Play: Qiu Jiongjiong’s creative saga commands more eyes on it
(5 / 5)
Now here is a complete delight. Something out of the blue and now a shining testament to international, indie cinema. Qiu Jiongjiong has created this three hour epic, a feat that is highly impressive. I was both moved and amused in equal measure.
Yi Sicheng is Qiu Fu, a renowned Szechuan opera singer, who is being sent to the other world, after a life filled with joy, pain, love and creation. Sicheng is very matter of fact in the role, his clown like features include a red nose and his little dock man’s cap. This remains a highly impressive performance, the length of the film adding to the vast amount of time he’s on screen. It’s very subtlety done from him and it’s hard not to be taken with him.
This is a film which spans most of China’s turbulent 20th century. I was deeply impressed by the director’s efforts to have a lot of the practical side of things built with love. The models, walls and others set pieces are clearly handmade and adds an extra charm to the film. There are touches of Samuel Beckett, Buddhism, surrealism and German Expressionism abound. It’s a mighty feat, as many characters and historical moments glide along in this not always demanding film, its the length which may deter most for unjust reasons.
The love of theatre seeps through as well, the stage like production has many fascinating features. There is a cheeky humour to the whole film as well, even with the misery of the Japanese invasion, Mao, The Great Leap Forward, the famine and other depressing moments. Qiu Fu finds a way to get through it all, his craft being loved and loathed in certain moments of history. Things reached the saddest plateau when a baby is left at his doorstep during the horrendous famine, the mother later coming back and thanking them for looking after her child and expecting them to continue the support.
In many respects, little happens in the film, a Zen like presence seems to wash over the lead character as these pivotal events happen around him. Lovers of Chinese opera may find solace here, with many auditions, rehearsals and performances are seen throughout. There’s much humour in the afterlife scenes which even they feature red tape and insufferable waiting times.
As a whole the experience was splendid. It needs many more people to engage with it…the film remains in an early, humble starting ground and we hope more festivals, cinemas and reviewing platforms truly engage with it. It is worthy.
Dir: Qiu Jiongjiong (18, 179 mins)
A New Old Play is now playing at select cinemas and festivals.
A final flourish in London would see a concert version of Benjamin Britten’s finest stage work, Peter Grimes. His first opera proper, this piece was deviating on first impact back in 1945. Set in Suffolk in the early 1800s, this remains a devastating examination of the individual vs the community. The libretto by Montagu Slater is also a thing of beauty, sharp and stirring, taking George Crabbe’s short stories and turning them into something vivid for the 20th century.
I have to say, for what is essentially an amateur orchestra and singers, I was extremely impressed. This is not an easy piece by any standard and it felt like a lot of rehearsal had gone into the whole thing. Sat in the front row, I was battered by this North Sea storm, the cast and conductor inches away from me. I will be honest and say most moments with some soloists in the chorus and some members of the orchestra had brief wobbles, but these are small quips in another wise stellar offering.
John Hudson adds a depth of Ricky Tomlinson as the titular character. A proud tenor, I find him to mostly work in this commanding role, some phrasing here and there needed some work. He had some touching moments his monologue towards the end was touching, some lines between sung and spoken. Wales’ own Mari Wyn Williams made a marvellous Ellen Orford, also getting a superb aria in the third act. The large ensemble of singers could be seen in productions some of them really looking the part. Nicholas Folwell was great as Captain Balstrode, more sympathetic to Grimes’ abuse and antics. As Ned Keene, Nicolas Morris made a great sight, the pill peddler and all round smuggler, with some fine acting to boot.
As Auntie, Mae Heydorn excelled as the exhausted bar keep of The Boar pub, where a lot of the funny and stormy moments occur in the opera. She really could be the part and her voice had that syrupy style the role commands. Mrs Sedley is always fun, the busy-body of the bough here tackled by another fine singer: Susanna Tudor-Thomas. It’s a role which is easily hammed up, some might call her a Karen by today’s standards, though Susanna had fun and we did too. John-Colyn Gyeantey had brief, biblical bouts as the Rev Horace Adams, a diverse choice of singer in this concert.
Colin Judson got to act drunk as the off the wagon Methodist and has been seen with big opera companies. His voice pierced through in the mind boggling end of act one scolding Grimes for his sweet and surreal aria, as they wait for this next doomed young apprentice. Paul Sheehan, fashioning an amazing moustache and beard, he looked the part as well as Swallow another character lost in the gossip and hearsay that penetrates the story. The bass-baritone opens the show with declamatory pipes, with Grimes in court to understand what happened with his first boy who died on Grimes’ boat at sea. Ronald Nairne as Hobson, another bass who though in it quite little, showed off some nice deep tones. As both Nieces, Ally Dunavant and Micaela Abreu delighted in their harmonies, though a bit more attention to keeping together in the opening of the last act.
Conductor Russell Keable kept the storm in motion, this powerful score hardly lost at sea, though there where moments which might have suggested this. I did note a moment when he turn to one singers to cue them in, when I was another singers who was about to sing. The orchestra in the more tender, turbulent moments dazzled in what is regarded as the finest English language opera of the 20th century. The chorus in their hunt for Grimes blazed with glory for one of my favourite moments for an opera chorus. All that was missing was pitch forks.
Being at the Royal Opera a few nights prior, I dare say I found there to be some better singing here than overall here. Britten would have loved this community effort.
It was soon time to wrap up another hectic trip to London, I’ve been all over for this one, havinge seen some marvellous shows and also learned some things along the way. No two trips are ever the same and this one will certainly remain memorable.
The Philharmonia gave a lush afternoon concert with Ukrainian conductor Oksana Lyniv. Being a massive advocate for music around the world, no doubt the past year has been a lot for her. When the marvellous conducting is this balletic and rousing you can only be lost in the music. Opening with a composer from her homeland: Borys Lyatoshynsky and his Grazhyna is anew venture for me. It painted a wonderful folk-like picture, the story of the Lithuanian princess who dies in battle had many fine moments for brass, the woodwind in other moments felt quite special. No doubt this was hand picked by Oksana, more from Lyatoshynsky is highly encouraged. A telling concert opener.
Benjamin Grosvenor joined the players for an impeccable performance of Chopin’s Second Piano Concerto. For such a young age, he brings out so much of the piece. The uncluttered, simple harmony of the music, the piano. To always leading the orchestra but rather a symmetry and state of flux. Benjamin showed of busy fingers as expected with Chopin, the lovely Larghetto remained a fine feat, the softness and sincerity shines through. This went down well, more explorations into Chopin’s world would be encouraged, as most would only recognise his slight solo piano selections.
Tchaikovsky’s Sixth Symphony, known as the ‘Pathétique’ would leave us as the final curtain, Oksana holding command and respect over all these players who gave an impressive performance. The Russian composer’s angst is poured all over this piece, some of the most stirring string writing with that unforgettable cascading scale is a huge feature. There are moments of joy, though they don’t last forever. I’d say this was his finest symphonic creation, dying a few days after conducting its premier. Some in the audience embarrassed themselves by mistaking the penultimate moment as a violent finale, though things went straight into the soul searching Adagio lamentoso. This piercing showing really did make a mark and this conductor is proving to be a rightful success story, with an always shining orchestra.
The Manchester Collective are doing the rounds in the UK and their work looks really enticing and intriguing. I’m open to the accessible method of getting people into to hearing classical and experimental music, alongside everything in-between.
Alice Zawadzki’s Bag of Bones is a heavily inspired, Polish incantation of life, loss, love and joy. Had a feel of Górecki’s Symphony of Sorrowful Songs, women seen through the ages, recant their stories, their rites and lamentations. As a whole, the piece worked well, other musical selections were spliced in-between her work. This was somewhere between opera, folk, performance art and musical and it had charm and touching bits too. Alice has an airy voice, touching and robust.
Speaking of Górecki, these players did a very find job with his Allegro from his String Quartet No. 2. It had a crisp, resplendent vitality to you, like with most of the late composer’s canon. The folk elements of southern Poland are there and the feel of the forest and woods breathes here. It was just all so lovely. David Lang’s Mystery Sonata No. 1 entitled Joy, commenced the evening, though he usually has more emotional weight this remained ethereal if sparse, as if it was not even there.
Simón Días’s Tonada de luna llena and Andrea Tarrodi with Mirrors remained as highlights, the quartet really proving both side of the coin of traditional and experimental here. They really do excel with all the picks here. Hats off also to the pianinst Bruni Heinen and accordion/synthesiser Charles Kieny. The instrumentalists even got to have a little sing with the South American traditional Que Florezca La Luz, embracing the lord and the state of being in love.
These choices to go with Bag of Bones were a nice touch and this could work with future work. Even grander style opera-like pieces could go down well, the wall of accessibility being broken thanks to marketing and interesting venue choices around these chores.
I’m down to see future work in Cardiff and Bristol.
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
(3 / 5)
(4 / 5)
(5 / 5)
