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.
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.
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.
Three theatres removed from Theatres at Risk Register but tough times still ahead, warns Theatres Trust
Theatres Trust, the charity that campaigns to protect the UK’s theatres, has published its annual Theatres at Risk Register, which highlights theatres across the UK under threat of closure, redevelopment or severe decay, but which all have the potential to be revived for their local communities. Theatres Trust has removed three theatres from the list, which are no longer considered at risk due to advocacy, planning and viability advice from Theatres Trust, along with the vital support of their respective local authorities, theatre operators and community groups.
Century Theatre, a unique travelling theatre that toured the country in the post-war years, is now looking more secure in its permanent home in Coalville Leicestershire. It had been threatened by the redevelopment of its site and had been added to the Theatres at Risk Register in 2014, but it is now better integrated into the local area and able to serve the local community with improved facilities.
Walthamstow Granada, a Grade II* listed ciné-variety theatre, had been empty and deteriorating until it was bought by Waltham Forest Council in 2019, with Soho Theatre Company on board as the operator. Having undergone a major refurbishment programme, it will reopen later this year as Soho Theatre Walthamstow, an exciting new London venue offering a mix of comedy, theatre, music and community activities.
The third building to be removed, Swansea Palace Theatre, is a distinctive Victorian music hall that has been on the Theatres at Risk list since it started in 2006. The building will not be reopening as a theatre but as office space, with the ability to accommodate small-scale performances and events. It was evident that there was not the demand in the city to make another theatre viable, so this sensitive scheme by Swansea Council (funded by the European Regional Development Fund and the Welsh Government, via its Transforming Towns programme), protects the building’s historic features and could easily be reversed in the future, making it the best outcome in this situation.
Theatres Trust is advocated for by high profile supporters including Gary Kemp and David Morrissey. Musician, actor and Theatres Trust board member Gary Kemp says, It is fantastic to see three significant theatres being removed from the Theatres at Risk list, as a result of campaigning and advice from Theatres Trust as well as the dedication of councils and local communities. The Theatres at Risk list is about finding the best use for buildings within their communities, so they can be enjoyed for many years to come, and these three theatres are shining examples of that.
Now in its 17th year, the Theatres at Risk Register calls the public’s attention to these important buildings, their challenges, and the significant cultural opportunities they can bring to local communities. Since the list began in 2006, more than 80 theatres have been restored, revived or had a suitable replacement built. This year’s list comprises 38 buildings, which all have strong architectural merit, cultural heritage or value to the local community as a performance venue.
Although they remain on the list, there has been good news for Spilsby’s Sessions House, which is a key project in a successful Levelling Up bid, and for Morecambe Winter Gardens, which will benefit from the same fund in the go-ahead to the neighbouring Eden Project North. Steady progress is also being made at other theatres remaining on the list, including Burnley Empire, Leith Theatre and Theatre Royal Margate, but these theatres face the same challenges as the wider sector, particularly escalating construction work costs and scarcity of funding amidst the fallout of the pandemic, cost-of-living crisis and the energy crisis.
Elsewhere on the list, the situation is looking bleak for Dudley Hippodrome and the Intimate Theatre in Enfield, where redevelopment plans that will lead to their demolition look certain to go ahead despite strong opposition by Theatres Trust and their local communities. Dudley Hippodrome, the only remaining lyric theatre in the town, is on a site approved for a new university centre. The Intimate Theatre, where a number of stars including Richard Attenborough and David Bowie performed early in their careers, will be redeveloped to build a new parish hall and residential accommodation.
No additional theatres were added to the Theatres at Risk Register this year, despite the challenging environment faced by theatres due to the ongoing effects of the pandemic, the cost-of-living crisis and funding cuts and shortfalls. Theatres Trust continues to provide free advice and support with the aim of preventing more theatres from reaching the critical stage of being added to the At Risk list, particularly taking into account the difficult challenges facing theatres this year and the resulting pressures being put on theatre buildings.
Theatres Trust Director Jon Morgan says, As the true impact of rising construction and energy costs, cost-of-living crisis and squeezed council budgets becomes known, the challenge to secure the futures of Theatres at Risk will be more difficult than ever and there is a real fear that more operational theatres may become ‘at risk’. However, despite the difficulties, local support and collaborative working still pays off and the opportunities these buildings offer their communities are immense.
Theatres Trust has recently launched Resilient Theatres: Resilient Communities, a new support and training programme aimed at helping Theatres at Risk and theatres in danger of becoming at risk. This is a three-year project made possible by a grant from The National Lottery Heritage Fund, and funding from the Pilgrim Trust and Swire Charitable Trust. The programme aims to reduce the threat to At Risk theatres and strengthen the sector’s resilience, by supporting communities operating theatre buildings, and communities considering taking over a theatre building.
The theatres appearing on the 2023 register are as follows:
This Spring, Penarth Pier Pavilion is working in collaboration with RWCMD on a new RWCMD-in-Residence programme. The Residency will involve music workshops and performances for all ages and audiences!
Morning Mini Music Sessions
Come along and experience joyful, high quality music sessions for under-5s and their parents/guardian.
Children will enjoy joining in with songs, rhymes, dances, and games led by inspiring professional musicians with live music.
Learn lots of fun ways to engage musically with your little one which you can do at home. Watch your child flourish developmentally and socially through these expertly designed sessions.
Age guidance: Children under 5 and their parent/guardian.
Tickets are limited: 20 children per session. You can find out more and book tickets here
Venue: Penarth Pier Pavilion
Event: Morning Mini Music Sessions
Date: Wednesday 15th February 2023
Timings: First session: 9.30am to 10.15am. There is a second session from 10:45 – 11:30 am
Tickets: £5.95 per child (booking fee applies) per session – children to be accompanied by a parent/guardian.
This Spring, Penarth Pier Pavilion is working in collaboration with RWCMD on a new RWCMD-in-Residence programme. The Residency will involve music workshops and performances for all ages and audiences!
Little Concerts
Discover the wonderful world of the harp and classical guitar in this joyous and interactive chamber music concert.
Perfect for families and specifically designed around the learning styles of under-5’s. Little Concerts are hour-long events, with no segment longer than four minutes. Children participate with movement and art which expand their understanding of the music and instruments.
The first Little Concert is on Sunday 12th February 2023, 2pm to 3pm (doors open 1.30pm). Tickets are £5.95 per child + booking fee. Children to be accompanied by a maximum of 2 adults. You can find out more information and book here
What parents are saying about Little Concerts:
I loved how the children were just so captivated by the music. I really wasn’t expecting that. She spent the whole time just transfixed. It was really accessible for them. It was gorgeous – that song towards the end. Could we just have that every evening at our house?
I really liked the interactive activities on top of the music. I kind of assumed that we would be just listening to the music. It was really nice, that other level of engagement and stimulation.
I like the interactive new composition where the children pointed out what they wanted to hear. That was good. Instant feedback!
Really different. It’s lovely that its tailored completely for the children and they can do whatever they want and get completely involved. He loved it.
Really thoroughly enjoyed the concert and lovely to have a relaxing afternoon with the children.
I thought it was wonderful, all the interactive things for the little ones. My daughter really loved listening to that piece with the lights on the ceiling. Oh, she was so relaxed all the way through.
It was really nice to watch her be still and listen to the music.
It was really, really good from the point of view of the children but also the adults.
I really enjoyed all of it and had I lovely time. I’ve never done anything like this before.
I enjoyed the entire thing. It was quite miraculous. It was done at such a wonderful level for the children and the participation from the children was just lovely to watch. They soaked it up.
The different activities to involve the children in the different pieces were really well thought through. The activities really complimented the pieces.
For my older daughter, it is really nice for her to see older young people who are studying different instruments in Cardiff, coming from different places. And my younger child enjoyed being able to get involved with different activities while listening to the music.
Introducing children to a more classical side of music and some Welsh, was fantastic. And having that interaction with it. Brilliant.
This event is part of the RWCMD-in-Residence programme, a series of creative projects from Royal Welsh College musicians and recent graduates, presented in partnership with Penarth Pavilion.
This Spring, Penarth Pier Pavilion is working in collaboration with RWCMD on a new RWCMD-in-Residence programme. The Residency will involve music workshops and performances for all ages and audiences!
Quartet Draig
Quartet Draig will be performing ‘Romantic Works for String Quartet’ for their inaugural concert at Penarth Pavilion on Fri, 10 February 23, 19:30 – 20:30. You can book here
The Quartet is formed of current and past scholarship students from Royal Welsh College of Music Drama, Royal Northern College of Music and Guildhall School of Music and Drama.
As a quartet they have performed at the Wigmore Hall in the CAVATINA Competition, and in 2021 were Junior Quartet in Residence at the ESTA Conference. During their time at RWCMD they were recipients of the Albion String Quartet and the Bridgewood & Neitzert prizes, and they will also be returning to the Wigmore Hall in February 2023 to compete in the Musicians’ Company competition.
https://youtu.be/pPfDkn4Pq5w
Quartet Draig have been described as “An ensemble with energy, a wholly appropriate volatility within its interpretation, and buoyancy of tutti sound” by acclaimed music critic, Richard Bratby. On an individual basis, between the quartet they also play with orchestras including BBC National Orchestra of Wales, Welsh National Opera, Bournemouth Symphony Orchestra, Birmingham Royal Ballet, Sinfonia Cymru, and London Philharmonic Orchestra (Foyle Future Firsts). Alongside this they all regularly engage in education and outreach work, as well as other chamber music settings.
For this performance, the Quartet will be playing music from Elgar, Schumann, Borodin and Blake.
Borodin’s String Quartet No.2 is one of the most popular and enduring works by the Russian composer and is known for its lush melodies and rich harmonies. It is an excellent example of the romantic style of music that was popular in the late 19th century. It is dedicated to Borodin’s wife, with some scholars believing that it was written as a gift for their 20th anniversary, and that we can hear within the music the moment that they first met.
The intermezzo from Schumann’s String Quartet in A minor is a beautiful and expressive movement that showcases Schumann’s unique style; characterised by its dynamic, expressive power and rich harmonies.
A concert of Romantic works would not be complete without the charming “Salut D ‘Amour” by Elgar, (“Love’s Greeting”) which is one of the composer’s best-known short pieces, dedicated to his then-fiancé, Caroline Alice.
Howard Blake composed the score for the film adaption of the famous novel, “A Month in the Country” in 1987. The novel explores themes of love, loss, and redemption, and it is known for its evocative and poetic descriptions of the English countryside.
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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