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.
2022 was a fantastic year of queer representation in the media. We saw the iconic Ru Paul’s Drag Race gain mainstream attention; the world became obsessed with the Netflix original series Heartstopper and the Lightyear movie turned heads after including a same-sex couple! It is obviously a fantastic thing that as a global community we are seeing more and more queer representation in the media. While these ground-breaking queer moments are so vital for the global LGBT+ community, it’s also important that we take time to celebrate local queer stories/moments and events. I was personally most excited about the return of Pride Cymru after two years of the entire world standing still, especially when it was announced that this year Pride Cymru will be returning but this time it will take place in June (Pride month) and inside Cardiff Castle! While this is a fantastic announcement, I am slightly concerned however that people will get into the mindset that this is Cardiff Pride instead of the actual title of Wales’ Pride festival. As someone who has grown up in Cardiff for my entire life, it’s so easy to fall into that awful trap of thinking Cardiff is the centre of the world but it’s not just Cardiff that makes up Wales!
Queerway is a brand new song cycle musical that celebrates and shares the true stories of queer people and those connected to them growing up in the South Wales valleys coming from the incredible minds of Geraint Owen who I was first introduced to during his run-in XXXmas Carol at the Wales Millennium Centre last year with my review available here and Luke Hereford (who is currently touring fabulously fun show Grandmothers Closet.)
The cabaret-style musical sees a compact cast explore the trials and tribulations of coming out, finding true love and a mum’s love for their trans child in an very raw and emotional show. What is unique about this show is despite the actors changing (literally and figuratively) into different characters on stage, the set itself does not change ensuring the focus stays on the emotional underpinning of these real and local stories.
In his debut to the musical theatre world, this brand new song cycle stars Welsh Drag King superstar Justin Drag (Ren Simons) who spearheads the transition events (which you can learn more about here , which for the first time will be hosted in Wales Millennium Centre in two weeks!
Considering this was the first time he had taken to the stage, Justin was completely comfortable in front of the audience even socialising with the audience before the show! My favourite number in this entire show would have to be the track “Not that Type of Gay” which was a hilarious duet between Justin (Ren) and Harrison Smith. The song discusses how the two opposing queers (one being extremely masculine and the other hyper-feminine) who are falling in love with one each other despite being polar opposites. This number highlights the important discussions about what things “gay” which is an issue that many people still fight with when considering sexuality even today. I also really enjoyed the fact that this song gave a nod to the Kings which is the local gay bar that I have frequented on many an evening!
The most powerful song throughout this show however would have to be “I Love you Anyway” which was an incredible song performed by the immensely talented Kate Griffiths.
https://youtu.be/ghsH7ja3F5M
The number is told from the perspective of a mother who has discovered her child is transgender and how this has affected her family. The honest and real look into the range of emotions a parent experiences when there child is going through this transition was so insightful and by the end of the song, where the mum reaches a point of unmatched love and support, every person in the audience (my self-included) was in tears! The combination of insane vocals and moving lyrics worked beautifully together to create a very moving performance that everyone seemed to really enjoy! From a song that tugged on every heart strong to a song that made everyone want to jump up and dance along. Towards the middle of this show, there was a fabulous queer medley of iconic songs that was gave full on energy and fun. The performers donned headphones to explain the electric and club-style tracks which was a wonderful inclusion and when they busted out some wonderful fan-ography (dancing with fans) was just so incredibly flamboyant which is something I personally love!
Overall, Queerway shines a light on not just queer stories but from the perspective of those who are just a short drive away. The stripped-back nature of both the prop and set means that the audience can really submerge themselves into the emotional and powerful yet honest and real undertones of the show!
My first venture to St John Smith Square remained a dazzling afternoon concert from flutist Anna Kondrashina, with Pavel Timofeyevsky as the finest accompanist.
The spirit of the flute lived in this fine hour of music. Be it their new arrangements of old classics or some of the finest pieces in the flute and piano repertoire, everything worked so well. Clara Schumann got a lot of love with her Three Romances originally for violin and piano. She simply has to be better seen as one of the early Romantics, her husband Robert established well in that regard. The piece was very touching, Anna making it her own with its resplendence and insight. More Clara!
The Concert Fantasy on Rimsky-Korsakov’s ‘Golden Cockeral’ from Efrem Zimbalist held up as a sparkling delight from the Russian composer’s last opera. Very Russian sounding in nature, fine melodies and sonorities lingered around the space, Pavel on piano also getting a lot out of the score with dramatic flair, proving the composer’s clever orchestration even in just the piano reduction.
Erwin Schulhoff, a German Jew who’s life ended in a concentration camp, has one of the more interesting works in this canon: his Sonata for flute and piano. There was a lot of Stravinsky going on in this, denser moments haunted. This was a new discovery for me and I found it highly alluring and profound, the context of Schulhoff’s fate not leaving my head. Anna again, proved her mastery of the flute, you feel like these are sacred moments, the sweetness of her musicianship are always bright.
A well needed bit of cheering up was from Gershwin and his Three Preludes. Thanks to these arrangements, you fell as if they were written for flute originally. These spritely, considerate jazz delights never faltered in their tones, Anna even mimicking a drum kit in the second movements. An encore of Bach was a stunning offering we didn’t deserve, since we had been treated to an already stellar concert.
Bach is the greatest composer once declared Richard Wagner. Whilst few would dispute this in music circles, we wonder just how clever old Johan really was. Well known for his tricks and games in his own work, it’s taken centuries to truly penetrate just how dense his ideas really are.
Through all this comes a concert form Academy of Ancient Music, who have made attempts to do a post-mortem on The Musical Offering, a piece he wrote during his time with Frederich the Great of Prussia, a well established musician in his own right. The King wrote a theme now known as the Royal Theme, which was then expect by Bach to transform into a world of music.
Director and harpsichord player Laurence Cummings command the evening, address the audience as well as all things musical. The concert was framed by two sonatas, one for viola da gamba, the other for flute. These are wonderful additions to the offering, the soloists excelled here, as the lights were dimmed in the hall and a few, mock candles graced the stage. Though the concert featured a lot of The Musical Offering, it at times felt like The Musical Education. I love Bach, though can only really look at these as mere trifles. The clever use of the king’s theme is evident for most of the movements, yet is mutated in other instances.
I, as an amateur musician tried to learn the Crab Canon, one of the many parts. I found it two hard as one melody on one hand is then inverted for the other, a quite pleasing trick when played together. The canons which do feature are always rousing, even for how old they are. There is always something stimulating about them and you could never deny his brilliance. The musicians seemed to enjoy the music, even if a lot of this was fragmented and slight. The pre show talk did also go into a lot of context for Bach’s schemes, thought even that could have been longer.
Academy of Ancient Music’s next concert is Locke’s Suite from The Tempest & Purcell’s Ode to Saint Cecilia in Cambridge and London, 8 & 9 March 2023.
My last encounter with the Arditti Quartet was less than memorable, though I’d never let that hold them down. In a birthday celebration for its founder, Irvine Ariditti, Wigmore Hall had done all but put out the bunting.
Their world premiers were an exciting prospect for this concert, first with Roger Reynolds and his imAge for solo violin. I like the smart format of the name of the piece though I held it in contempt a bit, its harshness seemingly defining the work. It did find some footing in its liberal look at the violin, Irvine proving he’s the man for the job, an esteemed musician who can do anything really.
Unsuk Chin from South Korea gave us the next new work: Gran Cadenza, Irvine being joined by Ashot Sarkissjan for this weird ping pong feat. Chin is a fascinating composer, though this was a bit dull, her intense nature not really present either.The real treat was Xenakis’ Ikhoor, for the full quartet who gave a stupendous outing of this chilling piece. If you cant get Xenakis you’d be wise to avoid a piece like this, its unwavering brittleness is a joy for some.
Sven-Ingo Koch and his new piece: String Quartet No. 3 offered insight and a more subtle encounter, the third movement being noteworthy for its nuanced tenderness. This final premiere proved how versatile Irving and the quartet can be, yet the type of music is unrelentingly contemporary and heavy. Irvine’s wife Hilda Paredes took the Mexican poetry of Pedro Serrano and transformed it into a blazing triumph. Their step-son Jake Arditti joined forces as a sweet, soulful countertenor, some bizarre moments for him including whispering and a finger over the mouth to imply insanity (if that makes sense?). The fine, pastoral verse was well met, with the soft quartet writing as well.
Here’s to many more, Irving!
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
(4 / 5)
(3 / 5)