Photo credit: Christophe Abramowitz

(4 / 5)

The goal of more accessible concerts at half past six is one of London Symphony Orchestra’s outputs. It’s a swell idea, with one 30 odd minute piece getting the spotlight and a talk before going into more detail makes for a grand hour.

Here, Barbara Hannigan as conductor and speaker, delighted with insights into Pulcinella by Igor Stravinsky. Heavily inspired by the music of 18th century work by Pergolesi, this would turn out compromised as most of the music featured is not by him. Hannigan went into detail about Stravinsky’s dip into neo-classical ideals, a return to form of less experimental nature. You can hear it’s still very much Stravinsky’s arrangement of this bubbly, happy music. It’s a world away from his earlier ballet work, this being a collab with Picasso and other artists.

Hannigan as conductor, created form the way she is known for. She seems to executed good vibes bringing this out to us. The players shone with the return to Italian standards, peppered by the Russian composer’s rampant vitality. A trio of singers: Fleur Barron, Charles Sy and Douglas Williams has few solos, though these characters from the Commedia dell’arte proved good actors and suitable vocied and ones to watch out for. It’s the little extra details Stravinsky adds that keep you thinking after it was over.

Photo credits: Mark Allan/Barbican
(3 / 5)

A rare visit from the Munich Opera orchestra would be a treat for London based audiences. I missed them the night prior, a selection of Victoria Poleva, Berg and Richard Strauss seemed promising.

In a very Germanic second evening, Wagner’s Prelude to Tristan and Isolde is total romance. Many speculate it’s sex set to music, the passion of the Celtic story cannot be deined. Conductor Vladimir Jurowski swooned his way through, the buttery fluidity highly sensual. This is easy Wagner to access, the famously coined bleeding chunks. As an opener it was very fine.

For Schumann’s Piano Concerto, we saw Yefin Bronfman as soloists. I do find this piece apprachable and easy fair, Yefin had restraint in many ways. Wagner absolutely quoted at least one melody here for his Flying Dutchman. As a concerto the piano gets many flights and retrospection, Schumann’s lovely sence of dynamics are ever present. There is also the feeling of the promise what the piano concerto will become, there’s not really violence here nor harshness. Yefin faired well, but I wasnt wowed. An encore of Chopin pleased most.

I’m hearing Mahler’s 4th a few times this years, the LSO in Bath last. Here, in what is not my favourite of his lies a symphony filled with sleigh bells, sweet melodies, moments of pain and a soprano singing as a child in heaven. A bizarre brew, which does not always hold up for its hour demands. Yet when right, it sparked and transformed, Jurowski proving his fine maestro sway over the mass of players. The boyserious, Austrian air I think about in Mahler is in this, though is done better in past symphonic work. Louise Alder for the saccharin finale also added to proceedings. Her voice matched the tone well, the delight of the child in heaven playing and seeing the saints going about their jobs told through the vivid verse.

A final gift of Bach’s Air on a G String wrapped up well. 

(4 / 5)

A rare treat from OVO in London with The Threepenny Opera. Most well know for the hit song Mack the Knife, the show’s titular anti-hero, this remained a delight. From the mostly young cast was brought new life to this peculiar show. High res jackets and made up mannequins are the home stay of the production, directed by Adam Nichols and Julia Mintzer.

Kurt Weil excelled as caberat songs, symphonies and film score. This is some of his best work here, the bouncing, acidic metres and remaining tunefulness are total highlights. Story wise, Bertold Brecht was never one to turn down a sort of fable lecture in most of his work. Mack the Knife is one of London’s most infamous criminals, falls in love with Polly and gets his commpuence…or does he?

My plus one was confused over the meaning and the ending’s choice. I always see it as Brecht’s cutting look at society and the systems we engage in as flawed, corrupted and horrible. This was Peaky Blinders for the Weimar period. Much respect to the springy, witty ensemble. This is such a Cockney piece and the accents felt genuine (this London after all) and the leads impressed. Peter Watss as Mack, bringing out all the stops for the scary, yet loveable thug. It was nicely performed and should see him in the role agian.

Polly was a delight from Emily Panes, musically well suited to caberat. The role does not have a lot to do, but when she engages with Mack and warding off his other lady friends things take flight. Mark Carlisle adds mad inventor vibes and Jonathan Peacham, engaged with money making schemes with homeless people. The delivery was telling and his timing well paced. Annette Yeo as as Celia Peccham in an amuzing costume and shrill theatrics is another enjoyable flutter.

The ensemble acted, sang and played the instruments and well done them. Czech conductor Lada Valešová added a serious, if still fun tone to proceedings. Her sometimes engaging with the action was dry, these little moments helped break down the show, being in the round, in English translation and by a group who didn’t focus on making a very showy show.

It runs till 7th Oct 2023. More information here

(4 / 5)

A return to London, making an effort to go and see something before even going to my host. In this marvellous afternoon concert we heard from JS Bach and other varying delights.

This was really an opportunity to show off Chouchane Siranssian on the violin. I loved the effort of a sensual Leonardo Garcia Alacón on harpsichord and Balás Máté giving patience and nice drone work as supporting cello. The Bach works: the Violin Sonata in G and Adagio from Violin Sonata in C minor had that had real compassion, Siranssian seems to soar in this repertoire. Amazing to think how much the repertoire has changed, yet Bach was such a game change in his own right. Complexity met beauty in what we should expect from Bach, the passion of these players was a highlight.

Though the Bach got the audience in, a delight from Carlo Farina and his Sonata quinta detta ‘La Farina’. Of note is it’s strange momentum, seemingly slow then without warning pushes forward with swift rhythms. I hadn’t heard anything like, certainly not from the era of the composer (1604-1639). More discoveries like this make you realise just how much innovation there was over the centuries.

A short fire trip followed with Johan Jakob Walther’s Passacaglia from Sonata No. 7, Krikor Naregatsi with his Improvisation on Havun Havun and Pietro Antonio Locatelli’s Sonata in D minor. Siranssian shone once again here with one part of high pitched squeals from her violin, her accompanists also getting fine musical moments. Bleeding well into each other this choice of three works was fine, its was all very touching and highly sweeping. The broad steps of musical style and expression never waned.

Ending with Andrea’s Anton Schmelzer and his Violin Sonata ‘Victori derby Christen’ prove more brilliance from this trio, this hour with them a joy. Siranssian I assume read out the name of movements in German as the piece went on, its approachable nature made for easy listening. We’d love to have them back soon.