Dame Felicity Lott and François Le Roux have done a bang up job in getting students who sing, the chance to develop their craft in the French repertoire. These recitals at Wigmore are fun, the promise of a gig in Paris is also enticing.
I might be wrong, but it appeared the programme was in the wrong order. I knew little to none of it, so I’d would very much like to discuss the singers and pianists who joined them. This programme (see below) was a mostly 19th century affair, conventional in some regards, filled with invention the other. The word piffy would apply for a lot of it, charming and regal as well.
Soprano Bella Marlen began with Debussy, effective in the murky pool of mysteries. She is decent to listen to, promise a word often used though here would apply greatly. It all seemed a breeze in her vocal ranges. Eliran Kadussi was a fascinating outing for countertenor, sweet and lively in his selection. His high range was sumptuous, acting decent with the material, hand gestures and eyes bulging. Baritone Johannes Moore was a standout as well, a fine actor with a voice that could easily suit Mozart, Wagner and Mussorgsky. He seems to relish the fun in these songs, the most animated out of the trio for sure. Fitting tributes to Fauré, who’s 100 anniversary of his death was a few days prior lingered, his delightful La bonne chanson selections pleasing to ears.
On piano Archie Bonham and Jong Sun Woo were partly overshadowed by the fluff and allure of the voices. Each brought sombre, pristine accompaniment when necessary for this French set. The response from the audience was positive. That final duet of Gounod’s L’arithmétique saw flustered finger counting aplenty, aside operetta stylings.
May we please suggest for the concert in October we have each singer billed as playing each exact pieces. We had the translated words to follow as we went, why not something clearer about who is doing what? Merci to all involved.
Programme:
CLAUDE DEBUSSY: Ariettes oubliées – C’est l’extase & Fêtes galantes Book I – En sourdine
EMMANUEL CHABRIER: L’île heureuse
PAULINE VIARDOT: Lamento
HENRI DUPARC: Chanson triste
GABRIEL FAURÉ: La bonne chanson Op. 61 – La lune blanche luit dans les bois, L’hiver a cessé
HENRI DUTILLEUX: 3 sonnets de Jean Cassou – Il n’y avait que des troncs déchirés
CÉCILE CHAMINADE: Mignonne
EMMANUEL CHABRIER: Villanelle des petits canards
MAURICE RAVEL: Histoires naturelles
CAMILLE SAINT-SAËNS: Pastorale
CHARLES GOUNOD: L’arithmétique
Wigmore French Song Exchange continues at the Salle Cortot, Paris on 30 Sept, then Wigmore Hall on 18 Oct 2024.
UK premiere ofHouse, written and directed by award-winning Israeli-French filmmaker Amos Gitaï. One of France’s most prestigious national organisations, LaColline – théâtre national, produces this large-scale multi-disciplinary stage adaptation of Gitaï‘s ground-breaking documentary trilogy.
House was written by Amos Gitaï, a 1980 documentary about a stone house in West Jerusalem that changed hands with changes in government.
Beautifully shot in both colour & black & white, the film focuses on Palestinian stonecutters chopping building blocks at a stone quarry, focusing & working on the building.
House examines the complex relationships between the residents of the former stone quarry – Eastern European immigrants, survivors of the camps and Arabs who have also been expelled from their homes due to the wars in Israel. Amos Gitaï magnifies the valley by turning them into a symbol of a possible coexistence.
The introspective & biographical elements within family origins depicts the interlink to generations, the architectural studies, the making of the House and its effects; and the experience of the Yom Kippur War, which had reflected communities & the unique stories untold.
The production ‘HOUSE’ presents an evocation of an ongoing intimate and common experiences served with sensitive base of individuals sharing Israeli-Palestinian background history.
Overall, the house (which functions as both a character and a metaphor) holds different meanings for both the people who worked on it and those who lived there, including: the Palestinian Dajani family who owned it until 1948; the Algerian Jewish couple who acquired it in 1956; the Ashkenazi professor who is the current owner; the Iraqi Jewish contractor; and the stonecutter from near Beit Jalah. This play soulfully responds to thoughtful connections with undemanding honesty.
Ru Paul’s Drag Race has skyrocketed through society in the last couple of years, bringing out new Queens every year and from, almost, every country. As one of the OG fans, its been a wild ride to see this trajectory, but also wonderful to see the UK represented. And well represented it is, with artists such as Lawrence Chaney.
A young, scottish Queen, Chaney jumped onto our screens and stole our hearts. In their early 20’s at the time, it was astonishing for us to see someone so well curated and with their drag act essentially down. No wonder they became the Queen of the season.
I have only seen Chaney once, on the UK Huns Tour, and in an old nightclub from my youth. The focus was very much on the UK Huns song, and lipsyncing from all the girl group. There were elements of stand up from Chaney, but not enough to really see the charm they showed on the show.
From Holyrood to Hollywood takes us, post Drag Race, across Chaney’s life since, from fame to their personal life, to the show the night before with questionable audience members. It’s a laugh a minute, despite Chaney’s failing voice, peppered with lip syncs, specially sliced together with verbal snippets, adding so many levels of comedy to the performance.
Chaney is a true comedian, taking on the audience when they go rogue, quick witted and fast with the jokes and come backs. They are very comfortable on stage, and treats us as if we have known one another for a long time. A big space feels intimate, and as if this show is only for us. They are also crude, rude, with no barriers and not a moment of holding back. They are for sure a comedian who isn’t afraid to offend, but somehow does it in a lovely, personable way. And not to mention, they are fabulous, in thier chic purple air stewardess get up.
Drag Race fans will eventually be absolutely delighted, when they bring out their winning sceptre to finish off the show. We get to re-live the crowning moment and, after some time feeling as if we have had a lovely chin-wag, we feel personally very proud of our purple Queen.
Lawrence Chaney, From Holyrood to Hollywood is every Drag Queen Comedian lovers dream, with a sense of intimacy in amongst the rude jokes and quality lip syncing.
Noted as one of the most haunted cities in the UK, and a stone throw from the notorious Greyfriars Kirkyard Cemetary, Ed Fringe regulars would have seen the Ghost Tours Bus parked up and taking visitors on a spooky ride through the city.
I’ve always wanted to go on the bus tour, but never found the time to squeeze it in. But, with it being fringe, press tickets were available and, as it is conducted by trained actors, it felt apt to take part.
Joining, coincidentally, at just outside the Frankenstein pub, we are admitted to an old bus that has been kitted out inside with tables and seats, velvet curtains, old lamps, reflecting gothic culture and old horror films. It is plush and feels like taking part in a seance. However, the initial induction was in want: we are greeted by our tour guide, dressed ghostly but who did not seem to want to engage with us. Taking our tickets however, was an man dressed in an ordinary manner, breaking the illusion quite instantly. It was a real shame to have this initial introduction and likely impacted how the rest of the tour felt.
Throughout the journey, there are snippets pointed out to us, of mass grave sites and places where reported ghost sightings have been. These are sometimes elaborated upon, others not. The ones that are are very interesting, but others that would seem likely stories visitors would be more interested in e.g. the ghosts of the castle, are merely commented on existing and swept over, leaving us wanting a lot more.
We have the opportunity to jump off at the oldest graveyard, which did have this spooky feel and started to get your hopes back up of returning to the good ol ghost tour. Sadly, however, our tour guide of the day, while following his script in both spooky facts and the story line, often broke character to bring his own commentary such as a dislike of Ed Fringe, a moment of warning to not venturing a certain way in the graveyard due to thefts resulting in his shouting at the tourist who didn’t listen, and commentary on the traffic. Again, it sadly broke the magic slightly and, perhaps he was just having a bad day, but did not seem relevant information or part of the experience at times.
Throughout, we are introduced to a story line of a supposed ghost lady who slowly breaks down the bus. We are introduced vocally to the driver, an alcoholic ex-prison inmate, and this gave an interesting element to our story. We’re told the bus once carried bodies, we end up in an exorcism, and there are plenty of jump scares through speakers and the screens. Myself as a complete wimp was jumping at all of this, but only proved its sufficiency in this way.
Overall, the Ghost Tours Bus is certainly an experience and a novel way to explore a haunted city such as Edinburgh, after you have done the traditional sightseeing. It adds another element to its past, and the experience is something for all horror lovers. It just happened that this particular tour had many moments of the illusion broken and felt slightly disappointing when so much has clearly been put into the aesthetics and planning.
If you’re part of the generation who was informed by Horrible Histories books and later the television show (let’s be honest, it was on CBBC but was purely for us adults) then you grew up with a sense of history not being the stuffy, serious topic and actually one of comedy.
Out of this, podcasts such as You’re Dead to Me and Oh What A Time have developed, and now there is much more appreciation of history and the comical aspects of times gone by. We are also a species who love to know “what if” – what would have happened if that event did or did not happen? Paul Coulter takes us on this journey, spanning decades and lifetimes, to tell us about just 5 Mistakes that Changed History.
We are swung from Alexander The Great, all the way up to Churchill in this lecture meets stand up comedy show. Performed in what actually looks like an old coliseum style lecture hall, Coulter uses multi-media, referencing modern elements such as memes and his own childhood to reflect and relate these ancient tales to us, a modern audience. This has this structured pattern, seen in many solo stand up performances, and is used well to create extra elements of comedy, separate to those from the story alone.
Perhaps it was the choice of venue, but it did in fact feel like a lecture, with a professor who was trying to engage his students. It had its comical moments, but more in an astonished way, mostly at the stupidity of the past. It was of course informative and educational, and as a history lover, I did in fact enjoy it immensely… but as a piece of theatre or stand up? It felt that this could be a loose connection.
5 Mistakes that Changed History is educational, fun and a great modern approach to bringing history to the masses. However, adding this into a comedy or theatrical genre felt slightly tenuous, no matter how entertaining it was.
As life goes on, it is becoming clearer that society is becoming lonelier, mental health is on the downward track, and its affecting the young and the queer community in a disastrous way.
Sweet Beef, with their show, Crying Shame, aims to bring this epidemic to light, using verbatim interviews mixed in an unreal cabaret, where we are reminded that, while we may be suffering, we are not alone.
While this sounds intense and deep, there are elements of comedy within, in a little bit of a bittersweet way. The characters are all clowns of some sort, with clown-like names, make up and crossed cabaret/circus outfits. They start out engaging us as any cabaret show: we have the compare, the introduction to different acts, they interact with us like friends and welcomed guests… but as time ticks on, it becomes more unhinged, the characters break down, it all goes wrong. There’s this philosophical approach to the production, almost starting with “putting on a smile” to engage us, but pushing us away as soon as things become too much and too real – it resonates, if not ambiguously.
The characters are each fully formed and so when they break, it is very clear that their clown facade has disappeared. However, some moments of chaos were almost too chaotic. Each breakdown seems to draw the other characters out and it becomes a little overwhelming, with competing voices and faces engaging you. The compare continues to keep peace until they themselves break and we get this beautiful moment of their reflection, of a slower and calmer analysis of loneliness. If there were more peppering of this, it would feel more poignant and not at a high energy level that felt a little hard to keep up with.
Crying Shame is visually beautiful, with a socio-political approach that is needed since the pandemic and in an ever downward spiral in our mental health system. It is an important and clever production, but needed a occasional change of pace to allow us to sit in our thoughts on the topic.
The best thing about the Fringe are the hidden gems. It’s often rare and difficult to find, when the “hidden gems” get critical acclaim and become the talk of the festival. However, this production was certainly one that should have been picked up as a real gem.
Tit Swingers is a punk concert meets unapologetic history re-telling of notorious pirates of yonder time. Anne Bonney, Mary Read and Calico Jack (though he is only the pretty male face in the background) tell us the tales of their seven seas and ambiguous sexuality and how they became feared pirate women of history.
The stories are told through a combination of original sea shanties, punk music and stand up/story telling, with electric guitars, bass and a live drum kit. The songs are catchy, they are engaging and every essence of Punk. Instantly, I knew this was my kind of show. It was one of those “musicals” that you want the CD afterwards (and saying CD shows my age, wait until I ask for a cassette…).
The interaction between the three characters is faultless, comical and with a sexual tension that could be cut with a knife. There is a real “girl power” element, with Calico Jack, part of the story, but in the position of arm candy; a serious change to the social norm. They are all fun, powerful and, while there is clearly some script or guidelines to the narrative, it feels much like we are included in a tale spoken on the spot, with the characters bouncing off one another, ad-libbing and engaging us. Sadly, the performance I went to only had a handful of audience members, and those who were not the most confident in engagement and so this led to the occasional awkward pause, changing the atmosphere. Not a fault of the performers or the content, but it sadly created drops at times that were not deserved.
The story is also very educational; while it wouldn’t be advised to bring kids, for the language and sexual references, it did deliver a element of learning that I feel many would enjoy history more if told in this media. It’s modernised, with current language and slang, and the way that the performers deliver it has you listening to every word. Names I had heard of, but not really engaged with, I came away with brand new knowledge and more love of history, and pirates.
Tit Swingers is a golden nugget of the Fringe; music, sex, comedy and pirates … I’m not sure what else you would want from a show. But you definitely come away with something extra special as well.
Opera Rara, still strive to perform the lesser heard masterworks of the 19th and early 20th century opera world. In a salon concert at a private residence, I was given a warm Welsh welcome, thanks to those performing aside the London charms of the hosts. Jessica Robinson, as seen on Cardiff Singer, might just be one of the most friendly singers I’ve ever met. Brief chats and all things Wales were on the agenda before hearing her sing on the night.
Sat near the front at this intimate concert, Jessica was never too loud nor overbearing. Everything was extremely smooth in her delivery. Her patter in Italian is lovely, years of training have really shown off her talents. This was a varied programme, Donizetti rarities ever present and other odd and compelling treats. Jessica’s acting though seen less here, was present for moments. Scarlatti’s Le Violetta, was a soft opener to guide us into a journey spanning decades and our continent. An aria from Handel’s Alcina was another vigorous triumph. James on piano also played with ease, his flow for all the songs was highly skilled, he seems to have great patience and passion for these delights.
For the first set of Donizetti songs we had varying moods, aside ‘Oriental’ musings and loved up extremities. Whilst I may not be completely taken by him as a composer, hearing these pieces hardly heard and delivered so well, it’s hard not to be pleased. Two Bellini flutters, gave Jessica Bel canto aplenty, proving she works well in the style, her trills impactful. Further Donizetti Billets chéris, interprètes de I’âme and Au tic tac des castagnetts prove his cleverness, the piff and sexed up vocal lines are never far away. Curiosities from Saint-Saëns and Reynaldo Hahn featured words by Victor Hugo and some of the most sweet and evocative conjuring of the night.
Proudly, the programme ended with a Welsh legend: Morfydd Owen. I proudly told this London audience after how much she means to us in Wales, a female composer filled with innovation, taken from us far to early. I’ve compared her to Lili Boulanger, a sort of French equivalent to Owen. These two Welsh language choices, I doubt are hardly heard outside of Wales, though their impact ending the night was palpable. Tragedy mixes with gutsy storytelling, strong themes from her homeland, as these dramatic songs unite the traditional with the experimental structures of her day.
Like a lot of opera companies at the moment, Opera Rara are also in need of funding. Expectational concerts like this prove the professional, kind and inspiring ideas that are so much needed today.
Another welcome return to hear The Mozartists. They were the last concert I attended in London before lockdown and one of the first when back to visiting again. Though the focus has been the boy genius, they have also defined Mozart’s life with his contemporaries and inspirations.
In this fine evening, the large audience at Wigmore were given an introduction to Italian composer Niccolò Jommelli (1714-1774). Having died 250 years ago, what is most upsetting is his lack of fortune in the centuries after. In his day he remained a valiant opera writer, amongst other amazing pieces. Disregard and forgotten, good on brilliant conductor Ian Page, who is always splendid for bringing this treasure chest of a programme to our ears.
There is a highly listenability to these arias. Whilst they may not have the complexity of Mozart, nor the sincerity of Handel, they are still wonderful items. Emily Pogorelc was indisposed, so my proud Welsh heart was delighted to see our Fflur Wyn take over the soprano role. My utmost respect goes out to Fflyr, who had a few days to learn all this, essentially something no singers around the world knows. I’ve loved seeing her at Welsh National Opera, her gliding high range and controlled middle register are standouts.
Each arias was from some of Jommelli’s 30 odd operas, of note was the finale to ‘Didone abbandonata’ from 1763. Taking the typical Dido & Aeneas story, this milestone is post Purcel and pre Wagner’s immolations. The exceptional wrap up sees a betrayed Didone yeild to her fiery temple of fate. She is not in aria mode proper, but somewhere between that and recitative. Chromacticlly this is very interesting, as the ensemble also plunge into depths, rarley heard for its era. Performances proved such success at its conception, that spectators demanded an encore of the finale. One could not blame them.
These arias all had rampant intrigue, I may not be able to detail all and I’d strongly urge those curious to acquire the recording of this immaculate concert when it’s available. It was all just so very touching, hearing a master composer writing his heart out, with fine singers and superb a ensemble of musicians. The rarity of these arias were stuffed with romance, vengeance, heart ache, fury and longing.
Each piece was such a treat you’d almost call it sinful. Mezzo Ambroisine Bré also wowed with subtle harmonies, with murky underworlds of fluid melody. Tenor Hugo Brady is a fresh faced hero in these parts, lots of Greek and Roman myths abound. His vocal range has spritely charms and a glowing aura, never over bearing which you can get with the singing type. The ensemble never disappoint, they live this work as they reach the hill of music making in completing Mozart’s full canon and these trimmings. Page as maestro melds all together in a fine mesh of serenity.
An encore of another aria, bleeding straight into a church hymn will be more things to cherish. I’d hope to hear the recording of this very soon.
The Mozartists future events are already popped down in my diary. They are a must when in London.
The Royal Welsh College of Music and Drama in Cardiff runs a Community Ticketing Scheme. The Scheme supports a range of eligible people to access a FREE performance. You can see some of the performance’s available this week 23-30/09/24 below. If you are interested there is link to the eligibility criteria and a sign up form below.
Dennis Rollins & Royal Welsh College Jazz: Calypso Cymru
Thurs 26 September 2024 7.30pm
Dora Stoutzker Hall
£7.50-£15
Musical memories from the Windrush Elders Cymru are re-imagined through the musical artistry of jazz giant Dennis Rollins together with Samuel Dubois on steel pan, Cameron Pierre on guitar and Royal Welsh College’s jazz performers. Breathing new life into the calypso-classics of Lord Kitchner, Harry Belafonte, Mighty Sparrow, Monty Alexander and more, the gig will also feature new calypso/jazz arrangements of Jump in The Line, Brown Skin Girl, Angelina and Sly Mongoose. It’ll be sure to have you dancing in your seats!
“It’s going to be a pleasure to return to RWCMD for an expansion of our 2023 collaboration, Calypso Cymru. Here, our connection is the song.” Dennis Rollins
She was fame hungry, he was doomed to follow her. As one hit wonders, this is a story of their big come-back. With Sandy’s determination and Bruno’s blissful devotion to her, they are here; not by popular demand, but by sheer defiance.
With striking aesthetics and a rousing soundtrack, THE BAND is a quirky, humorous display of desperate ambition and blind affection told through awe-inspiring dance, theatre and circus.
Funded by Arts Council England. Developed with the support of Greenwich & Lewisham Young People’s Theatre, as part of Progression (an Arts Council England funded project). Supported by Greenwich Dance and Jacksons Lane.
Join the award-winning ORA Singers for their inaugural Graduate Composers’ Showcase, the culmination of a brand new scheme designed to celebrate the rising stars in composition. Hear the five exceptional new voices in contemporary music: George Parris, Liberty Richardson, Tomos Owen Jones, Emma Pascoe, and Jorge Ramos, with additional ORA commissions from acclaimed composers, Paul Mealor and Odaline de la Martinez, alongside renaissance masterpieces
Exploring the connections between musical traditions and the natural world, Making Tracks brings together exceptional musicians from all corners of the globe. Collaboration has the power to foster a deeper appreciation of both biodiversity and cultural diversity, and this autumn, Making Tracks visits Cardiff for the first time with a fresh line-up of eight musicians performing a captivating programme of solo and ensemble music.
You can find out more information and book ticket here
Information on The Community Ticket Scheme
RWCMD is a performance venue with a range of theatres. We work to support the public to watch the full range of performances, many of which are free and happen regularly, like AmserJazz.
We specifically focus on supporting people who may face barriers to coming to the College. If you are a member of one of the groups below and are interested in seeing a performance at RWCMD for free, please fill this form or phone our Community Engagement Partner – Guy O’Donnell at 029 2034 2854
People from the areas of Cardiff:
Ely,
Caerau,
Canton,
Riverside,
Grangetown,
Butetown,
Adamsdown,
Splott,
Rumney,
Llanrumney,
Trowbridge
Llanedeyrn,
St Mellons
Pentrebane
Asylum seekers and refugees (Referred through membership with partner organisations)
Disabled people (Referred through membership with partner organisations or evidence of status)
Tempo Time Credit network members
Care experienced children and young people.
Groups and individuals supported by Race Council Cymru and Chinese in Wales.
We are keen to learn more about what barriers to study or live performances exist and how we can work to remove them. We seek to learn, share and work with a range of communities.
If you have any queries or you would like someone to speak to your group about the Scheme, please contact Communities Engagement Partner – Guy O’ Donnell.
Guy works on delivering a wide range of engagement activity, working across every aspect of the College with potential students, community groups, schools, colleges, audience members, partner organisations, decision makers and the wider public. You can email him at this address guy.odonell@rwcmd.ac.uk
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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