*** (3 / 5) First Impressions
**** (4 / 5) Seascapes and Visions 

In this first trip back to London, I’ve found a lot of the mood being quite dream like. I’ve covered a lot and seen the sites. In this final evening, I returned to the Southbank Centre for the first time since March 2020. The London Philharmonic Orchestra and their outreach programme with Crisis Creates played their hearts out in this mid week night of music. 

The First Impressions set from Crisis helps to get homeless people from across the UK back on their feet. Through music they have united people to find joy in it and giving them a proper introduction to the performance space. Workshop leader Aga Serugo-Lugo had made wonders with the diverse group of characters who surprised and delighted the fair ones who attended. One male singer had some very interesting pipes and there was a charming ramshackle vibe to the few pieces they’ve been working on for days. They had been inspired by the programme from LPO to follow, though that may not have been obvious aside from the trumpet player mimicking the Debussy Prélude flute opener. Thinking about the way the arts has been effected, more work like this can only make the future more clearer. Well done to all involved. 

Following on was LPO in an all French night. Olivier Messiaen’s Les offrandes oubliées is an early orchestral work and one of note. The markings of his later outrageous and sublimely moving fittings can be heard in and around a piece like this. The strings standout for their agonised entry and departure, framing the piece in an never forgotten glow. The percussion and brass also get their moment in the middle section, full of swipes and jabs, a mostly violent affair and never ceasing to be sensational. 

Our concerto for the night was with cellist Truls Mørk and Saint-Saëns. In his 1st Cello Concerto, I have to admit it does not do a lot for me. There where some strange little moments with the strings feeling quite mischievous, as Mørk seemed pious in his formation. There is charm and grace, but it never stands out. Mørk was quite serious but the playing was what every cells should aspire to. An unknown encore to my ear continued the serious tone in a lot of feeling, the hall quite still for the minutes with him alone. 

A second half was purely Debussy. His Prélude à l’après-midi d’un faune feature the famous flute solo and conductor Klaus Mäkelä was in no hurry in letting the work start in it’s own evocative and sensual way. It’s a perfumed dip into the lovely waters, orchestrated with a fine nuance, never really stoping for anything. La mer is another testament to Debussy’s talents, though I do find my attention is compromised whilst listening. Some shining moments come through, the waves and storms which calm down only to arrive back later make this  fine example of how to composer music about water and the sea in an impressionistic manner, not like Wagner nor Britten who also excelled at sea-inspired scores. Mäkelä seems to be the a beacon of energy, seeming to lose himself in a few moments during the evening. More of this vigour is encouraged. 

(5 / 5)

Returning to see The Mozartists play again comes after seeing them in London a mere two weeks before lockdown. This final event seen in the capital had a lasting impact of me. The quality of musicianship is unbridled. Conductor Ian Page has gone about the leviathan task of getting all of Mozart’s canon performed live, essentially taking decades to complete.

We were treated to three of Mozart’s symphonies (No 12, 13 & 14) at the ripe old age of 15, with genius already on the table, heard in every note. These symphonies are conventional in nature (four movements) but the context of the composer’s age and the impact they have cannot be underestimated. In a pre-concert talk, Page said it’s not just about liking his Jupiter Symphony and I completely agree. Through this remarkable project we’ve had the chance to hear these lesser heard, lesser known pieces and we welcome the change of pace and programme. The fluffy flutes in the 15th symphony were also a welcome addition, quite moving in their arrival.

It’s the gleaming sincerity that is rich in these symphonies, the small ensemble of players really play them as if they have never before, crisp and affirmed. Soprano Emily Pogorelc gave musical offering with his concert aria “Non euro l’affetto” and Licenza Aria (the first version) from Il song di Scipione and “L’ombra de’rami tuoi” from Ascanio in Alba. Emily was a highlight of the evening really showing off some fine vocals, really going for the trills and the pacing of the recitative. You want to hear here in the full opera, no question. There lies a great discovery in Paisiello and his aria “Onde amiche…Smarrita, tremante” from Annibale Torino, an opera Mozart had watched in his early years. It’s swell to hear lesser known composers, even if Paisiello is also known for the original Barber of Seville, though things here are more serious and reflective.

I find this mix of symphony and aria to be very stimulating. Things seem to really work so well when all this comes together. An encore of a Mozart early work written for the church was regal and more sombre feel, still a fine way to end things. I will be back to see The Mozartists as soon as possible!

The Mozartists return to Cadogan Hall on 27 Jan 2022 for Mozart 1772 – A Retrospective featuring the music of Mozart, Jommelli, Traetta, J. C. Bach, Gassmann & Haydn. Featuring sopranos Jessica Cale & Chiara Skerath.

NOVEMBER 21st, 2021 JAMES ELLIS

(5 / 5)

I’m not really the type of person who rushes to morning concerts so long as there is some coffee after. Wigmore Hall in London seem to keep the tradition alive with early recitals on a Sunday. So a surprise chance to see the rising stars of the Kanneh-Mason siblings was not to be sniffed at.

These are super stars in the making. Diversity in classical music is still some way from where it should be, though starting with these fine young musicians, there is no sight of gatekeeping. In an all Felix Mendelssohn programme: Braimah on violin, Jeneba on piano and Shaku on cello played to a packed Wigmore. The power of these musical moments in this family affair was a special utterance, a feeling of hope for the future and a marker of our age.

Jeneba opening with the evocative Rondo Capriccioso heralding a beautifully poised concert with nothing of fault. My taste might lie in later classical music, but the sheer moments of resplendence cannot be denied. Braimah on violin also appeared as the affirmed anchor to proceedings, at times sharing the responsibilities with his sister. It’s all very inspiring.

With a selection of the delightful Songs without Words and the Piano Trio No. 1, these siblings could really sink their teeth into some early Romantic German music. They seem lost in the sound, close knit in their syncopation. I guess they can read each other as well as the score.

Shaku has a habit of pursing his lips looking towards the heavens when playing, such is the intensity of his delivery. He exudes that big brother energy as if taken his brother and sister under his wing. Perhaps he is the standout because he is the oldest, but the three together really are magic. I’d kindly ask for more of the same yet with more experimental material!