John Robinson – poet

John Robinson is a local born poet living in Hastings, East Sussex; his work appears widely in the small press and online literary journals; ‘Cowboy Hats & Railways’ is his latest collection to be published by ‘Scars Publications’; it is available as a free PDF download from ‘Scars publications’ or as a perfect bound edition of the book is available via Amazon at £8.88.

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His previous publication ‘When You Hear The Bell, There’s Nowhere To Hide‘ (Holy&intoxicated Publications 2016) carries an introduction by Brooklyn based underground legend poet and novelist John Grochalski;  the poem ‘On My Father’s Side’ was first published as a Broadside by the iconic 48th Street Press NYC; the illustration above is the work of Hastings based artist Jonathan Adie;

ON MY FATHER’S SIDE
I never met
my grandfather
and really didn’t
get to know my
own father
and my daughter
may feel as I;
she never met
her grandfather
and owing to my
own fears and
inadequacies
may feel that I
have distanced
myself ;
not by absence
but through my
quietness and of
not constantly
repeating
‘I love you’
if something is
said once and it is
said in truth then
it is said forever
but here it is
in writing for you,
my daughter,
Bonita Rose,
I Love You.

 

COWBOY HATS AND RAILWAYS
Another time, drunk on wine
and beer and high on hash
and both of us wearing
these ridiculous oversized
Stetsons; he dared me to
climb onto the railway
bridge and swing above the
railway tracks and it didn’t
seem to be a bad suggestion
so I did just that and as I
dangled from the iron bridge
above the tracks, I thought
of a time when I was 8 or 9
when he had passed out
drunk and I didn’t know
where we were and I
couldn’t wake him up and I
shouted and kicked and
punched him with tears in
my eyes and he wouldn’t
wake up and I walked
away leaving him laying
in an alcoholic black-out
and somehow, I can’t
remember how, I made it
home and my mother hugged
me like she had never done
before or since
and my father returned
a couple days later;
and I hung from the bridge
above the railway tracks
and he joined me and we
sang a few songs and our
arms tired and we decided
to climb back onto the
bridge
and then we threw our
Stetsons onto the
tracks and went in search
of another bar.

This poem first appeared in the poetry magazine The Peeking Cat.

 

 

 

BPO New Year’s Eve Gala Concert –

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The festive season is upon us and thoughts inevitably turn to the rapidly approaching New Year – so what better way to see out the old and celebrate the new than in the company of the Brighton Philharmonic Orchestra at Brighton Dome with a traditional New Year’s Eve Viennese Gala.

Guest conductor Stephen Bell says: “What better way to end 2016 than with some suitably uplifting and joyous Viennese music? I am delighted to be joined by star soprano Rebecca Bottone – she and I have performed this repertoire many times – and she brings a clarity and delightful lightness of touch to these glorious melodies.”

There will be plenty of foot-tapping marches, polkas and waltzes by the Strauss family and their contemporaries. Stephen is particularly looking forward to “rarely heard gems like the vocal version of Sphärenklänge and the wonderful sound world Franz Lehár creates in his overture to The Land of Smiles.”

Soprano Rebecca Bottone has promised us lots of “sparkly top notes” on New Year’s Eve. She is a rising star in the opera world who has worked with many of the world’s leading orchestras‚ and has appeared in TV documentaries The Genius of Beethoven and David Starkey’s Music and Monarchy as well as in Stephen Poliakoff’s acclaimed film Capturing Mary. Her ability to bring to life roles across the widest repertoire has met with considerable acclaim, and her baroque — and particularly Handelian — performances have received especial praise.

The Brighton Phil’s annual pilgrimage around the salons of 19th century Vienna, now in its 20th year, has become a well-established part of the festive season in the city and is generously supported by the John Carewe Brighton Orchestra Trust. You can view the full concert programme at: www.brightonphil.org.uk/concerts

Tickets are available from Brighton Dome Ticket Office starting from £12, with a 50% discount for students/Under 18s and £1 child tickets when accompanied by a full-price adult ticket holder. Call in to book over the counter, telephone (01273) 709709 or book online at: www.brightondome.org

Ticket-holders can park for just £6 (between 1-6pm) at NCP Church Street Car Park.

The Brighton Phil are offering a limited number of discounted season tickets for their four concerts at Brighton Dome in the New Year – see www.brightonphil.org.uk for details.

Jonathan Miller’s iconic ‘Mafia’ production of Rigoletto returns to ENO

Opens Thursday 2 February at 7.30pm at London Coliseum (13 performances)

Jonathan Miller’s highly acclaimed and enduringly popular production of Rigoletto returns to the London Coliseum for its 13th revival. First seen in 1982, this celebrated retelling of Verdi’s timeless story of jealousy, love and betrayal is played out against the backdrop of New York’s Little Italy in the 1950’s.

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Based on Victor Hugo’s play Le roi s’amuse (The King has fun), Rigoletto is one of Verdi’s best-loved operatic masterpieces. Verdi’s score contains some of the most famous and memorable melodies in all opera with ‘La donna è mobile’ (‘Women Abandon Us’) being particularly well known. Its tragic story revolves around the licentious Duke of Mantua, his hunch-backed court jester Rigoletto, and Rigoletto’s beautiful daughter Gilda. The opera’s original title, La maledizione (The Curse), refers to the curse placed on both the Duke and Rigoletto by a courtier whose daughter had been seduced by the Duke with Rigoletto’s encouragement. The curse comes to fruition when Gilda likewise falls in love with the Duke with catastrophic consequences.

Over the last four decades Jonathan Miller’s much-loved productions have been at the heart of ENO’s work with over 1044 performances of his productions to date. The original creative team for Rigoletto comprises designers Patrick Robertson and Rosemary Vercoe, lighting designer Robert Bryan and choreographer Tommy Shaw. Richard Armstrong returns to ENO to conduct, following his performances of Madam Butterfly for the Company in May 2016.

Leading the cast in the title role is baritone Nicholas Pallesen. He last sung for the Company in David Alden’s production of The Queen of Spadesin 2015 where he was seen as a ‘dashing presence, both vocally and physically as Prince Yeletsky’ (Whatsonstage.com).   He also performed the role of Fieramosca in Terry Gilliam’s five star production of Benvenuto Cellini in 2014.

American tenor Joshua Guerrero makes his UK and ENO debut as the Duke of Mantua. A member of LA Opera’s Young Artist programme and an Operalia prize winner, he has performed numerous roles at LA Opera and with the LA Philharmonic as well as at Ravinia Festival, Chicago andTeatro de la Maestranza, Seville.

Sydney Mancasola makes her ENO debut as Gilda. A current member of the ensemble at Oper Frankfurt, she has also performed with Komische Oper Berlin, Opera Theatre of St Louis and Palm Beach Opera.

British mezzo soprano Madeleine Shaw returns to the role of Maddalena after acclaimed performances in 2009. A former ENO young singer, she last performed with ENO as Magdalene in Richard Jones’s Olivier Award-winning production of The Mastersingers of Nuremberg. She has recently performed as Wellgunde and Rossweisse in Opera North’s Ring Cycle.

Former ENO Harewood Artist Barnaby Rea makes his role debut as Sparafucile. He last appeared with the Company as Don Basilio in Jonathan Miller’s production of The Barber of Seville in 2015 and recently joined the solo ensemble at Oper Frankfurt. Other roles for ENO include Colline in La bohème, Nourabad in The Pearl Fishers and Lodovico in Otello.

Current ENO Harewood Artists Matthew Durkan and Andri Björn Róbertsson are Marullo and Ceprano respectively.  Completing the cast are Nicholas Folwell as Monterone and Anthony Flaum as Borsa.

Rigoletto opens on Thursday 2 February 2017 at 7.30pm for 9 performances – 2, 8, 10, 15, 17, 22, 28 February at 7.30pm and 4, 25 February at 6.30pm

500 tickets for £20 or less are available for each performance. Tickets start from £12. www.eno.org

Pre-performance talk:  Wednesday 15 February 2017  5.15-6pm, £5/£2.50 concs.

Opera Undressed performances of Rigoletto will take place on 8 and 15 February.

See www.eno.org/undressed for more information.

Aldeburgh Festival 2017: 9 – 25 June

The 70th Aldeburgh Festival takes place from 9 – 25 June 2017. One of the strands of programming will be a celebration of Snape Maltings and its 50th anniversary of the Concert Hall which opened in 1967.

A Midsummer Night’s Dream

The 2017 festival opens on Friday 9 June with a new production of Britten’s A Midsummer Night’s Dream directed and designed by Netia Jones. In 1967 seven years after its premiere, Britten chose his new opera to open the Snape Maltings Concert Hall which celebrates its 50th anniversary in 2017. Conducted by Ryan Wigglesworth the cast features internationally renowned singers including Iestyn Davies (Oberon), Sophie Bevan (Tytania), Clive Bayley (Theseus), Matthew Rose (Bottom) and Andrew Shore (Quince). Netia Jones returns to Aldeburgh to bring to life this captivating tale of lovers, rustics and fairies with four performances on 9, 11, 12 and 14 June.

Featured Composers

Olga Neuwirth and Jörg Widmann are two of the featured composers in the 2017 festival. Despite being born only five years apart in 1968 in Austria and 1973 in Germany respectively, they have chosen contrasting compositional directions. Neuwirth’s output remains influenced by the composer Luigi Nono’s radical politics and includes film and stage work, as well as much music which requires electro-acoustic treatment. Widmann has chosen to work more regularly with standard classical ensembles and instruments, although they both share an extraordinary imagination which produces music of great colour and playfulness. Highlights at the festival include Olga Neuwirth’s Maudite soit la guerre – A Film Music War Requiem. One of the first anti-war films in history, Maudite soit la Guerre, was made in 1914 shortly before the First World War. In 2013 Neuwirth wrote a score to the silent movie which will receive its UK premiere by the London Sinfonietta under the baton of Gerry Cornelius on 10 June. Widmann’s Viola Concerto also receives its UK premiere by the work’s dedicatee Antoine Tamestit with the CBSO and its new Music Director Mirga Gražinyt?-Tyla. Tamestit describes the work as, ‘a unique audience experience’ including inventive playing techniques such as the imitation of a sitar, percussive use of the viola’s body and the soloists having a theatrical role.

City of Birmingham Symphony Orchestra with Mirga Gražinyt?-Tyla

The CBSO’s newly appointed Music Director Mirga Gražinyt?-Tyla makes her Aldeburgh debut with two concerts. On 17 June, Gražinyt?-Tyla and the CBSO raise an anniversary toast to Snape Maltings with the overture Britten wrote for the concert hall’s opening night – The Building of the House. This is set alongside two Beethoven masterpieces: his Leonore Overture and Symphony No. 5 and the UK premiere of Widmann’s Viola Concerto. On 18 June Gražinyt?-Tyla and the CBSO perform Stravinsky’s Petrushka.

Snape Maltings – its past, present and future

There are ambitious plans for further development of the site over the next 5-10 years, including redeveloping further derelict maltings buildings in order to expand the creative campus and the organisation’s artist development, learning and inclusion programmes, which run throughout the year. The masterplan for the site development will be unveiled in June 2017 as the Concert Hall’s 50th anniversary is celebrated. The unifying of the site has begun and will now be known by the single name Snape Maltings with a new logo and brand inspired by reedbeds that extend from the site far into the Alde Estuary. The existing Aldeburgh Music and Snape Maltings websites have been replaced by a new, unified Snape Maltings website (www.snapemaltings.co.uk) which showcases all aspects of the site – its music and arts offering alongside its natural environment and shops.

www.snapemaltings.co.uk

Full programme to be announced on Wednesday 11 January

Priority booking will open from 11 January

General booking will open on 14 February

 

English National Opera – 2017 Highlights

 

Rigoletto 
02 Feb – 28 Feb 2017

A tragic story of jealousy, vengeance and sacrifice, Rigoletto is one of Verdi’s most popular operas. Jonathan Miller’s much-loved ‘Mafia’ production makes a welcome return to the ENO stage, relocating the action to New York’s Little Italy in the 1950s.

Verdi’s thrilling score will be conducted by Sir Richard Armstrong and features some of opera’s most immediately recognisable music, including ‘Women abandon us’ (‘La donna è mobile’). Leading the cast is Nicholas Pallesen in the title role, alongside lyric tenor Joshua Guerrero as The Duke and Sydney Mancasola as Rigoletto’s love-stricken daughter Gilda.

Rigoletto opens on Thursday 2 February 2017 at 7.30pm for 9 performances. Tickets are available at eno.org/020 7845 9300

The Pirates of Penzance 
09 Feb – 25 Mar 2017

A swashbuckling farce of brilliant humour and razor-sharp wit, Gilbert and Sullivan’s The Pirates of Penzance is the perfect night out. The sparkling score is chock-full of memorable melodies, including the famous tongue-twisting Major-General’s Song and the cowardly Police Sergeant’s ‘When a felon’s not engaged in his employment’.

For the first revival of filmmaker Mike Leigh’s smash-hit production, ENO favourite Andrew Shore returns to sing the role of the Major General alongside John Tomlinson as the Sergeant of Police. ENO Harewood Artists David Webb and Soraya Mafi sing the roles of the young lovers, Frederic and Mabel, and Gareth Jones conducts.

The Pirates of Penzance opens on Thursday 9 February 2017 at 7.30pm for 16 performances. Tickets are available at eno.org/020 7845 9300

The Winter’s Tale 
27 Feb – 14 Mar 2017

A world premiere from ENO’s composer-in-residence Ryan Wigglesworth, The Winter‘s Tale is a compelling new interpretation of Shakespeare’s tale of love, loss and reconciliation.

This new work will be directed by Olivier Award-winning actor Rory Kinnear, who brings his considerable Shakespearean experience (as the National Theatre’s Hamlet and Iago) to the production in his directorial debut.

The highly acclaimed British cast includes three international singers whose careers were nurtured by ENO: Iain Paterson, Sophie Bevan and Leigh Melrose. They are joined by former ENO Harewood Artist Anthony Gregory and company favourite Susan Bickley. Ryan Wigglesworth conducts this world premiere performance of his first opera.

The Winters Tale opens on Thursday 27 February 2017 at 7.30pm for 5 performances. Tickets are available at eno.org/0207845 9300

Partenope 
15 Mar – 24 Mar 2017

Combining glittering arias and wonderful ensembles, Handel’s comic masterpiece follows the exploits of four rival suitors in pursuit of Partenope’s love.

Christopher Alden’s Olivier Award-winning production – with designs inspired by the Surrealist imagery of Man Ray and 1920s Paris – returns for its first revival.

Baroque-specialist Christian Curnyn conducts a world-class cast, including soprano Sarah Tynan, mezzo soprano Patricia Bardon, and tenor Robert Murray.

Partenope opens on Wednesday 15 March 2017 at 7.00pm for 5 performances. Tickets are available at eno.org/020 7845 9300

Charlie Parker’s YARDBIRD – Performed at Hackney Empire 
09 Jun – 17 Jun 2017

Hackney Empire and English National Opera present the European Premiere of Charlie Parker’s YARDBIRD, a jazz-infused chamber ‘be-bopera’ by Daniel Schnyder with libretto by award winning African-American poet Bridgette A. Wimberly.

Lawrence Brownlee stars as the legendary saxophonist—a role crafted around the effortless, improvisational style that makes him one of music’s most sought after tenors.

This project is the first in a series of work planned in partnership with English National Opera, Hackney Empire and Opera Philadelphia, to engage with a diverse range of artists and audience members through opera.

Charlie Parker’s YARDBIRD opens on Friday 9 June 2017 at 7.30pm for 5 performances. Tickets are available at eno.org/020 8985 2424

Bexhill Choral Society

Carols and Christmas Music for Choir and Audience

St Augustine, Bexhill, Saturday 10 December 2016

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A larger audience than expected meant that some did not have the words for the carols – not that that seemed to deter our singing, and we were certainly in good voice to join with Bexhill Choral Society for their traditional Christmas Concert.

The unexpected item this year was a complete performance of Britten’s A Ceremony of Carols with its beautiful harp accompaniment – written originally for Osian Ellis in 1942 – played here with great musicality by Heather Wrighton. Britten’s score is certainly challenging in its tessitura, written originally for boys’ voices, but the choir attacked it with aplomb and were ably supported by soprano Claire Williamson. The opening and closing plainsong sections were particularly effective together with the positive impact of This little babe and the limpid delicacy of the harp interlude which lies at the heart of the work.

It was not quite ‘all downhill from here’ as Ken Roberts would have us believe for the opening O Come, O Come Emmanuel of the second half was most beautifully phrased and gently intoned. Before that we had heard Howard Goodall’s familiar setting of the 23rd Psalm – and how much better it sounds out of context! – and the Shepherd’s Farewell from Berlioz L’enfance du Christ, plus two arrangements from Ken Roberts himself; a Caribbean Christmas  for brass and wind, and a rousing rendition of Frosty the Snowman.

The second half brought Bob Chilcott’s charming Sparrows’ Carol and another arrangement by Leddington Wright, this time of See Amid the Winter’s Snow.

Many choirs have a dearth of male voices so it was particularly pleasing to hear the men alone in Holst’s arrangement of Personent Hodie.

The final items rolled gently down through Ding Dong Merrily and Little Donkey to Past Three O’clock – the only John Rutter in this year’s programme – to a Christmas Medley of four popular Christmas songs. Given the age range of the audience, most of us knew these – but I wonder for how much longer?!

The next event  will be Handel’s Messiah at the De La Warr Pavilion on Saturday 6 May 2017. www.bexhillchoral.org.uk

The Best of British Film Scores

Brighton Philharmonic Orchestra, The Dome, Brighton,  4 December 2016

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Film music is very popular but one has to admit that most of the current popularity is with American composers. Think film – think Star Wars, Harry Potter, Indiana Jones etc. But there was a time not so long ago when British film scores were among the best music being written.

This very popular concert – how good to see such a wide ranging audience – drew on the best British Film Scores of the last century, opening with Walton’s Spitfire Prelude and Fugue  and later the Charge and Battle from Henry V.  No excuse needs to be made for these thrilling pieces, and the triumphalist tone was continued with Arthur Bliss’ march from Things To Come and Eric Coates’ Dam Busters March.

Contrast was provided with Vaughan Williams’ Dawn Patrol which reflects his Pastoral Symphony and the more extrovert Prelude to 49th Parallel.

There is no doubt that Robert Farnon was a magnificent arranger and a fine composer in his own right but his score for the 1951 Hornblower  does not reflect the best of his work. The playful Polwheal is effective but the battle scene sounded entirely generic and the sentimental Lady Barbara overextended its welcome. The other disappointment was John Ireland’s The stampede for water from The Overlanders. Conductor Richard Balcombe, in his relaxed introductions, explained that this was a very late piece by Ireland and certainly does not reflect the quality of the rest of his opus.

The real delight of the afternoon came with two violin solos from John Bradbury, bringing us Ron Goodwin’s gentle Belle’s Love Theme from Beauty and the Beast and Nigel Hess’ more substantial Fantasia from  Ladies in Lavender. Both were exquisitely played with the integrity and charm John always brings to his solo work. There was no mention of these solos in the programme and, with no list of regular players, he does not have a biography either. Given his long-standing importance to the orchestra, particularly while there are a series of guest conductors, he surely deserves greater recognition.

The afternoon ended by reminding us, as if it were necessary, that it is almost Christmas, with Malcolm Arnold’s  Fantasia on Christmas Carols from the film The Holly and the Ivy. For such a fine piece I am surprised it is not performed more often and brought a very pleasing afternoon to a warm climax.

Next performance – though regulars will not need reminding – it the New Year’s Eve Concert on 31 December.

 

 

 

Maidstone Symphony Orchestra

Mote Hall, Maidstone, Saturday 3 December 2016

Warm romantic music for a chilly winter’s evening. A very popular programme brought a large number to the Mote Hall, enhanced no doubt by the celebration of the 25th anniversary of the founding of the Heart of Kent Hospice.

Elgar’s Introduction and Allegro for Strings is indelibly linked for many of us to Ken Russell’s film for Monitor in 1962 and the boy on the white horse sweeping across the Malvern Hills. All of this came back in the richness of tone from the combined strings as they launched into the work, and then the sudden haunting delicacy of the solo viola. Have the strings ever sounded better? They certainly were on wonderful form and their new leader Andrew Pearson seems to have added a new enthusiasm to their playing.

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Bruch’s Violin Concerto (yes of course there is more than one but the first has a head start!) is still regularly at the top of Classic FM’s Hall of Fame but whereas many works can seemed jaded by regular repetition, the Bruch never seems to do so. Here again it had a freshness and immediacy which was compelling. Much of this was down to Benjamin Baker’s playing. Brian Wright has a wonderful knack of finding us young soloists on the cusp of international stardom, and surely here was another. Having recently won the First Prize at the Young Concert Artists Final Audition Awards in New York, he is due to give a series of major concerts across the USA next season. Sensing the unassuming authority he brings to the Bruch it is no wonder he won. There is nothing showy, no histrionics, simply the purest of music making and an immaculate sense of line and fluidity. The 1709 Tononi violin which he plays radiates the most beautiful tone, easily riding the full orchestra, and where appropriate seducing us with hushed, almost imperceptible phrasing.

It was a masterly performance but also served to show what a masterpiece the concerto itself is, standing up to any number of repeats, day after day.

As a well-deserved encore he played the Sarabande and Gigue from Bach’s solo violin Partita No2 BWV 1004 – as far removed from Bruch as one could imagine, and sublimely performed.

If Schumann’s Rhenish Symphony did not hit quite the same heights it was understandable, though there was much very fine playing and the horn section in particular impressed. Brian Wright takes a taught, muscular approach to the opening movement, almost hard edged at times, though avoiding any chance of sentimentality. The contrasting undulations of the second movement were well found as were the dancelike measures of the third. The change in atmosphere for the austere fourth movement impressed, allowing us to emerge into the sunlight for the finale, and the sparkle of the Rhine itself.

This season is proving to be exceptional. Let us hope there are as many in the hall in February for John Lill playing Beethoven for the President’s Concert.

GARSINGTON OPERA COMMISSIONS MAJOR NEW WORK FROM DAVID SAWER

Leading British composer David Sawer and celebrated young playwright Rory Mullarkey have been commissioned by Garsington Opera to write a new work – The Skating Rink (based on the novel by Chilean author Roberto Bolaño).  It will have its world premiere during the 2018 season and will be Garsington Opera’s first new festival commission.

david-sawer

Douglas Boyd, Artistic Director of Garsington Opera said:

‘I am delighted that we have reached a stage in our development as a company where we will be presenting a major new festival commission.  I strongly believe in our responsibility as musicians to create new works of art that will stand alongside great works of the past, both for audiences today and in the future.  David Sawer is one of the leading lights of our generation and has a wonderful flair for dramatic character.  Together with librettist Rory Mullarkey they are creating a work that is theatrically thrilling and musically exhilarating. This is a very important step for us and I can’t wait to share this new work with our audience and the wider world.’ 

The 2017 season that runs from 1 June to 30 July features four opera productions  and a community piece – Handel’s Semele, Debussy’s Pelléas et Mélisande, Mozart’s Le nozze di Figaro and Rossini’s Il turco in Italia. Roxanna Panufnik’s new community opera Silver Birchcommissioned by Garsington Opera, for professional singers and over 180 amateur performers, completes the season.  Public booking opens Tuesday 28 March 2017.

www.garsingtonopera.org