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ENO Announces Recipient of the Inaugural ENO Charles Mackerras Fellowship – Gergely Madaras

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ENO is pleased to announce young conductor Gergely Madaras as the inaugural recipient of the ENO Charles Mackerras Fellowship. This award to an exceptional emerging conducting talent is an initiative of ENO, in association with the Philip Loubser Foundation, and celebrates the great legacy of Sir Charles Mackerras.

Fast gaining an international reputation as one of the most exciting young European conductors of his generation, Gergely Madaras is currently completing his tenure as the Leverhulme Junior Fellow in conducting at the Royal Northern College of Music. He is resident conductor of the Grazioso Chamber Orchestra of the Hungarian National Philharmonic, and serves as assistant conductor to Pierre Boulez and the Lucerne Festival Academy, as well as to Sir Mark Elder and the Aldeburgh World Orchestra. Madaras has been a conducting fellow at Tanglewood, Aspen and Lucerne. He worked alongside and studied with conductors such as James Levine, Pierre Boulez, Herbert Blomstedt, Sir Colin Davis, Sir Mark Elder and David Zinman. His guest conducting engagements led him to work with the Vienna Radio Symphony Orchestra, Brussels Philharmonic, Manchester Camerata, Concerto Budapest Symphony Orchestra, Wroclaw Philharmonic and Orchestre Dijon Bourgogne among others.

As the first ENO Charles Mackerras Fellow, Madaras has the unique opportunity to learn, work and develop through a structured two year programme, receiving mentoring from ENO’s Music Director Edward Gardner with the opportunity to assist him in his ENO work, prestigious guest conducting and recording engagements.

Madaras said, ‘I am delighted to have this opportunity to be part of the world-class team at ENO, under the guidance of Edward Gardner, a key figure in the international opera scene. To be granted this unique chance to assist a conductor leading his company is a great privilege and I look forward to benefiting from his guidance during my time at ENO.’

ENO worked with colleagues including other leading Music Directors and conservatoires to create a long list of potential candidates for the Fellowship. A selection panel then led an interview and audition process, involving singers and the ENO Orchestra. On the panel were Ed Gardner, ENO Music Director (chair) Martin Fitzpatrick, ENO Head of Music, Paul Hughes, General Manager BBC Symphony Orchestra, Valerie Masterson, singer and Gonzalo Acosta, ENO Associate Leader.

ENO Music Director Edward Gardner said, ‘When we met Gergely and saw him conduct the orchestra and the singers, it was clear to the whole panel and orchestra that we had found a real talent. His dynamic, assured style, and empathy for the musicians he works with is a pleasure to watch and I and everyone at ENO look forward to his development with us.’

 

Into The Woods

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 Renaissance Theatre Company, Phoenix Venue, Hastings 12 April 2012

With Sweeney Todd sold out in the West End it is surprising that we do not see more Sondheim in our local theatres. Perhaps the sheer complexity of his writing is beyond many smaller companies, but this was certainly not true of Renaissance who grasped the nettle with aplomb and came up smiling.

Nobody was credited with the design but this proved to be a key feature. In a venue with a flat auditorium, sight lines can be problematic, yet the multileveled set and subtle lighting enabled the majority of the action to be seen by all.

The large ensemble cast created credible characters within the overt fairytale environment which Sondheim stands on its head. While there were many children in the audience, the work has a serious purpose lurking behind the infectious humour of the lyrics, and we are regularly required to reflect on the impact of what we are hearing. Precise, though thankfully not over-loud, amplification enabled the text to be heard at all times and the complexities of the narrative to be easily followed. Mark Evans’ direction concentrated on maintaining a clear narrative line throughout, letting the humour run for itself but positioning soloists with intelligence both in terms of character and social status.

It almost seems unfair to mention individuals when the performance was so obviously an ensemble creation, but Imogen Willetts’ Rapunzel  was a masterly demonstration of a character who does not know when to stop. Her lyrical soprano was a joy from the beginning but her screams became increasingly annoying – just as Sondheim intended. I understand that Cathy Brown stepped in as Cinderella at a late stage though this was in no way obvious from the confidence of her anxious princess. Tuula Ward has an instinct for comedy which made her over-ripe Red Riding Hood a delight. Ryan Harman seemed a natural as Jack and the two princes were neatly differentiated.

If the level of vocal production was uneven this is to be expected even in the best of companies and the focus on communicating the text meant that we were always at one with the character singing.

Quite how Roger Wilcock kept everything together with the band positioned deep behind the set was presumably a mixture of high professionalism and good luck. The singers could not see him (there was no tv monitoring available) and he had no way of communicating with them in return. That there were no problems and the musical line was never interrupted was a tribute to all and a reflection of intense rehearsal to the point where all involved have trust in each other to simply be there. A splendid evening, and an appreciative and full audience.

Here’s to the next production.

BH

 

Brighton Philharmonic Orchestra The Dome Season 2012

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 15 January

The New Year began on an educational note for the Brighton Philharmonic Orchestra. The day prior to the concert a large number of primary school children had gathered at the Dome for a rehearsal of Britten’s Young Person’s Guide to the Orchestra. Not only where they introduced to the orchestra but had a chance to conduct along with Barry Wordsworth. At a time when music education is under threat, this hugely enjoyable experience is to be treasured.

The concert the following day opened with the Four Sea Interludes from Peter Grimes. These have always worked well in the concert hall and the ringing brass for Sunday Morning was particularly effective. The storm thrashed around the Dome to thrilling effect.

In keeping with the educational theme, Mozart’s Sinfonia concertante K364 drew on young soloists from the Yehudi Menuhin School. Anna Lee was the polished and lyrical violinist, with Nazli Erdogan a warm and sensitive viola player. They proved very well matched and created a pleasing ensemble with the orchestra. The dark second movement Andante was particularly effective in its mood setting.

After the interval the tone was lightened with Britten’s Matinees Musicales before a compelling reading of the Young Person’s Guide. While the work is very familiar from its regular radio performances it is not, maybe, as often heard in the concert hall today. One too easily forgets just how demanding Britten’s writing is for the orchestra and it was a tribute to all involved that the outcome was as polished, svelte and enjoyable at often electrifying speeds.

29 January

There seems to have been something of a gypsy theme this season and it continued with two works by the virtuoso violinist Pablo de Sarasate. Not quite as well known today as his contemporaries Paganini and Joachim, his compositions are flamboyant and entrancing. The Zigeunerweisen is based on Hungarian melodies and allows the soloist to wallow in sentimental portamento which at times verges on the erotic. The Carmen Fantasy brings popular melodies but embellishes them in a way which almost goes beyond belief. There are times it is difficult to comprehend just how many notes you are hearing. Throughout all of this Vasko Vassilev played as if it were the most natural thing in the world. Not only is his technique flawless, but his personality shines through without any sense of pomposity or smugness. Performances of this magnitude are rare enough that they need to be snapped up and enjoyed while they are passing. How sad that some people in Brighton chose not to attend.

The afternoon had opened with a sprightly reading of the overture to Rossini’s William Tell and concluded with Charles Mackerras’ arrangement of Sullivan for Pineapple Poll. It is always interesting to hear Sullivan with a full symphony orchestra rather than the pit band which is normally provided. Not only does the scoring benefit from the additional weight of string sound but the brass sounds far more pertinent. Add to this Mackerras’ subtle re-orchestration and we are probably hearing Sullivan somewhat better than the composer intended.

Barry Wordsworth was on fine form throughout. This is rapidly becoming a vintage season.

 

12 February 2012

There is no problem with popularity but some programme planning can unfortunately serve to highlight the exceptional above the merely enjoyable.

Opening with Chabrier’s Espana was pleasant but by comparison to the closing fire and colour of Rimsky-Korsakov’s Capriccio Espagnol it all seemed rather tepid.

The same could be said of Rodrigo’s Concierto de Aranjuez where familiarity could not be effaced even by the splendidly adroit playing of guitarist Craig Ogden. He seemed far happier in the first performance in England of Nigel Westlake’s Shadow Dances for Guitar, where the heat and mirages of Australia shimmer effectively. A work which could easily drift impressionistically is actually securely structured around repeated phrases and ideas, even if only hinted at through internal rhythms. This keeps the listener focussed and makes the whole piece most impressive.

This, and a beautifully understated performance of Debussy’s Petite Suite –with some exceptional solo playing – proved to be the high point of the afternoon.

Barry Wordsworth allows his players not only to enjoy themselves but to communicate this easily to his audience.

25 March 2012

The final concert of the season brought together the heavy weights in more senses than one, though the opening Prelude de l’apres-midi d’un Faune offered a delightful bon bouche.

Pianist John Lill is President of the Brighton Philharmonic, and a very active supporter, particularly when in the thralls of Rachmaninov’s Third Piano Concerto. The opening movement held the dynamic balance in check, allowing the musical line a muscular fluidity, as if preparing for the explosion to come. Unfortunately the Intermezzo drifted rather at times, though this was more a problem with the scoring than with the perception of the performers. The finale galvanized itself with a light energy, which allowed for a more refined conclusion which was received with rapture by a very full Dome audience.

Berlioz’ Symphonie fantastique was the final work and showed both orchestra and conductor at their best. Barry Wordsworth trusts his players and allows them to develop musical lines without trying to over-manage them. This allowed for some particularly effective solo playing – the woodwind always in evidence, and the solo flute proving that the opening l’apres-midi was not a flash in the pan.

Barry Wordsworth’s approach was unusual. In theory the work gets darker and more nightmarish as it proceeds. He reversed this. The opening movements proved to be uncomfortably sinister, the dark drum rolls and empty landscapes bringing a sinister touch.

By contrast the March to the Scaffold and Witches’ Sabbath were positively jolly, with a riotous ending from the brass in full flow.

Next season has already been announced – details from www.brightonphil.org.uk – and it opens on 21 October with a Trafalgar Day concert of patriotic English music. Be there.

BH