Christ Church, St Leonards, Saturday 6 July 2019

Whether by accident or design, I know not, but Hastings Philharmonic’s choice of Christ Church St Leonards for their performance of this later work of Rossini’s, Petite Messe Solonnelle couldn’t have been more fitting.  The background of this ornate church, with imposing altar beneath the colour of the stained glass east window and frescos gave Rossini’s singular religious work its proper setting.

Before the performance, as the choir filled their places, I wondered about the positioning  and its effect on the balance of sound. The tenors were to the immediate left of conductor, Marcio Da Silva, with the basses opposite, on his immediate right.  The ladies were around and to the front of him,  the three instrumentalists placed within the arc the choir formed.  However, any concern I had was blown away within the first few bars of the choirs opening Kyrie.  It was beautifully and arrestingly sung.    The balance was absolutely right and the choir maintained that equilibrium throughout the performance.  I was very much impressed by the choirs’ attention to dynamics.  Much of the work requires choir and soloists singing separately but within the same piece. These were performed particularly beautifully, expertly and seemingly  effortless.   Marcio Da Silva’s direction and conducting certainly draws the best from choirs and performers.  What was most impressive to me was that the men, few in number – 9 tenors and 8 basses – were heard as strongly, as softly, as effectively and harmoniously as the outnumbering women.  Well done men!

The soloists were superb. Tenor, Alberto Sousa, sang  Domine Deus magnificently.  Themba Mvula’s deep baritone gave  Quoniam an excellent rich quality.  The Crucifixus and O Salutaris were sung by Soprano Helen May beautifully and faultlessly.   Of the Soloists, the highlight of the evening was the duet Qui Tollis where Helen May was joined by mezzo-soprano, Beth Moxon; it was enchanting to hear and watch.  I particularly liked Albert Sousa’s expressive engagement with the music and singing. It gave an operatic element which Rossini would have approved.

Of course, the musical accompaniment of this work is distinctive. Though it can be described as ‘lumpy’ it must require much concentration, artistry and expertise.  Frances Rayner, piano, Petra Hajduchovia, harmonium, and Stephanie Gurga, chamber organ, managed all these and more.   I have heard the Preludio religioso described as ‘odd’; but their rendition was remarkable by their superb artistry.

Apparently, Rossini said that he composed this piece con amore.  It was encouraging and delightful to hear and see that all involved put this performance together with that same love.  A hugely enjoyable evening. Thank you.

Rev Bernard Crosby.

White Rock Theatre, Sunday 7 July 2019

The dancers and musicians of the National Dance Company of Ireland have been on the road for a long time now but the freshness and vitality of their performance is as uplifting as ever. On this evening there were five musicians – bodhrán, violin, accordion, whistle and guitar – playing live on stage in addition to the fourteen dancers. Two of the company also sing and we were delighted to be encouraged to join in familiar songs including Wild Mountain Thyme and Molly Malone.

However there is more to the evening than an engaging collection of dances for the underpinning narrative follows the history of the Celtic peoples from Ireland to the world-wide diaspora but always retaining a love of their heritage.

The large and enthusiastic audience appreciated the exceptional professionalism of the presentation, none less than the lighting and projections which constantly support the immediacy of the choreography.

St Mary in the Castle, Saturday 6 July 2019

A full house and a cosmopolitan group of soloists gathered in St Mary in the Castle for a night of music which may have focused on Spanish traditions but was drawn, eclectically, from a wide range of composers and soloists. There was a real sense of excitement in the audience before it commenced and one which continued throughout the many moods of the evening.

Hastings Sinfonia, under their regular conductor Derek Carden, opened with the first section of the Overture to Carmen followed rapidly, if somewhat incongruously, by D’amor sull’ali rosee from Il Trovatore, but sung with real passion by Thomasin Trezise. The main item of the first half was however a complete performance of Rodrigo’s Concierto de Aranjuez with Giulio Tampalini the beautifully accomplished guitar soloist. The work is very familiar but normally heard in separate movements. As such it was good to hear it complete for once, and the applause between movements did not upset the enjoyment of the whole.

Giulio Tampalini returned in the second half to give us an arrangement of Polo Piatti’s Goodbye, which proved gently moving in its melancholy, in total contrast to his Tango Solitaire which was interpreted by dancers from the Diana Freedman’s School of Dance.

Flamenco Dancer Ana Leon joined the orchestra to give us a lively interpretation of two familiar dances by Manuel de Falla, and we were all encouraged to join in the clapping sections of Manuel Artes’ Chamambo even if we couldn’t get the shouts in the right place.

The evening ended with Arturo Marquez’ Danzon No2 popularised by Gustavo Dudamel and the Simón Bolívar Symphony Orchestra.

While the orchestra kept its head well during the shorter pieces it seemed to have some difficulty with the larger works. Chabrier’s Espana Rhapsody came together well in tutti passages but often seemed to flounder where quieter sections required complex cross-rhythms, and this was also true of the concluding Danzon which produces fine passages of tone colour but often seemed to lack the bite the rhythms need.

A collection and raffle was held for the RNLI and a cheque was handed over at the interval for £200 to support their on-going work.

St Mary in the Castle, Hastings, 29 June 2019

The brief Biblical account of Salome has given rise to a wealth of artistic endeavours, the most recent of which comes from Edifice Dance Theatre in cooperation with Hastings Philharmonic. This is very much a step into the unexplored for them but, in the event, a compellingly worthwhile undertaking. The performance lasts about an hour and focusses on three highly contrasted individuals, each of whom is precisely characterised. We first meet Carmine De Amicis as Jokanaan (John the Baptist) a tortured individual who seems to be aware of his eventual death from the start as his movements regularly return to his neck and head. His focus is assuredly on the ascetic and removed from human contact. In total contrast Fabio Dolce’s Herod is a sickly smooth operator, as likely to seduce John as he is to try his luck with Salome. In the end his outlandish behaviour destroys both of them.

Harriet Waghorn’s Salome is a complex individual, at first defending herself from Herod’s advances but then allowing them once she knows she can twist him to her own ends.

The most compelling choreography comes in the final scene once John has been murdered by Herod. Salome dances with the dead Baptist in a stunning, if at times off-putting, duo where he is clearly lifeless yet she is able to twist and turn his body to meet her own sensuous needs. It is moving, yet disturbing at the same time.

Phillip O’Meara’s score is constantly apt to the narrative. Much of it is pre-recorded but moves in and out of the stage area, drawing in the three live musicians with consummate ease. The use of gentle pastiche for Herod and the nudging use of the Dance of the Seven Veils from Strauss’ opera is particularly telling. When Salome hears John from the cistern we hear a slow, deep male voice intoning – though the words are indistinct. For the party scene the musicians are required not only to play but to dance along with the soloists.

This is a work which grew on me as it progressed. If it took a little time to get into its stride, once it had done so it was genuinely gripping.

As it was well supported let us hope we will in future see more of the same.

St Clements, Hastings Old Town, Saturday 22 June 2019

What better way to spend a hot summer’s evening than in the gentle company of a group of madrigal singers accompanied by archlute and guitar? Hastings Philharmonic Chamber Choir brought a beautifully balanced programme of quietly effective singing covering madrigals from the late sixteenth and early seventeenth century. The first half was given over to works by John Dowland and allowed us to hear two exquisite lute solos from Cedric Meyer. Within the warm acoustic of St Clement’s these were particularly effective and demonstrated once again that amplification is not needed when audiences are this attentive.

Nine of Dowlands settings were presented with a range of voices. Flow my tears  was given by soprano Emily Armour and bass Oscar Smith, while Marcio da Silva was the lead soloist in the highly operatic setting of Up merry mates. Emily Armour returned for a movingly soulful account of In Darkness before the entire chorus brought the first half to a close with Now, oh now.

The second half was spread across eight composers, from whom Morley’s Now is the month of maying was by far the most familiar and John Wilbye’s Adieu, Sweet Amaryllis proved touchingly effective. The evening was rounded off with some rather more extrovert settings including then they all fell to kissing from Farmer’s Fair Phyllis I saw and Mother I will have a husband.

In addition to the lutenist, Marcio da Silva joined in some of the larger choruses, both as singer and accompanying on guitar, giving subtle changes to both texture and dynamic.

Many of these madrigals are extremely complex, often deliberately so, and part of the enjoyment is hearing the singers grapple with the cross-rhythms. That they hardly ever came unstuck was pleasing, but that there was a sense they were at times on a knife-edge was equally exciting.

Salome this weekend, followed by Rossini the week after.

Wednesday 19 June 2019

Classical guitarist Richard Bowen made a welcome return to St Nicolas for a concert of Latin-American guitar music. In his fascinating links he noted that the guitar had continued in popularity in Latin-America even when keyboards of various types had overtaken the instrument elsewhere. Moreover, their approach to composition and performance remained intimate and sensitive where the rest of the world became very more brash and loud.

His choice of pieces eminently reflected this, opening with Josa Cardosa’s Milonga with its gently flowing rhythms and then moving into three linked pieces – Solidao by Antonio Carlos Jobin, with its warm melodic lines; a more extrovert Samablamento by Luis Bonfa and the lovely lilting Vals No3 by Antonio Lauro.

Though none of the music was difficult on the ear, the three preludes by Villa Lobos were certainly more challenging with the classically framed No3, the playfully indulgent No2 and the reflective No4. This latter Richard Bowen regards as spooky but its charm seemed to deny this.

For those of us of a certain age Tico Tico was verey familiar and brought some lovely rubato in the phrasing. The final two Latin American works were the delicately pretty Velos Retrato by Jonas Batista and the Barcarole by Augustine Barrios Mangore.

He concluded with a gently sentimental arrangement of a Catalan folksong Spirit of the Seas, bringing a splendid lunchtime event to a close and leaving very much hoping he will return again soon.

White Rock Theatre, Wednesday 19 June 2019

Ronnie Scott’s is celebrating its 60^th anniversary this year and the All Stars are on tour to tell the story. They came to the White Rock last week for an evening of nostalgia and story-telling, linked with music which spanned the whole of the history of the club.

Saxophonist Alex Garnett not only led the quartet but acted as raconteur, filling in the history between the numbers and introducing us to some of characters who had been instrumental to the success of the club. It was somewhat disconcerting to suddenly see the face of Ginger Baker and hear him in an early recorded interview.

Alex Garnett was joined by Sam Burgess, bass, Chris Higginbottom, drums, and James Pearson, piano for the instrumental numbers, allowing each solo breaks and a chance for Chris to demonstrate his homage to Buddy Rich.

Vocalist, Natalie Williams, was also with them, bringing tributes to Ella Fitzgerald among other items.

Though the music was of high quality throughout we could possibly have done with a little more of it and rather less talk between. I suspect most of the audience were there as jazz fans rather than stand-up. However it reflects on the quality that it left us wanting more.