Hastings Philharmonic: Carmina Burana

Posted on 21 March, 2019 by Admin

Saturday 6th April 2019 7pm, St Mary in the Castle – Hastings

Back by popular demand, Hastings Philharmonic Choir return to St Mary in the Castle with Orff’s Masterpiece Carmina Burana. Portuguese tenor Leonel Pinheiro and baritone Ricardo Panela return as two of our guest soloists while acclaimed Welsh soprano Ellen Williams makes her Hastings Philharmonic debut.

The Hastings Philharmonic Percussion Ensemble led by Ed Scull will be joined by pianists Francis Rayner and Stephanie Gurga who has recently performed the Philip Glass piano concerto with the Hastings Philharmonic Orchestra. Together they will also be performing the rarely performed Brahms Sonata for two pianos.

Gaelforce Dance

Posted on 21 March, 2019 by Admin

White Rock Theatre, Wednesday 20 March 2019

Irish Dance is exhilarating, engaging and hugely enjoyable. It is also essentially abstract which brings us to the heart of the problem with Gaelforce’s production at the White Rock. The story opens with a wedding and the celebration eventually gives way to tragedy when the bride runs off with her husband’s brother leading to his girl-friend taking revenge. A final reconciliation is brought about when the bride returns as a ghost, Giselle-like, to bring the brothers together.

The wedding celebrations were a delight, and on this occasion the company was joined by members of the Griffin Lynch Irish Dance School from Tunbridge Wells, who added colour, style and splendid expertise. Not only was this persuasively authentic, it also brought us young dancers who were obviously going to continue the tradition of excellence. The young man who danced a captivating solo showed real sparkle and a winning personality.

For the story line itself, it was at its best when celebrating but at a loss when trying to be dramatic. West Side Story showed how choreography can adapt itself to violent action, but pseudo-fighting while others appear to be simply dancing at the edges does not convince.

Thankfully, like many classical ballets, the story line peters out mid-way through the second half and we are into a series of highly enjoyable set pieces which brought the evening to a close. Music was recorded except for some fine bodhran playing which accompanied some of the final solo dances. Given the quality of the performers, the audience was surprisingly thin, even given that this is a quiet time of the year.

There will be more Irish Dance coming to the White Rock on 7 July when Rhythm of the Dance will arrive with live music and a focus on the dance itself without any unnecessary narrative to distract from the beauty of line. It promises to be a good evening.

Echoes 8: Love & Life; Dare to Dream

Posted on 19 March, 2019 by Admin

Royal Albert Hall, Monday 18 March 2019

The logistics of getting 1,600 primary school students to the Royal Albert Hall, organising them into vast choirs, which then had to move place completely for the second half, was worthy of the Edinburgh Tattoo in its own right. That they also managed to present an immensely moving and pertinent multi-media work was entirely unexpected.

This was the culmination of work across 58 primary school organised by the Buckinghamshire Music Trust. The first half was fairly conventional. Eight songs for massed choir, including a significant amount of movement, clapping and extraneous (and quite deliberate) noise, formed a well-structured sequence under the guidance of Fay Hayhurst. The songs grew in impact with an exhilarating version of Sednato E Zore Dos with is overtones of Carmina Burana and the sentimental but affective I am the Gentle Light.

Dare to Dream was on a totally different level. It came about as a partnership project between Buckinghamshire Music Trust, Garsington Opera and Rosetta Life, bringing all of their skills and professionalism to create as broad a base for creativity as possible. It also enabled an art exhibition to be mounted on the day of paintings by Syrian children who had been involved in the project.

Over many months Buckinghamshire schools have been linked to schools in Bangladesh, Syria and Uganda, often via skype so that they were closely interactive. Out of this grew a series of stories which drew together the experiences of young people across the world and their dreams for the future. While their circumstances are very different, their hopes, their dreams prove to be remarkably similar. The work was crafted and composed by Hannah Conway, who also introduced and conducted it.

There were many wonderful moments in the musical score, but the presentation used the large screen to link us to the three other countries and fluid movement on stage, plus a continuing change of musical impact was entirely engaging.

The song of the fish – where all the children, regardless of their country, had made paper fish which swam towards each other – was both moving and joyous, and led into the final section of hope. Sometimes we falter/ Sometimes we fall/ Then we get up and stand/ Stronger than before they all sing, and at that point it really was all, for the massed singers from the first half joined with them and all 1,600 children were singing together with the children from across the world.

The message was clear, obvious and entirely apt. Yes of course it was political, but as we have seen from the children’s marches against climate change, it seems at the moment that in many ways our children are more focused on solving the problems than many adults are.

Brighton Philharmonic Orchestra

Posted on 18 March, 2019 by Admin

The Dome, Brighton, 17 March 2019

It was a resounding concert end to the season, and a real pleasure to see the Dome nearly full with an audience which included a surprising number of quite young children, excited and attentive, for what was by no means a “children’s programme”. Hurrah for the enlightened families who brought them along.

The heady atmosphere was enhanced, of course, by the central performance of the notoriously difficult Rachmaninov Third Piano Concerto. Stephen Osborne scaled the heights of this pianistic Everest with understated panache, terrific control, plenty of drama and admirable stamina considering that it is a 40 minute piece and the piano part, with its frequent changes of mood and mode, barely pauses for breath. I shall treasure his dramatic opening to the third movement during which his whole body was bouncing off the piano stool. The piano chord and legato string passage in the finale was nicely done too. Barry Wordsworth and the orchestra really rose to the challenge too. So much of the orchestral writing is in apposition to the piano in this work that it’s always tricky to bring off. In this performance we got lots of loving, sympathetic detail, for the most part accurately placed.

The concert had opened with ever-tuneful Chabrier’s Joyeuse Marche – always fun to play and to listen to, and I’ve rarely heard it played with quite so much incisive “joie”.

And so to the glorious end piece: Berlioz’s Symphonie Fantastique. It never palls does it? You’ve got to love a piece which uses two tubas, two harps, double timps (at one point requiring four players) and was at least a hundred years ahead of its time. In many ways in this programme, it sounded more “modern” than the sometimes schmultzy Rachmaninov. The highlights in this fine performance included some attractive work in the second movement with the harps underpinning the waltz. And it was an inspired idea to position the “off stage” oboist visibly in the gallery to play that beautiful avian duet with the cor anglais in the third movement. Then, for March to the Scaffold, the tubular bell was at the top of the choir, twenty feet above the main body of the orchestra which made it sound eerie and distant. I really liked the lovely broad tutte sound in the finale too.

Yes, it was a memorable concert which sent this audience member, at least, home with a spring in her step. Thanks, Brighton Philharmonic for another strong season. See you in the autumn.

Susan Elkin

CDs March 2019 (2)

Posted on 16 March, 2019 by Admin

In the Middle of Things

Chamber music by Michael Zev Gordon

Fidelio Trio; Julian Bliss, clarinet

This is a fascinating recording as Michael Zev Gordon’s musical styles are so eclectic. The Diary Piece 2015 give a snap-shot introduction to his compositions as they move from the immediate lyricism of Long Time to the more sharply focussed Shining Day. Fragments for a Diary are equally diverse but in all cases the compositions are finely honed for intimate response. This is certainly worth exploring.

Elgar: Caractacus
Huddersfield Choral Society, Martyn Brabbins
HYPERION CDA 68254

This new recording under Martyn Brabbins seems very timely, reflecting as it does the concord that came out of the hostile encounter between the British leader, Caratacus, and the Roman forces under the Emperor Claudius. The fact that the outcome was peaceful and is historically verified is all the more telling – compromise is possible! A strong line-up of familiar British singers and the Huddersfield Choral Society make this a fine new acquisition. My only caveat is the cover picture – Lawrence’s Satan summoning his Legions – hardly fitting for a British worthy.

The Romantic Piano Concerto – 78

Howard Shelley, piano; Tasmanian Symphony Orchestra

HYPERION CDA 68240

There always seem to be new areas to explore here, and while the Clara Schumann is as splendid – particularly the final movement – as one might expect from a child prodigy, the other items are equally worth our attention. They are Konzertstuck by Ferdinand Hiller, Rondo de concert by Henri Herz and Le reve by Friederich Kalkbrenner. I assume some listeners will be collecting the whole edition and this certainly justifies its continual opening up of lost treasures.

Bach: cello suites

Alban Gerhardt, cello

HYPERION CDA 68261/2

There is a fine improvisatory sense throughout this recording which pays off. One is never quite sure where Alban Gerhardt will go next and it is almost as if the tempi and phrasing come out of the playing rather than in any way being pre-planned. So much the better for a refined but entirely engaging approach.

Bach: St Matthew Passion

Mainz Bach chorus and orchestra, Ralf Otto

NAXOS 8.574036-38F

It is always difficult to review a new recording of a work which is such a familiar part of most music lovers’ libraries already. This new recording from Mainz has a relaxed reflective approach, musically very sound and frequently beautifully sung. It uses baroque orchestral forces but a large choir in addition to the many soloists. As such it bridges the best of both worlds. Given the price range for Naxos this will probably become a strong contender for any new-comer who has yet to add the St Matthew to their collection.

Kalman: Ein Herbstmanover

Stadttheaters Giessen, Michael Hofstetter

OEHMS OC 977

The Gay Hussars is not familiar to us these days – fact there have apparently been very few revivals since its initial runs before the First World War. The air of melancholy and at times forced jollity which pervades the work may account for this but ignores the quality of the music itself. Where too often modern productions on DVD can appear to undermine the work, this is a case where seeing the production would certainly have helped.

Hans Gal: Das Lied der Nacht

Osnabruck chorus and orchestra, Andreas Hotz

CPO 555 186-2

Hans Gal has been all but forgotten and this new recording of his 1924 opera Das Lied der Nacht is significantly support by the Hans Gal Society. Escaping from Nazi Germany when his musical career came to an abrupt end, he eventually found a longer term home in Edinburgh. He work is essentially romantic and lyrical, even if not quite as richly orchestrated as Richard Strauss. The work is well structured and deserves its place alongside many of the overlooked compositions within the late romantic tradition.

Reznicek: Suites for orchestra

Weimarer Staatskapelle, Stephan Solyom

CPO 555 056-2

Though the composer is best known for his overture to Donna Diana this collection of three suites for orchestra shows that he was certainly not a one-tune wonder. These are finely crafted, romantic and lyrical works with full romantic orchestration which is highly enjoyable. Don’t dismiss until you have listened!

Beethoven; Eroica variations etc

Florian Glemser, piano

OEHMS OC 1703

There is an intimacy to Florian Glemser playing which I find very appealing. He takes a breezy approach to the Eroica variations but is the Bagatelles which are the most substantial works on the disc and the most compelling. Hopefully we will hear more from him.

Hastings Philharmonic Orchestra

Posted on 16 March, 2019 by Admin

St Mary in the Castle, Hastings, Friday 15 March 2019

A cold night and very little heating in St Mary in the Castle seemed to reflect the three northern composers, though the warmth of the music and the immediacy of the scores certainly made up for any drop in temperature.

This was essentially a concert for string orchestra, which drew on the ensemble strengths of the ensemble and the excellent balance which they create. It was also unusual for its guest conductor, Scott Sandmeier, making a welcome addition to the many professional musicians working with the company. His light touch and accurate control showed fine rapport with his players.

The concert opened with Grieg’s Holberg Suite, the Praeludium providing bite and the Gavotte really bouncy rhythms. The Sarabande reflected a more English serenity with overtones of Finzi. After the interval we moved from Norway to Finland with Sibelius’ highly introspective Impromptu for strings before the familiar warmth of Tchaikovsky’s Serenade for Strings. The emotional impact of this, after the Sibelius and the Philip Glass was most touching.

But it was Philip Glass’ Tirol Concerto which really blew the cobwebs away. This is an unusual work as only the long second movement feels like Glass’ core minimalist compositions. It has a wonderfully timeless quality, based on a gently unfolding Passacaglia which the pianist elaborates and entwines in ever-evolving musical lines which never reach a conclusion. It is as far from conventional melodic creation as one could wish, and does not so much end as simply stop. Magnificently played by Stephanie Gurga, she also brought a lively humour to the outside movements where Glass indulges himself in jazzy rhythms and syncopations. It is surprising the work is not far better known. It would have made a splendid addition to the heavily romantic agenda for the Piano Concerto Competition!

Brian Hick

ENO: Jack the Ripper: The Women of Whitechapel

Posted on 15 March, 2019 by Admin

ENO presents the world premiere of Iain Bell’s Jack the Ripper: The Women of Whitechapel with an all-star cast of iconic British singers

Opens Saturday 30 March at 7.30pm

In one of the most anticipated operatic events of the year, the story of the most notorious serial killer in British history is told from the perspective of his victims. An extraordinary cast of some of the most distinguished female singers of the last 50 years of UK opera assemble to give voice to these women, so long overshadowed by the mystery surrounding the identity of their killer. ENO Artistic Director Daniel Kramer and Music Director Martyn Brabbins reunite after the success of War Requiem to deliver this vital new work.

Josephine Barstow, Susan Bullock, Lesley Garrett, Janis Kelly, Marie McLaughlin and Natalya Romaniw provide the unparalleled array of talent onstage, portraying a community of grinding hardship as it comes under terrifying attack. The 1888 Whitechapel dosshouse that unites the victims provides the setting for a look at the hypocrisy of a Victorian society that could discard working class women so readily.

Iain Bell is one of the UK’s most impressive young composers, mining British historical and literary subjects for his critically acclaimed operas. His first, A Harlot’s Progress, drew on the paintings of Hogarth; the second, A Christmas Carol, (5*, The Financial Times) on Dickens and the third, In Parenthesis, (5*, The Independent) on First World War poetry.

Librettist Emma Jenkins, whose relationship with ENO goes back to her time as a staff director with the company, collaborates with Bell for the second time after In Parenthesis (with David Antrobus). Her previous libretto, for Rhondda Rips it Up!, dealt with the Suffragette movement and was hailed as a ‘tremendous creation’ (5*, The Times).

Dame Josephine Barstow sings dosshouse proprietor Maud, a character created for the opera. With a history of performances at the world’s leading opera houses going back 50 years, her ENO credits include Salome‚ Tosca, Violetta in La traviata‚ Leonore in Fidelio‚ and many more. She made an appearance at the National Theatre in 2017 in Stephen Sondheim’s Follies. She was made a Dame in 1995.

Internationally acclaimed baritone Alan Opie marks 50 years since his ENO debut, creating the role of the Pathologist. His previous performances with the company included Bartolo in The Barber of Seville in 2017 and Germont in La traviata in 2018. His performance in the title role of Verdi’s Falstaff earned him a nomination for the 1998 Olivier Award for Outstanding Achievement in Opera.

ENO Music Director Martyn Brabbins conducts, marking the second collaboration of the season with Artistic Director Daniel Kramer after the acclaimed War Requiem, and his third production of the season after September 2018’s Salome. A champion of contemporary music, he has conducted hundreds of premieres over his career, described as ‘the musician’s musician’ (The Guardian). His most recent world premiere for ENO was Nico Muhly’s Marnie in 2017.

Jack the Ripper: The Women of Whitechapel opens Saturday 30 March at 7.30pm for 6 performances: 30 March, 03, 05, 08, 10, and 12 April at 7.30pm

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

Plus booking fee of £2.25. No booking fee in person

ENO: The Magic Flute

Posted on 15 March, 2019 by Admin

London Coliseum, Thursday 14 March 2019

There is nothing routine about this third revival of Simon McBurney’s approach to The Magic Flute. Not only does the production work as smoothly as ever, no small thing in itself given the complexity of the stage movement and video design, but the cast is fresh and appealing.

One of the benefits of a large cast is that it can bring on younger singers and ENO makes this into a real strength.

Tenor Rupert Charlesworth is a charming Tamino. He has a gaucheness in his manner which speaks of his youth and lack of experience, but also his genuine willingness to learn. His voice copes admirably with the long lines while his diction impresses. Lucy Crowe’s Pamina may be more familiar but is none the less making a welcome return to a part which she inhabits both vocally and physically.

Julia Bauer made her house debut as the Queen of the Night but it is a role she has sung frequently before as was obvious from the confidence with which she threw off Mozart’s coloratura. Brindley Sherratt’s Sarastro is new to this production though he has sung the role in an earlier version. He brings weight and authority to the part but also a genuine warmth and, at times, humour.

Thomas Oliemans returns as Papageno and is entirely at ease within the occasional eccentricities of the production, to say nothing of the obligatory set of steps he carries around.

The many silent actors are always aptly used, particularly the magnificent birds, and move alongside the chorus with commendable ease.

The pit is once again raised, which I think improves the acoustic, as well as allowing easy movement between the orchestra and the stage. Conductor Ben Gernon, making his house debut, lifted the score with commendable ease and fluency. He is certainly one to watch.

Sitting alongside the new Merry Widow the season at present seems to be running very well.

St Nicolas Church, Pevensey

Posted on 13 March, 2019 by Admin

Deco Delights – an afternoon of songs from the 1920s and 1930s at St Nicolas, Pevensey 3.00pm Sunday 24 March 2019

Locally based but widely travelled artiste Sharon Lewis (“Forget-Me-Not”) will be performing classic songs by Cole Porter and other legends of the 1920s and 1930s at St Nicolas, Pevensey on the afternoon of Sunday 24 March. She will be accompanied on the piano by her husband, the renowned composer Paul Lewis, taking time out from his day job!

The concert promises to be a delightful introduction to the songs and personalities of the Art Deco period, such as Mae West, Helen Kane, Jack Buchanan and the ‘De-lovely’ Cole Porter. Forget-Me-Not has wowed audiences on both sides of the world with her romantic, charming and entertaining collection of period songs. She is a well-loved performer who receives rave reviews for her warm personality, acting ability and the quality of her voice.

The concert starts at 3pm. Tickets are £10, which will include afternoon tea and cake following the concert. Proceeds will go towards the restoration and maintenance of the 800 year old church. Please book in advance if possible by calling 01323 743301.

Brighton Philharmonic’s final concert this season