London Coliseum, Monday 27 February 2017

When the RSC stages The Winter’s Tale it normally runs over three hours. Ryan Wigglesworth’s new opera based on the play runs for under two hours, so we are immediately aware that this is going to be a highly focused, not to say intense, adaptation of the play – and so it proves to be. Gone are the comic characters, all of the songs and incidental music, dancing is reduced to a brief aside. The focus is entirely on the impact of jealousy in both Leontes and Polixenes.

Vicki Mortimer’s high walled setting constantly encloses and cuts off the characters from each other, and placing both Sicilia and Bohemia under military rule gives little sense of contrast in the second act. If anything, the music underlines the unifying factors rather than the differences between the two countries.

The conclusion moves away from Shakespeare. Though Hermione returns to life there is little sense of resurrection or restoration here, and the final image is uncomfortably spectral, as the dead Mamillius wanders slowly off stage.

Ryan Wigglesworth’s score mirrors this intensity of approach with music that is frequently edgy and uncomfortable. There are few lyrical moments, even in Bohemia, and characters rarely reflect on their positions, though Iain Paterson’s finely drawn Leontes is allowed two more-extended introspective moments.

Sophie Bevan makes what she can of Hermione though the trial scene gives her nowhere near enough emotional scope for us to empathise more than at the most superficial level. Samantha Price makes more impact as Perdita though sixteen years living rurally is glossed over.

The concentration of the text makes Polixenes a more important protagonist, strongly sung by Leigh Melrose. His – spoken – assault on Florizel becomes one of the strongest moments of the evening, drawing parallels with the first act in an almost identical setting.

Smaller parts are well rounded but the most interesting musical innovation comes with the chorus. There is, of course, no chorus in Shakespeare. Verdi had to interpolate choruses into his settings and Wigglesworth does the same. They are very effective, particularly the protest for Hermione, which has no place in the original but here reflects current political unease very succinctly.

Rory Kinnear’s production is masterly in its understatement and naturalism. Even in moments of high tension he manages to maintain a convincing sense of normality taken to the edge. He brings all his experience of working in the theatre to ensure that even the most unlikely events convince and that emotions are always credible. It is a remarkable debut and he will surely be asked again – and soon!

London Coliseum, 23 February 2017

Andrew Shore as the Major General in the Pirates of Penzance, performed by the English National Opera. 7th Feb 2017, London Coliseum, Britain.

Fifty years ago every local operatic society relied on Gilbert & Sullivan for their daily bread. Today it is difficult to find individual performances which may account for the high levels of surprise and delight in the audience enjoying this first revival of Mike Leigh’s production.

By taking the work at face value – no knowing asides or updating – the comedy actually works far better, and, sung by operatic voices, the music holds its own with ease.

The casting was different enough to make for an interesting evening even for those of us who had greatly enjoyed the original outing in 2015. David Webb has a light lyric tenor which he uses intelligently as Frederic, and his slightly reserved presence is perfectly in character. Soraya Mafi by contrast is a highly excitable Mabel but one for whom the Bellinian coloratura holds no terrors. Their duet Ah leave me not to pine was genuinely moving. Ashley Riches is a wonderful cardboard cut-out as the Pirate King, all swagger and attitude, and is surrounded by a likeable group of cut-throats.

John Tomlinson as the Sergeant of the Police in the Pirates of Penzance, performed by the English National Opera. 7th Feb 2017, London Coliseum, Britain.

To have the finest Wotan of his generation as the Sergeant of Police was a gem, and John Tomlinson did not disappoint. Totally in character, as one would expect, his nuances with the text were constantly alive and apt, and his voice, needless to say, better than one would dare to expect.

Lucy Schaufer returned as a sympathetic Ruth and Andrew Shore again relished the part of the Major General.

Gareth Jones moved things along swiftly in the pit and it was good yet again to enjoy Sullivan’s score from a full orchestra not a pit band.

Barbican Hall, Wednesday 22 February 2017

The UK premiere of Wolfgang Rihm’s Piano Concerto No2 may have accounted for the rather thin audience but those who stayed away missed one of the finest Bruckner performances I can recall in many years.

Rihm’s work fluctuates between tonal and atonal sentiments meaning that the ear is never quite at ease with the developmental line. There are many quasi-lyrical passages, and the gentler sections often come close to moving the listener but then the underlying tension works against this. The snare-drum towards the end brings a rare moment of consolidation to a work which can seem to be drifting away from us. The piano part is fiercely demanding with hardly a moment of respite for the soloist. In this capacity Nicolas Hodges was a tireless enthusiast and at times came close to convincing us that the work was greater than the sum of its parts. Lothar Koenigs brought sensitivity to many passages but could do little to enthuse us about the whole.

Bruckner’s Seventh Symphony after the interval was another matter altogether. There was superb dynamic range and consistent sensitivity towards the clarity of the score. The second movement had an Elgarian opacity which I can’t recall ever being aware of before. It was full of light and joy, with no sense of the ponderous weight that so many bring to Bruckner. The drive and enthusiasm in the Scherzo was matched by an almost playful approach to the finale.

Thankfully, being a BBC performance, it will be broadcast on Tuesday 28 February and I for one will be listening again.

Mote Hall, 4 February 2017

John Lill CBE has been president of the Maidstone Symphony Orchestra since 1980 and his association with it goes ten years further back when he played his first concert with them, shortly after winning the Tchaikovsky Piano Competition. To this day, he generously plays an occasional concert with MSO and unassuming as he is, his presence in the hall has a palpable effect on both players and audience. He seems to bring out an extra edge in a band which always delivers competently but on this occasion they surpassed even their own high standards.

Lill’s account of Beethoven’s third piano concerto was unshowy but intense, the concentration showing only in a slight working of his mouth. It’s a treat to hear the concerto played at a speed which allows us to hear every note of Beethoven’s glorious C minor detail – a refreshing contrast to the usual prestissimo gallop most conductors want to impose on it. The triplets just before the end came across in this performance as an intelligent question and answer dialogue between piano and orchestra. Other high spots included the long cadenza full of virtuosic tension at the end of the first movement, which had me (and most of the rest the audience) on the edge of our seats, and the exquisite lyricism in the largo.

The Beethoven was sandwiched between Weber’s chirpy Oberon overture and Brahms’s most magnificent symphony – the Fourth and last. The Weber presents a challenging opening with its horn solo and muted strings – all very exposed before it leaps away into the first dance tune. It isn’t the easiest way to start a concert but it came off adequately.

And by the time we reached the vibrant warmth of the Brahms, all nervousness had gone and the John Lill effect had worked its magic.  From the exuberant precision of the opening allegro through the delicacy (all that pizzicato!) in the middle movement to the initially ponderous, grandiloquent fourth movement, it was glorious. I once heard the late, great Antony Hopkins (the musicologist not the actor) give a talk for children about this last movement and he told them to remember “B-R-A-H-M-S Spells Brahms” and explained how to listen for the opening statement in various forms for the rest of the movement. If only there had been more children and young people in the audience at this concert to hear this enjoyable account of it.

For various reasons this was the first MSO concert I’ve managed to get to this season and I’m struck afresh by the quality and freshness. I think it is scaling new heights of achievement. Andrew Pearson is certainly the most charismatic leader the orchestra has had in a while and I’m sure he is part of the reason. The string sound is rich and rarely falters and – among other fine performers – Anna Binney, principal flautist – more than deserved the applause Brian Wright directed towards her at the end.

Susan Elkin

Robert Quinney,

Royal Festival Hall, London  3rd February 2017

Robert Quinney’s highly anticipated all-Bach recital, the second in the 2016-17 Pull out all the Stops season at RFH, did not disappoint.  A large and appreciative audience reflected the reputation of this Oxford based organist who has recently released a number of excellent Bach programmes on CD including many of the works which made up this recital.

Beginning with such a popular and sometimes over-exposed piece as Toccata & Fugue in D minor, BWV 565 could have been a mistake but on this occasion, delivered with flair and colour as well as a few of the performer’s own flourishes which did not detract, this was an inspired opening to an evening of music consisting mostly of works that are heard less often.

The chorale prelude Vater unser in Himmelreich was a lovely contrast to the opening piece, with softer voices and tremulant throughout. With a lightness of touch that was heard frequently throughout the programme, Robert Quinney demonstrated the beauty of this measured music played with attention to detail to create an intimacy sometimes missing from performances on this large scale instrument.

Four Duets provided much interest. These pieces for two equal voices played just on the manuals have a complexity beyond what might be expected from such a simple structure. Once again the carefully chosen registration maximised the impact of each line and allowed melody to emerge from often very busy and dense writing.

Other works in the recital were Prelude & Fugue in C (BWV 547), Prelude & Fugue in Eminor (BWV 548), Canonic Variations on Von Himmel hoch da komm’ ich her and Prelude & Fugue in G (BWV 541). A rousing and full-throttled encore rendition of Bach’s Sinfonia brought the evening to a close.

My criticism of some of the programmes in previous recitals at this venue has been that some performers have been tempted to overdo the “fast and loud”. In the hands and feet of a careful and well-planned organist this instrument is capable of so much variety – from the most raucous low pedals and full on grand choruses played with gusto to the delicate flutes and soft reeds, with so much in between. The combination of tonight’s well-chosen and varied programme with this organ and performer certainly brought something of JS Bach’s vision of God’s heaven to this listener’s earth. I hope we shall see a return to the RFH from Mr Quinney in the not too distant future.

Stephen Page

London Coliseum, Thursday 2 February 2017

Jonathan Miller’s famous Mafia staging of Rigoletto has returned to ENO’s repertoire. Though thirty five years old now, it is more than worthy its return, as it makes sense of both the narrative and the music. The dark spaces in Patrick Robertson’s designs are a fitting reflection of the even darker emotions on stage. That the first night of this thirteenth revival did not have quite the frisson one might have hoped for came more from a combination of details rather than any one problem.

Sir Richard Armstrong in the pit took a cautious approach to the score, with few moments of real excitement or passion. Tempi were often on the slow side with little sense of excitement. By contrast the chorus was in exciting and attacking form.

The solo cast sang well but with the exception of Sydney Mancasola’s radiant Gilda, were all leaning on the side of caution. This was probably why Nicholas Folwell made such an impact as Monterone, spitting venom at all around him even as he is led off to summary execution, and smaller parts like Marullo and even the police officer, came across so strongly.

Unfortunately the two leading men made a limited impact. Joshua Guerrero has the secure top for the Duke and phrases well but his approach seemed over-comfortable with little sense of the menace or threat the part involves and which this production has in the past brought out very well.

This was also true of Nicholas Pallesen’s Rigoletto. While the voice is well focussed for the part his presence rarely moved us. Where the character calls for a wide range of emotions which will sweep us away, here everything was careful, often to the point where it lacked emotional impact. The great cry for vengeance in act two gave no sense of catharsis, so that we never felt the weight of the curse. Rigoletto takes it seriously and so should we.

I have no doubt this production will be revived again. It deserves it. If the present cast can throw off what may have been first night nerves and become a little more reckless, it might yet be worth a visit.