Theatre Royal Brighton, Sunday 8 May 2016

There was a time, not many years ago, when Opera was a key feature of the Brighton Festival. Whether the exigencies of finance have caused the change or a simpler matter of taste, Opera is a rarity these days. Moreover, fully staged performances are becoming rarer in themselves, so it was not unusual to find that Purcell’s Dido and Aeneas was advertised as a concert performance. No problem there for there is little action in the work itself, the focus being essentially on the emotional state of the characters.

Musically this was impressive throughout. Ann Murray is a splendidly convincing Dido, bringing authority and passion to the part as well as musical sensitivity to Purcell’s beautifully spun lines. Charlotte Beamont’s lighter, crisper Belinda was a fine foil, encouraging in the opening scenes but deeply sympathetic in the tragic conclusion. Benjamin Appl was an unusually forthright Aeneas and drawing on a counter-tenor, the heroic ally voiced Rupert Enticknap, as the Sorceress was a stroke of genius. So far so good. There was no chorus but four solo singers added all the other, smaller, parts and the choral sections.

La Nuova Musica formed the instrumental band – nine musicians led from the muselar by David Bates. While there was considerable sensitivity in their playing, there was a lack of diversity to the range of tone available, and some of the accompaniments – particularly the use of harp and percussion – were unconvincing.

Dido is a short work and this has always been a problem for producers. Should it form part of an evening, alongside another, similar, work; should it stand alone or should it be augmented? The programme note argued against augmentation but this is what we got in a compromise which went against the flow of the narrative. Purcell is not writing an opera-ballet as Rameau did. The dances should be fully integrated into the action but alas here they regularly seemed to act against it, and the choreography was out of keeping with the score. In the end, the added dances simply held back the inevitable denouement. The evening was rescued at the end by the superb staging of Dido’s lament by Ann Murray. A standard concert performance (in The Dome surely?) would arguably have been far more satisfying.

Marlowe Theatre Canterbury, 4 May 2016

The structure of this concert reminded me of a water hole on an African safari. First came Mozart, light footed like a gazelle, then Beethoven arrived, giraffe like, with elegance, panache and beauty, then finally we got Elgar – colossal, like an elephant but with all the delicacy and sensitivity of a highly intelligent animal.

To this, Edward Gardner, assisted by the Marlowe Theatre’s acoustic which is surprisingly good for a dual purpose performing space, found unusual clarity in the music. With second violins facing the firsts, and cellos and violas tucked between them, the balance worked beautifully especially in the light semi quaver passages in the overture to The Magic Flute, although I have reservations about hearing Mozart overtures in concerts. They always leave me aching for curtain up and the rest of the opera.

 played Beethoven’s second piano concerto with intensity but without gratuitous flamboyance, although his left foot seems to have an independent life of its own, shaking and tapping. He packed plenty of brio into the fortissimo development passages in the allegro and played the adagio with much gentle eloquence. The triplets, which tumble playfully over the brass and woodwind interjections, were especially fine in the adagio. So was the control with which Helmchen and Gardner bounced, attacca, out of the adagio into a spirited account of the rondo which tripped away with plenty of verve and wit.

The busy, awkward opening of Elgar’s second symphony came off fairly well although I have a feeling that had this been a rehearsal they might have done it again. High spots included the richly melodious string work in the larghetto, incisive “conversations” between sections in the rondo and the sustained drama of the final chords as they die away at the end of the final movement. Gardner resisted the urge to milk Elgar’s favourite instruction “noblimente” too much and although it was a rendering with plenty of heart it was also crisp and clearly defined.

Two more general points strike me. First, the Marlowe’s playing space is large enough for a classical orchestra plus piano but only just. It’s a tight squeeze in some sections and when the orchestra was augmented with the extra brass, woodwind and percussion for the Elgar and the 20^th century it took really careful stage management. Second, did Gardner forget his outfit and have to pop into Canterbury to buy a cheap off-the-peg suit in the afternoon? He really looked very odd in a dark suit which didn’t fit properly when everyone else, even the soloist, was in tails.

Susan Elkin

St Mary-in-the-Castle, Hastings, Sunday 10 April 2016

As a critic one is normally faced with professional performances, amateur performances or a mix of the two. The Academy run by Marcio de Silva lies somewhere outside of these parameters. Singers are auditioned for a course which ensures them a solo part in a professional production but in effect they only get one go at it in public, as there is a separate cast for each of the two performances. What I enjoyed on Sunday may therefore be very different from what happened on Saturday, and any of the singers may have learned far more from the experience as a whole than simply appearing before an audience, as most of them have had considerable exposure before the public.

If this seems a lengthy preamble it is necessary to set the scene as the performances we encountered were, of necessity, a mixed bag. Elizabeth Reeves’ Marcellina and Wagner Moreira’ Basilio were both outstanding. The clarity of diction, in a very difficult acoustic, was exemplary and their characterisation subtle and effective. I was glad that Marcellina’s Act 4 aria was included and a little saddened that Basilio’s was cut – though I realise this still tends to be standard practice.

Zsuzsa Zseni was a lively Cherubino with a voice to match, her two arias at correct tempi for a young man bursting with energy. Ricardo Panela’s Almaviva was more complex. Though he obviously can’t sing the part in The Barber of Seville his characterisation was far closer to Rossini than to Mozart. He often seemed ill at ease, though his singing was pleasing and his ensemble work fine. There was never any real sense of menace here or of dangerous authority which is needed if we are to believe that he really does have total autocratic power. Roxana Nite’s Countess was suitably subdued and her two arias brought us introspective insights into her past history, with much beautiful phrasing.

Judith Charron sang Barbarina’s only aria with real pathos, though for much of the rest of the evening she seemed over-excited. Figaro and Susanna – Gheorghe Palcu and Julia Cubo – were well matched dramatically but neither were quite right vocally. This is not a criticism of their individual voices, more that the parts did not really suite them. Neither brought the clarity of diction we need in the recitatives, and the arias, while pleasantly sung, never really hit the spot. Only Susanna’s Deh vieni non tardar in the fourth act finally started to move us.

There was nothing in the programme to indicate who had provided the orchestral arrangement which was convincing throughout. A string quintet plus two clarinets – an odd combination – but one that proved to be absolutely right for the acoustic in St Mary’s. When one added to this the splendid harpsichord continuo of Petra Hadjuchova – filling in the gaps with aplomb and linking scenes to avoid unnecessary applause – the orchestral side under Marcio de Silva was as near faultless as one could ask.

Jenny Miller’s production made much of the building and its potential, not only for a wide range of entrances but equally allowing us to see what other characters were doing while another was singing. This worked well and characterisation was clear and well-focused throughout. The empty picture frame provided a strong link between the settings, though bringing all the characters together at the end seemed a little too close to wish-fulfilment after all that has gone before.

This was a highly enjoyable evening, and one which was hopefully of benefit to all involved, not least the singers.

The Dome, Brighton, Sunday 20 March 2016

What a glorious conclusion to a very fine season which, I think, has also brought increasingly large audiences. Vaughan Williams’ A Sea Symphony is the sort of masterpiece which brings out the best in all involved. Brighton Festival Chorus have the salt air in their veins of course but their enthusiasm and accuracy were a delight to behold. From the opening onslaught of sound to the dying fall we were immersed in wave upon wave of glorious tone. Soprano Elin Pritchard was able to ride the combined might of the orchestra and chorus with ease, producing thrilling sounds and great beauty of line. If baritone Nicholas Lester did not make quite the same impact, his refined singing impressed though the words tended to get lost in the melos. The orchestra was as fine as I can recall it all season, with tonal nuances wafting easily as the mood changes swiftly from introspective to ecstatic.

Barry Wordsworth was in his element – so much so that at one point he let slip his baton which was deftly rescued by the soloists.

A wonderful conclusion – though readers will want to know about the first half of the programme. Would that this had been as fulfilling. William Alwyn’s Overture: Derby Day has colour and excitement but rather left this listener standing at the post. The narrative line was difficult to follow and it seemed to go on and then stop. I am sure others will argue there is more to the work than this but on a single hearing it was not obvious.

Bernstein’s Second Symphony The Age of Anxiety draws on W H Auden’s poem as its point of inspiration but unfortunately this was not printed in the programme (as neither were the Walt Whitman verses for the Sea Symphony) and we were rather left to guess at the underlying creative spark. The work has a plaintively haunting opening for two clarinets but as the movements run into each other it is difficult to follow the narrative line. There is a fine extrovert jazz section and a great deal for the solo pianist, Rob Clark, to do, though this is definitely not a piano concerto. Did the programming work? I remain unconvinced and it was only the overwhelming impact of the Vaughan Williams that made for such a successful conclusion.

I am delighted to note that next season starts on Sunday 9^th October 2016 – of course you will be there!

The Dome, Brighton, 6 March 2016

I have a Penguin score of Brahms’ Variations on a Theme of Haydn which I purchased for 2/6 while studying for O level Music over half a century ago. It is still a favourite work and it was a real pleasure to encounter it again at the opening of yesterday’s matinee concert in the Dome.

Howard Shelley was both conductor and soloist, bringing a relaxed professionalism throughout. The Brahms brought us beautifully extended phrasing and an elegant balance across the surprisingly limited forces – just double wind and no trombones.

As if to prove that even concert pianists move with the times, he led Shostakovich’s Second Piano Concerto with the aid of an Ipad, controlled by a Bluetooth pedal. All very innovative and effective as it avoids flicking pages and presumably makes page-turners redundant from now on.

The cheeky opening movement was a fine contrast to the romantic warmth of the Brahms, but the gently spun lines of the second movement reminded us that Shostakovich was not averse to melody when he wanted it. The rapid articulation of the final movement was crisply held across all the players.

Where Mendelssohn’s Hebrides Overture sparkles as the sunlight bounces off the sea and the cliffs of Staffa, the Scottish Symphony is altogether more sombre. The clouds are much in evidence and not long after the start a storm briefly erupts. If the clarinet leads us in a dance in the second movement there is little that is distinctly Scots about it. The reflective third movement and urgency of the opening of the finale maintain this sense of unease, and it is not until the final pages blaze forth that there is any sense of light breaking through. It took Mendelssohn twelve years to complete and is one of his most sombre compositions. Howard Shelley found the nuances and questions that lie within the score and left us moved if not slightly uncomfortable.

A splendid afternoon and I hope we see Howard Shelley again soon.

White Rock Theatre, Hastings   4^th & 5^th March 2016

In recent years this competition has grown to become an important fixture in the country’s musical calendar. Under the inspirational guidance of artistic director, Frank Wibaut, the event is known throughout the world and has been made more attractive and accessible to young musicians.

This year live auditions were held in Japan, USA, Hamburg and London. Video entries were also considered. Competitors this year were required to perform part of either a Beethoven or Mozart concerto in addition to their other chosen repertoire. Also, for the first time each participant had to perform a specially commissioned work – The Hastings Toccata by Paul Patterson.

This year for the first time the finals were spread over two evenings, leaving this reviewer in the unfortunate position of only hearing half of the finalists and not hearing the overall winner of the competition.

The six finalists were Michelle Nam (Canada), Samuel Deason (Canada), Tzu-Yin Huang (Taiwan), Ke Ma (China), Eric Zuber (USA) and Jung Eun Severine Kim.

Despite a wide choice five out of the six finalists chose to perform a Prokofiev concerto (No. 2 or 3), with the other choice being Tchaikovsky No. 1.

By all accounts Friday evening yielded an excellent experience for the audience, with high standards of performance all round and including the overall winner.

Saturday’s event was also very enjoyable. The Royal Philharmonic Concert Orchestra were on great form under the genial leadership of Brian Wright, himself an active supporter of the competition. The orchestra put us all in the mood with a spirited rendition of Mozart’s Overture: The Marriage of Figaro.  We then heard in turn Prokofiev Piano Concerto No.2, Tchaikovsky Piano Concerto No. 1 and Prokofiev Piano Concerto No. 3. These were tremendous performances. Each young pianist really gave of their all, demonstrating mental and physical stamina, understanding and feeling for the music and an ability to interact – both leading and responding to the orchestra. Only one of the evening’s performances briefly faltered in this respect.

After much deliberation presentations were made to all the semi-finalists. Tzu-Yin Huang was declared the overall winner with Samuel Deason in 2^nd place. A special prize for a British semi-finalist was awarded to Andreas Ioannides.

The competition is, of course, much more than just the finals and it is to be hoped that next year the whole event continues to be well supported by audiences and sponsors. This must be the jewel in the crown of the musical calendar for Hastings. It now deserves much wider recognition nationally. Perhaps we will soon see some good television / radio coverage alongside that of the Leeds festival.

Stephen Page