St Mary-in-the-Castle, Hastings 11^th April 2015

A performance of Carmina Burana should be exciting – and this certainly was. Carl Orff’s music vividly dramatises a selections of 12^th & 13^th Century poems from this most secular collection found in a Bavarian monastery.

The piece presents a number of challenges, not least of which is the non-English text which, in places, is to be sung at breakneck speed. In addition there are extremes of dynamics and changes of tempo, as well as sudden cut-offs and staccato delivery. All this demands absolute concentration and commitment from every performer and complete confidence in the gestures of the conductor.

Unsurprisingly in a work such as this there was the odd moment where the ensemble was not entirely together but these were few. Overall the sound was confident and expressive. There were moments of sheer exuberance as well as utter pathos, a real triumph of a performance from a committed and hardworking choir.

The members of the percussion ensemble deserve great praise. Their precision performances were superb and added a wealth of colour and drama to the occasion.

Vocal soloists Ricardo Panela (baritone), Tom Morss (tenor) and Celena Bridge (soprano) gave committed performances. The sad song of the roasted swan brought additional theatre by the tenor soloist’s unexpected movement around the audience. The small children’s chorus also made a fine contribution.

The two pianists displayed their skilful musicianship throughout. The piece is a test of stamina and concentration, not least because prior to this they had opened the evening with a well delivered performance of Rachmaninoff’s Suite for Two Pianos.

Marcio da Silva certainly brings the best out of the choir. His exuberant conducting style cannot fail to enthuse and carry everyone with him. It was apparent that he knows this work very well as his score sat unmoved from the opening page on the music stand at floor level, way out of reach from his raised position! As a child he took part in performances of this work, supported by a family member who was present in tonight’s audience, having not previously seen him in action in the UK as a conductor. I must confess there were a couple of times when I feared for his safety as I watched the top of the podium bounce vigorously. I’m glad to report that he survived unscathed!

We are fortunate to have music of this quality presented to us here in Hastings. The stunning setting of St Mary-in-the-Castle certainly enhanced the music. It was interesting that unusually (in my experience) the front curtain was pulled back tonight, revealing the original decorated panels and texts including the 10 commandments as well as the central stained glass window. In this deconsecrated church we were reminded once again of how the sacred and the secular can combine. Perhaps we are wrong to draw such a clear-cut distinction between the two when beauty and vitality is to be found in the whole of life.

I have one gripe. Why were so many of the audience so late and why were they admitted to the auditorium continuously during the first few minutes of the piano piece? I felt this was very disrespectful to the performers. Next time they should be made to wait until a suitable break in proceedings!

Moaning complete! I would thoroughly recommend any future performances by Hastings Philharmonic Choir. A varied programme is to be presented on 4^th July. Details at www.hastingsphilchoir.org.uk   SP

A full house at St Mary-in-the-Castle for the annual Christmas Carols for all and an impressive range of material, given that it followed so closely on their autumn concert. A brisk Ding Dong Merrily on High launched the evening, leading straight into the first of five carols for audience and soloists.

A feature of this year’s music was the many quieter, reflective pieces, the first of which was John Rutter’s arrangement of Sans Day Carol followed by his own recent carol Christ is the Morning Star. The first half also brought us Jesu Joy of Man’s Desiring played impeccably by accompanist Francis Rayner and three carol arrangements from Inspiritus Brass. Before the interval we heard In Dulci Jubilo and The Twelve Days of Christmas, but not before we had been able to relax a little more in Mel Torme’s Christmas Song (Chestnuts roasting on an open fire ….) with Marcio da Silva crooning the central section to the delight of us all.

After the interval, as has become traditional, we were joined by a junior choir, this year the 2^nd St Leonards Guides, who led us in Born in the Night and the Star Calypso before we were all able to join them in Away in a Manger.

We don’t often get a chance to hear any of the Choir as solo voices but this year we did in an arrangement by Chilcott of O Little Town of Bethlehem. This is a very clever arrangement. At first it feels as though it has no connection with the familiar tune, until the last verse where the carol we all know is added as the descant – a very neat and effective idea.

The choir then gave us the gentle New Year Carol by Benjamin Britten before Marcio da Silva – surely by popular demand – sang O Holy Night, not only excelling himself but bringing an extra frisson to the choir.

Before the final singing of O Come all ye faithful we heard again from Francis Rayner – a softly effective Claire de lune – and three fine carol settings from Inspiritus Brass.

The novelty this year was the inclusion of the Tune-Up Tuesday Singers. Led by Gary Marriott, the group is drawn from various NHS staff and their ‘service users’  who meet to enjoy themselves singing. Their spirited rendition of the Gloucester Wassail added an extra level to the evening, as had the unexpected solo performance of Jesus Christ, the Apple Tree by Gary himself.

Hastings Philharmonic Choir will be augmented in April for Carmina Burana, and they welcome any newcomers who might like to sing with them. www.hastingsphilchoir.org.uk

St Augustine’s, Bexhill

Saturday 6 December

Christmas Concerts seem to come around all too quickly these days – or is it just that I am getting older? The key features of Bexhill Choral Society’s programme of Carols and Christmas Music was the gentle tension between the three very prominent arrangers. David Willcocks was represented by a number of traditional carols in a pleasantly familiar format, in contrast to John Rutter’s more modern and at times more challenging settings. Over-arching all of these was Kenneth Robert’s own arrangements, many involving Cinque Ports Brass Ensemble and even, in the last item, himself on clarinet.

This all made for a highly convincing programme which ranged from some exquisite early music by Praetorius and cheerfully sung Bach, to contemporary carols. Throughout, the choir was joined by baritone Peter Grevatt who was called upon far more than usual, not only to sing with the choir in The Boar’s Head Carol and Gaudete, but to provide solos. He gave us the first part of The Trumpet Shall Sound – most ably supported by solo trumpeter Andy Gill – and a rollicking version of Sterndale-Bennett’s The Carol Singers.

Nigel Howard was kept busy moving from organ to keyboard, and was joined by Robert Aldwinckle at the piano in some items.

As is customary, we were encouraged to join in six of the carols, which we did with enthusiasm, and to relax a little more towards the end when we heard Walking in the air, Let it Snow and Santa Claus is coming to Town.  These concerts always leave us asking for more, but then it is only 52 weeks until the next time!

St Clements Church, 15 11 14

It is not often a solo harp is required for a choral work, and the presentation of Saint-Saens’ little known Oratorio de Noel not only brought us the superb playing of Cecilia Sultana de Maria but the added benefit of Debussy’s Danses Sacree et Profane. This work opened the evening, the gentle line of the solo harp carrying easily in the new acoustic of St Clements. The strings of Ensemble OrQuesta were equally impressive and the whole eased us into an evening of lesser known masterpieces.

Saint-Saens was only 23 when he composed the Oratorio de Noel but is has all the romantic nuances we associate with his more mature compositions. There are many hints of Berlioz here, particularly in the choral writing, which was performed with precision and panache. Originally written for solo organ and harp, the organ writing is far more than a simple continuo and was played with considerable subtlety and apt registration by Robert Leach.

Arvo Part’s Berlin Mass dates from 1990 and is well within the range of a well-trained choir, even if it at times may challenge an audience more used to romantic lyricism. The Gloria comes in a succession of billowing waves of sound and the Credo has the staccato attack of early Stravinsky. The lovely Sanctus, set for lower voices, is reverential rather than ecstatic, and very moving.

By contrast, Mozart’s Solemn Vespers of 1779 was the least spiritual piece of the evening, its heady operatic style and ornamentation being a world away from the sensitivity of Saint-Saens and Part. The choir, who had sang so well in the earlier works, seemed less at ease here and some of the exposed lines were a little raw.

Four young singers provided all the solo parts with particularly impressive contributions from mezzo-soprano Rozanna Madylus and baritone Dominic Sedgewick.

With so much that was so good it seems uncharitable to point to problems with the evening, both of which were obviously out of the control of the performers. The programme gave solid background information but no sense of the text we were hearing. This was not such a problem for the Part and Mozart, where the mass setting is familiar to most, but the Saint-Saens was effectively incomprehensible. The other problem was the large amount of noise at the back and side of the church with late arrivals and refreshments. Anyone further away than the first few rows would have been acutely aware of the interruption to the gentle opening of the Debussy.

Marcio da Silva has made a real impact on the musical life of Hastings and his choice of works was vindicated last night not only in the high quality he creates but the very large audience he attracts. Long may it continue!

The Christmas Concert will be, as usual, at St Mary in the Castle at 5.00pm on 20 December.

White Rock Theatre, 25 October 2014

Fraser Grant points out in his lucid programme article that the very popularity of Carmen makes it difficult for a director to bring fresh light to the narrative. In many ways his approach is successful in focussing on the individuals in the drama rather than the spectacle needed to fill a large arena. There are no people in the Square apart from the soldiers, there is little sense of a procession in the last act, yet the smugglers lurk threateningly in act three and the quartet remain as observers when Jose returns from prison. The under-current of violence is apt throughout, though not carried through as clearly as it could be. The opening garrotting of Jose, his outburst against Zuniga, the frisking of the factory women all speak of a callousness and tension which inhabits the whole. Into this world Anna Goodhew’s Michaela is the exception which proves the rule. No timid country girl, she has the courage to stand up to the lecherous soldiery and to fight for her love. Her singing, particularly the act three aria, was the highlight of the evening.

Chris Elliott makes a visually attractive Don Jose, and his melt-down is convincing. Unfortunately he was obviously having vocal problems on the night and much of the later acts lacked impact and was unfocused. Mike Barber brought authority to Escamillo and his Toreador’s song was particularly well staged.

The main problem with this production was Carmen herself. Gemma Morsley has no problem with the role vocally. Her singing of the familiar solos was fine and the voice carries with authority. However her character seemed at odds with the world around her. Her sense of humour was apt but there was little sense of sexual danger to her. In fact the scenes between Michaela and Jose had more sexual chemistry than with Carmen. Why is Jose so besotted with her when he can have an easy life with Michaela?

The high walls of the set gave a sense of claustrophobia, often prison-like, which had the benefit of making the small chorus seem crowded and reflected the voices out into the audience. But it was flexible enough to form a convincing night wilderness in act three.

With so many demands on the chorus and smaller parts the choices made by Fraser Grant were always appropriate and helped carry the narrative without ever losing track of the point of focus.

A larger than usual orchestra responded well to Kenneth Roberts musical direction and off-stage forces were impressively well timed.

One small point, which has nothing to do with the quality of the performance. While realising that the first half was long, was there really such a need for the constant movement of members of the audience in and out, causing disruption to all? Most theatres today do not allow re-admission until a suitable break. We seemed to have people going in and out as if they were at home watching the tele.

HastingsUnitarianChurch, Saturday 11^th October 2014

A full programme for the opening day of Hastings Week, coupled with heavy thundery showers, could have depleted our potential audience.  It was wonderful therefore to see many regular supporters, and many new faces, so that every chair in the Meeting Place was taken!

Stephen never fails to delight with the amazing variety he includes within one programme.  We started with Eric Thiman to whom Stephen has introduced us in previous recitals. There was a quietly humorous note to begin – the lively Short Fanfare was very, very short! Thiman’s reflective Chorale led naturally into JS Bach’s gentle Adagio in A minor, the only movement of his Toccata, Adagio and Fugue, we learned, that could be accommodated on the small pedal board of the Snetzler. JC Simon’s Prelude and Fugue, also in A minor, was in lively contrast to the Bach.  Such contrasts continued in a programme which spanned four centuries, took us from England to the continent and America, and ranged from classical, sacred, and martial music, to musical comedy.

Sacred music was well represented. From the mid-twentieth century, Arthur Milner gave us In Nomine, based on Latin Chant, while Gordon Young’s Prelude on Slane and Recessional on St Anne were more familiar to the non-musicians amongst us as Be thou my vision, and O God our help in ages past. Both composers were also represented by secular works – Young’s jaunty and better known Prelude in Classical Style, and Milner’s Intermezzo and Carillon from 6 Miniatures.

The 6 Miniatures well demonstrated the organ’s range, including the delicate dulciana stop  patented by Snetzler himself. Stephen had planned the entire recital to demonstrate the versatility of the organ. Each of this year’s recitals has contained a Sonata by CPE Bach as its longest item.  This time it was number 5 in D major. As Stephen explained, his style was revolutionary, being playful and full of sudden contrasts, and the two manuals of the Snetzler were well able to demonstrate this.  Another item chosen to show the organ’s potential, was the Humoresque (L’Organo Primitivo), of Pietro Yon.  Sometimes known as Toccatina for Flute, the piece uses just this one stop throughout.

The programme displayed not only the versatility of the instrument, but also the skill and dexterity of the player. Watching Stephen’s hands brought to mind a scientist who some years ago included ‘a pianist’s fingers’ in his Seven Wonders of the Natural World, as they move faster than the brain can send messages to them!

The programme concluded with Jule Styne’s The Party’s Over, and Abe Holzmann’s Blaze Away! which set our toes tapping and sent us on our way humming. Both the titles and the music seemed a fitting end to a stimulating 2014 series of organ recitals at the Unitarian Meeting Place.   Thank you, Stephen!                                                                           CE