Birmingham Symphony Hall, 17 January 2013

Outside, the temperature was well below zero and the snow was swirling in a bitter wind; inside, we were engulfed by the prospect of Spring in most recent of Birmingham’s celebratory concerts for the Britten anniversary.

The sea is never far from Britten’s compositions but here we were in the company of his masters. Frank Bridge is still unfairly overlooked as his impassioned tone poems The Sea easily demonstrated. What is surprisingly telling about these four scenes is the very English nature of the writing. He wrote them in Eastbourne, as Debussy had commenced La Mer in the same spot a few years earlier. Yet the textures and the dynamic impact is of a far more bracing and northern aspect than Debussy’s more impressionistic writing. Moonlight seems to show the crisp coolness of a south-England night, rather than the heady romanticism of Debussy’s Claire de lune. Storm is equally effective with the harp providing a spray of light above the weight of the brass. This work really should be heard as frequently as its French cousin.

Elgar’s Sea Pictures are certainly more familiar but it is rare to hear the words as clearly as we did from Kelley O’Connor. Her rather indulgent approach to the songs, and some tightness at the top of the voice meant that this was not as smooth as it could have been (and may be more polished tonight when there is a repeat performance) but Edward Gardner brought an emotional splash to the orchestra which carried the narrative with panache. The lingering sense of death which underpins these songs was well captured, contrasting finely with the naivety of much of the text.

The second half brought an impressively large chorus onto the platform for Britten’s Spring Symphony, with the CBSO Youth and Children’s choruses in spirited form, to say nothing of their whistling in part one. Kelly O’Connor was joined by Susan Gritton and Allan Clayton, to guide us through the vicissitudes of awakening spring, exploding in the final section into the glorious riot of Soomer is icoomen in. Earlier Edward Gardner had found a gentle urgency within The Morning Star and the necessary drive and intensity for Fair and Fair.

It was something of a shock to come out into the evening blizzard but the thought of Spring not too far away will remain with us for some time. BH

The Dome Brighton, 13 January 2013

What looked to be a rather unusual coupling on paper turned out to be an inspired choice of programme to start the new-year. Given the beauty of the prelude to Verdi’s Aida – it is certainly as fine as either of the Traviata preludes which are so regularly performed – it is surprising it is not used in concert more frequently. The translucent textures of the divided strings impressed as did the delicate crescendo that Barry Wordsworth created. The brass came into their own with the Triumphal march, though the work always seems unbalanced without the weight of the chorus.

Poulenc’s Concerto for Two Pianos, sparkles throughout, the smaller orchestra responding with real excitement to the demands of the score. It may be tongue-in-cheek but it is a consummate piece of writing which makes great technical demands on its soloists, as well as insisting that the audience are aware of its nuances. In a packed twenty minutes there is no room to doze off, and the fireworks – even in the gentler slow movement – keep everyone on their toes. Robert Clark and Kate Shipway have worked regularly with Barry Wordsworth over the years and this was very obvious in the interplay of the two pianos and orchestra. The lightening changes of both dynamic and emotional impact were finely conceived and the hints, not just of the gamelan, but of early minimalism, firmly in place. While realising that getting two highly professional pianists onto the same platform is never an easy undertaking, it is a pity this work is not more frequently performed, as its live experience far outweighs any recording.

Saint-Saens’ Organ Symphony may be a familiar war horse, but regular exposure on the radio tends to dampen the expected dynamic experience in the concert hall. This is not only true of the impact of the organ itself – convincingly played here by Alastair Young – but also of the delicacy of the slow movement. Having two concert pianists for the tiny but spine-tingling piano part was a real bonus. Barry Wordsworth chose to indulge himself in the sensuousness of Saint-Saens’ writing, bringing us delicious lyricism and allowing us to wallow in familiar melodies. At the same time I found myself surprised at how close to Elgar some of the melodic lines appear when played live. The final movement was given its head and received the ovation it rightly deserved. If I had some reservations about the sound of the organ, with some slightly uncomfortable vibration at times, it did not affect the overall impact.

It was a pleasure to see The Dome nearly full on this occasion, and I hope that the coupling of very familiar works to more challenging but exciting ones will continue. BH

Royal Festival Hall, 9 January 2013

Superlatives are always a problem for the music critic, but there are rare performances which are so far above the routine that they demand recognition. Adam Fischer conducted from memory and had a smile on his face throughout, gently encouraging and lifting his performers to ever greater excellence. The Creation is the most humane of religious compositions, with no hint of the guilt and violence which can so easily taint earlier religious works. Yet Haydn’s spirituality is sincere throughout, even if coloured by the age of reason in its understanding of the deity and mankind’s relationship to creation.

Adam Fisher drives the narrative forward with surprising alacrity though he does not miss a trick along the way. Worms wriggle, birds trill, the leviathan writhes, and all without over emphasis or lack of respect. If anything the opening section had the monumentality of Beethoven, with the Chaos setting particularly impressive. The hints of Mozart surface at the more felicitous moments, with the new created world having the innocence of Papageno’s bells.

Solo instrumentalists were enabled to shine, with the lucky woodwind given individual solos for the various birds.

The young soloists brought a freshness and vitality to their parts which can often be lacking in more sombre approaches. Sophie Bevan’s easy coloratura enchanted, and her deft portrayal of Eve made the character utterly convincing even if the sentiments are not totally at one with post-feminism. Andrew Kennedy beamed throughout, and brought a charm and individuality to the angel voices which can often be missed. Andrew Foster Williams enjoyed the lower reaches and was a convincing Adam, hand in hand with his partner.

The fresh young voices of the Schola Cantorum of Oxford were ideal for this work and the precision as well as the vigour of their singing was captivating.

To the Orchestra of the Age of Enlightenment this may be familiar territory but they played with conviction and panache throughout. If all Haydn were given this quality he would surely be performed as often as either Handel or Mozart. BH

Brighton Philharmonic Orchestra

The Dome, 31 December 2012

A change to bring in the New Year at the Dome.  For some years we have been delighted by John Bradbury who led these new-year celebrations as both soloist and conductor, with an emphasis on the gypsy music that was so important to Austro-Hungarian cultural life. This year, in a rather different vein, Stephen Bell conducted and we had arias from Pamela Hay, familiar to many from Friday Night is Music Night.

The programme was introduced from the podium by the conductor, who was able to smooth the links between items with a number of apt anecdotes and jokes.

The matinee got off to a cheeky start with the Fatherland March, confusing most of us, as we thought this was the Radetsky March – which of course is always the last item for any new-year programme!

There were, as expected, a number of familiar works, and if Roses from the South proved rather unsubtle in the first half, there was far more sensitive playing for the Tritsch-Tratsch Polka and the Emperor Waltz with its slightly melancholic close. The Overture to Die Fledermaus got the second half off to a fine start, followed by Vienna Bon-bons, the Hunting Polka and – inevitably – The Blue Danube.

Less familiar, but always welcome, was Lanner’s New Year Gallop and operetta arias which have slipped below the radar of most concert-goers.

Pamela Hay had opened her items with Schenkt man sich Rosen im Tirol from Zeller’s unfairly neglected Der Vogelhandler, the only item sung in German. The Vilja lied from The Merry Widow seemed to stretch her somewhat though she was more comfortable in the second half with Adele’s Laughing Song from Die Fledermaus, I give my heart  from The Dubarry  and one of Lehar’s Gypsy songs. Her diction is excellent and the audience enjoyed her characterisations.

Pamela Hay returned to the stage to lead the essential audience participation for the Radetsky March which brought the afternoon to a close –  not that we would not have happily sat through more had it been on offer.

The next concert is on Sunday 13 January with Saint-Saens’ Organ Symphony. BH