Monthly Archives: December 2013

ENO Peter Grimes on screen

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ENO Screen begins with ENO’s award-winning Peter Grimes on 23 February 2014 and Terry Gilliam’s new production of Benvenuto Cellini in June 2014

English National Opera (ENO) and AltiveMedia have today (Thursday 12 December) launched ENO Screen – a partnership to broadcast ENO’s unique theatrical productions to 300 cinemas across the UK and Ireland and selected cinemas worldwide, extending the opportunity to see the most innovative contemporary opera in the world to audiences around the world.

ENO Screen will begin with live screenings of David Alden’s award-winning production of Britten’s Peter Grimes, starring Stuart Skelton as the ostracised fisherman, on 23 February 2014 and the new production of Berlioz’s Benvenuto Cellini, based on the colourful life of the 16thcentury Italian goldsmith and sculptor, directed by Monty Python legend Terry Gilliam in June. From autumn 2014, live screenings will extend to five or six productions a season.

Speaking of the new venture, ENO Artistic Director John Berry said: “ENO’s entry into cinemas will be as distinctive as our live work in the theatre, creating a truly cinematic experience. Our productions are already seen worldwide in more than 30 cities and I believe that the cinema broadcasts will enable many more people to enjoy the excitement and passion of ENO’s work and will encourage those visiting London to come to the theatre and see an ENO opera first hand.

“We have thought hard about whether to expand our activities into cinema and I believe in AltiveMedia we have now found the right partner to capture and promote ENO’s unique artistic personality in an exciting and dynamic way.

“Peter Grimes is a definitive work in ENO’s history and has proven to be one of our trail-blazing productions of recent years. It’s a wonderful way to launch this new initiative so close to Benjamin Britten’s centenary year.”

Craig Shurn, Managing Director of AltiveMedia, said: “We have a first class technical and creative team who will ensure this will be an amazing spectacle that shows off ENO at its very best.

“We felt that the opera offering in cinemas was incomplete without ENO’s unique take, so we’re delighted to be working with ENO to bring the most innovative, stunning productions of their type to the big screen. We’ll be reaching out to those who already love opera and to people who have never tried it before, helping to build on the growing demand for this kind of quality entertainment.”

ENO Screen broadcasts will be produced by Serpent Productions, led by MTV award-winning director and Grammy award nominee Andy Morahan and Producer Dione Orrom.

For further information and booking details go to www.eno.org/enoscreen

Academy of Ancient Music; Messiah

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AAMBarbican Hall, 17 December 2013

In a performance of wonderful musical intensity and great beauty, let us start at the end. After the Georgian triumphalism of Worthy is the Lamb, the Amen chorus opened with disarming simplicity and calm, no sense of haste or grandeur. It was as if we had not only reached the end of the work, but the end of all things; the story had been told and everything had been accomplished. It was a spiritually brilliant and utterly compelling conclusion to an evening of wonders.

Bernard Labadie’s approach to the score sees it as an organic whole. The fast pace of the opening movements draw us inevitably to All we like sheep and a sudden moment of realisation in and the Lord hath laid upon him. From that point the pace is more refined and the tone more introspective, but not for long. The turning point comes with the joy of the soprano’s But thou didst not leave his soul in hell, and from then on the work becomes increasingly confident and outspoken.

Such was the impact of The trumpet shall sound – with both bass Brindley Sherratt and natural trumpeter David Blackadder performing from memory – that there was a spontaneous eruption of applause.

Before the second part, Guy Dammann presented Iestyn Davies with the 2013 Critics’ Circle award for Exceptional Young talent (voice) and on the evidence of his performance this evening one could not doubt the justice of the award. The range of subtle emotion he brought to He was despised, with a hint of greater passion in the ornamentation of the da capo, the beauty of line in O thou that tellest, the fire of But who may abide all spoke of his deep understanding of the music and his exceptional professionalism.

Iestyn Davies

Soprano Lydia Teuscher’s light, lyric approach brought freshness to her arias. Rejoice greatly could easily have been from Semele, and I know that my Redeemer liveth had the sincerity and confidence of profound faith. Jeremy Ovenden’s mellifluous tenor opened the evening with a gentle Comfort ye, and ended with a combative Thou shalt break them.

The chorus of the Academy of Ancient Music may be small in numbers but like their orchestral companions make an impressively full bodied sound. Their size also allows for real fluidity and speed without any loss of articulation.

Orchestral choices were sometimes unusual. The organ and harpsichord frewuntly played together, though the organ sound was often inaudible, particularly in the earlier movements. But these were very minor concerns in a wonderful evening.

The performance is being repeated tonight in King’s College, Cambridge, and on 20 Dec at the Salle Pleyel, Paris.  BH

Bexhill Choral Society: Carols

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St Augustine’s Church, Bexhill, 7 December 2013

Christmas is here! It may be another two weeks or so until Christmas day but an evening of carols and Christmas music with Bexhill Choral Society is more than enough to convince us it is time to roll out the sherry and mince pies.

Their inter-active concert last night (I suppose one has to use the jargon these days) ranged widely. At the serious, more meditative end of the scale we heard a moving and eloquent rendition of the Shepherds’ Farewell from Berlioz’ L’enfance du Christ and an equally impressive Ring out wild bells by Percy Fletcher, a composer who is almost forgotten today but provided an immense amount of church and choral music early last century.

Equally important to the evening were modern compositions including two by composers not only living but present. John O’Dell’s The Shepherd’s Carol was given its premier. Unaccompanied, its gentle lyricism was most effective. I trust we will hear it regularly. Kenneth Roberts’ own carol Sleep my baby has a soft, syncopated rhythm which becomes hypnotic and soothing.

If there was a chance that some of the carols, particularly after wine in the interval, might help us to nod off, Cinque Port Brass kept us on our toes with Caribbean Christmas and Ken’s own Christmas Medley. Kenneth Roberts, both conducting and playing saxophone, had the lion’s share of the work, but Robert Aldwinkle not only played all the keyboard accompaniment but commuted deftly between keyboard in the nave and organ in the gallery.

Our own part came with familiar Christmas Carols and a final rendition of White Christmas.

This must be the only celebration where there is no problem mixing the sacred and the secular in such a heady concoction, to such enjoyable ends. It would be difficult to think of a similar concert at Easter which included sections of the St John Passion alongside In my Easter bonnet. Maybe one day….  BH

LPO in Eastbourne 2014

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We’re delighted to be kicking off the New Year in Eastbourne on Sunday 12 January with a fantastic concert of wintry favourites from Verdi, Dvo?ák and Tchaikovsky. Joining us is dynamic violinist Philippe Quint, who’s performed both on stage and on screen!

Sunday 12 January 2014 | 3.00pm | Eastbourne Congress Theatre

Verdi Ballet Music (Ballabili) from Macbeth
Dvo?ák Violin Concerto
Tchaikovsky Symphony No. 1 (Winter Daydreams)

Damian Iorio conductor
Philippe Quint violin

Award-winning violinist Philippe Quint is sure to dazzle the audience with his performance of Dvo?ák’s treacle-toned Violin Concerto, while the Orchestra comes into its own with Tchaikovsky’s First Symphony (Winter Daydreams), one of the first symphonies ever to be written by a Russian. Conductor Damian Iorio, world-renowned for his interpretations of opera, conducts the Orchestra in this concert which aptly opens with the ballet music from Verdi’s Macbeth.

THE SCHUBERT PROJECT

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schubert

BRINGING SCHUBERT’S VIENNA TO OXFORD

10 October – 1 November 2014

In 2014 Oxford Lieder presents the UK’s first complete performance of Schubert songs in a unique festival featuring a stellar array of the world’s great singers. During his short life – just 31 years – Schubert created a remarkable body of work in his 650 songs and these will form the heart of the Schubert Project. Around this, the city of Oxford will be buzzing with other music and events that will further illuminate the songs and bring to life the world that Schubert himself inhabited.

Singers performing will include Sir Thomas Allen, Ian Bostridge, Sarah Connolly, William Dazeley, James Gilchrist, Robert Holl, Wolfgang Holzmair, Sophie Karthäuser, Angelika Kirchschlager, Stephan Loges, Christopher Maltman, Christoph Prégardien, Birgid Steinberger, Roderick Williams and many more in over 50 recitals. They will be joined by the world’s leading pianists, including Thomas Adés, Eugene Asti, Imogen Cooper, Julius Drake, Graham Johnson, Malcolm Martineau & Roger Vignoles. In addition, the Orchestra of the Age of Enlightenment, the Doric String Quartet and the Schubert Ensemble will be amongst partners for chamber music.

The Bodleian Library will show several Schubert manuscripts; the Ashmolean Museum will host live music events and a display of its exceptional 19th-century drawings; the Botanic Gardens collaborate on a study event looking at Schubert’s relationship with nature; a pop-up theatre event will recreate a famous Schubert gathering; local restaurants will feature Viennese food and wine. Masterclasses, talks and workshops abound, and the Festival stretches to all corners of the city from the Europe’s oldest concert hall – the Holywell Music Room – through to the contemporary setting of the recently restored Ashmolean Museum.

w ww.oxfordlieder.co.uk

The Mikado

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mikado 2

White Rock Theatre, Hastings, 3 December 2013

Co-opera have set their travelling Mikado in an opium den in 1901. This neat side-step allows for the absence of any chorus and the deft movement between characters for the cast of nine. In the event this all worked rather well and musically was of an impressively high standard.

The set was little more than a mish-mash of pieces for necessary props, and added little to the narrative, but lighting was always effective and made emotional sense of events as they unfolded.

Tristan Stocks and Llio Evans made an attractive pair as Nanki-Poo and Yum-Yum, her singing of The sun whose rays being probably the best solo item of the evening. Sandra Porter’s Katisha, drawing heavily on Anthony Sher’s approach to Richard III, was fascinating and eventually remarkably sympathetic.

But it was the characterisation of Ko-Ko which commanded attention. Like a depressed Dr Who, David Jones’ tailor is ill at ease with the world around him, carrying a giant pair of scissors with which to carry out his executions. His singing of Tit Willow was exemplary and his ability to combine pathos with humour raised the whole evening to a different level.

The pit band were excellent, and John Andrews had no difficulty keeping the score moving fleetly. Sullivan’s nuances made their mark in a way often missed in larger scale performances.

This was a one night stand for the company, and the audience was rather thin. A pity, for this venture was well worth supporting and I trust we will see them again. BH

December CDs & DVDs

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Bach xmas

Bach: Christmas Oratorio

Choir of Trinity College Cambdirge, OAE, Stephen Layton

HYPERION CDA68031/2                 151’49

There are many recordings of the Bach Christmas Oratorio but this is a welcome addition. Crisp and enthusiastic, with bright tempi and clarity of text, it has counter-tenor Iestyn Davies among the soloists under the enthusiastic direction of Stephen Layton. Well worth buying even if you have other recordings already.

joy to the world

Joy to the World: An American Christmas

Handel & Haydn Society, Harry Christophers

CORO COR16117               63’02

Don’t be put off by the title. The American of the title refers to one of the oldest choral societies in the States, not to the source of the music! This is a fine selection covering familiar and much rarer items – ranging from Howells to Bob Chilcott alongside Holst and trad –  all recorded with great sense of style and  lightness of texture.

hark the herald

Hark the Herald Angels Sing

Chor des Bayerischen Rundfunks

BRKLASSIK 900507           73’29

A charming collection which includes solo musical items from oboist Francois Leleux. A reflective approach but effective.

beauty stone

Sullivan: The Beauty Stone

Soloists, BBC National Orchestra of Wales, Rory Macdonald

CHANDOS CHAN 10794(2)            57’18, 72’04

Most readers will be familiar with Gilbert & Sullivan, and many will be aware of Sullivan’s Ivanhoe but few I suspect will know of The Beauty Stone and still fewer have heard any of its music. This new recording fills that gap and explains some of the problems the work has had since its first performances in 1898. The score is one of the most convincing Sullivan ever produced, the orchestration more complex and the melodic lines as good as anything in the Savoy operas. At this point readers can hear the coming but. In this case the but is the story line and libretto. The failure of Ivanhoe does not seem to have deterred Sullivan from returning to his love of the gothic, which proves the biggest stumbling block for the modern listener. There were times I felt myself wishing I could hear this in German or Italian, for then I need only concern myself with the score!

If you can get past the text there is a great deal to enjoy, particularly the solo singing from Toby Spence and Rebecca Evans, and the orchestral work from the BBC under the careful guidance of Rory Macdonald. However, I doubt if even the most adventurous of operatic groups would risk staging it. Let us grateful for the recording!

gounod pedal

Gounod: Complete works for pedal piano & orchestra

Howard Shelley, Orchestra della Svizzera Italiana

HYPERION CDA67975      55’56

Every so often a cd comes out which blows you away. This new Gounod disc is just such a one. The recording is an absolute delight throughout and I’ve played it many times to remind myself just how good it is. The opening Suite concertante in A major bubbles with enthusiasm and is not outdone by the following concerto for pedal-piano. If the Fantaisie sur l’hymne national russe seems just a bit of fun it is none the less played with great panache. You really need to hear it!

war requiem

Britten: War Requiem

Soloists, Chor und Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons

BRKLASSIK 900120           87’00

There have many new recordings and reissues to mark the Britten centenary and this new War Requiem is an apt reminder not only of the passion of the work itself but its versatility in the hands of different conductors.

Mariss Jansons takes an unexpectedly rapid approach to the opening and hurls Mark Padmore into What passing bells. No tempi are out of place but there is an urgency to the recording which speaks as much for concern for the living as a memorial to the dead.  Emily Magee’s rich soprano cuts through effortlessly, as Britten intended with Galina Vishnevskaya originally. Recorded live in Munich the balance is excellent and the boys choir distant without being remote. A fine tribute.

mahler maazel

Mahler: Symphonies 1, 2 & 3

Philharmonic Orchestra, Lorin Maazel

SIGNUM SIGCD360      

These recordings were made live in the Royal Festival Hall in the spring of 2011. I wish I had been there. Lorin Maazel brings a transparency of texture to the orchestra which is captivating. This, together with a sense of joy and exultation, must place them amongst the best recordings currently available. Of the soloists, Sarah Connolly is particularly effective in the third symphony.

Elgar Briggs

Elgar: Symphonies 1 & 2

David Briggs, organ of Worcester Cathedral

ACCLAIM APCD4016       57’02  63.02

Recorded live in Worcester Cathedral in April 2012 this is the latest in a series of transcriptions from David Briggs. Much as one can admire the playing and the skill of the work it is difficult not to simply ask Why? With the Mahler transcriptions the changes in texture allowed us to hear things which were too often hidden within a full orchestra, but Elgar’s scoring is not like that. His balance is such that we hear exactly what he wants us to hear. As such there is little gain here. The Second Symphony works better than the first as its extrovert character lends itself more overtly to the organ. But that is not enough excuse in the long run.

jansons Brahms

Brahms: Symphony No2, Janacek: Glagolithic Mass

Chor und Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons

ARTHAUS 101684

Another live recording and one which allows us to see Mariss Jansons conducting in close up. While we may not want this in the concert hall it is a distinct advantage in recordings as we can follow the nuances and sensitivity of his approach to these scores. What impresses is the lightness of texture and romantic flair in the Brahms. If the Janacek is denser it never seems over complex and the soloists are radiant.

trojans

Berlioz: The Trojans

Royal Opera, Antonio Pappano

OPS ARTE OA 1097 D       254’00

David McVicar’s production was seen in the Royal Opera House in June 2012 and given as a concert performance at that summer’s proms. It has the great benefit of working well in close up, and the soloists are never less than convincing. In the large scale scenes, the vast sweep of the action within the metallic walls impresses and the timeless design allows for concentration on the universal impact of war. Eva-Maria Westbroek is a fine Dido and the whole saga is held together by the Aeneas of Bryan Hymel. Most of the choreography is convincing though rather too similar in style. Chorus and orchestra under Antonio Pappano are passionate and committed bringing the great marches and choral scenes to life, in contrast to the delicacy of the many intimate scenes.

David Alden’s award-winning five-star production of Peter Grimes returns to English National Opera

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Opening Wednesday 29 January 2014, 7.00pm at London Coliseum (8 performances)

David Alden’s 2009 production of Benjamin Britten’s searing psychological drama Peter Grimes returns to English National Opera following successful performances in Berlin, Antwerp, Ghent, Oviedo and at the BBC Proms 2012 in a semi-staged performance. Alden’s production was hailed as a “superb company achievement” in 2009 with “Stuart Skelton’s towering performance at its heart”, (The Guardian) reaffirming ENO as the world’s leading producer of Britten’s operas. This hotly anticipated revival reunites director David Alden with ENO Music Director Edward Gardner and Australian heldentenor Stuart Skelton in the title role.

Peter Grimes is the most significant British opera in over two centuries and has long been associated with ENO, having received its premiere at Sadler’s Wells Opera (now ENO) in 1945. This is the first revival of David Alden’s 2009 five-star sell-out production which won the South Bank Show Award for Opera. Alden returns to ENO following his acclaimed production of Britten’s Billy Budd, described by The Independent as “world class”.

ENO’s Music Director Edward Gardner rekindles his close association with Britten’s work, having also conducted ENO productions ofDeath in Venice and David Alden’s Billy Budd, for which he received an Olivier nomination for Outstanding Achievement in Opera.

Completing the creative team is Set Designer Paul Steinberg, Costume Designer Brigitte Reiffenstuel, Lighting Designer Adam Silverman and Movement Director Maxine Braham.

Stuart Skelton takes the title role once again giving his remarkable, multifaceted portrayal of the disturbed outsider. Skelton’s 2009 performance in the role won unanimous praise from critics, who compared his portrayal of Grimes to that of Peter Pears, Philip Langridge and Jon Vickers. Skelton reprised the role for ENO at the BBC Proms 2012 in a performance that the Sunday Express described as “definitive”. And in October 2013, Skelton sang Peter Grimes with the London Philharmonic Orchestra under the baton of Vladimir Jurowski in a “hauntingly believable” (Daily Telegraph) performance, “possibly the finest on the stage today” (The Times).

This much anticipated revival introduces two new major singers to the production. British baritone Iain Paterson sings Balstrode for the first time in a fully staged production following his outstanding performance at the BBC Proms in 2012 with ENO. The internationally celebrated South African soprano Elza Van den Heever makes her London operatic and role debut singing Ellen Orford. Van den Heever recently made her debut with New York’s Metropolitan Opera, singing the role of Elizabeth in Donizetti’s Maria Stuarda, described by the New York Times as “vocally burnished and emotionally tempestuous”.

The definitive Mrs Sedley is sung by Dame Felicity Palmer. Rebecca de Pont Davies (Auntie), Michael Colvin (Bob Boles), Matthew Best (Swallow) and Leigh Melrose (Ned Keene) also reprise their roles in this revival.

Showcasing the best of young British operatic talent, ENO Harewood Artists Rhian Lois and Mary Bevan take the roles of First and Second Niece, completing a cast of outstanding vocal strength for this spectacular revival.

Peter Grimes opens at the London Coliseum on 29 January 2014 for 8 performances – 29 January & 6, 14, 21, 27 February, 7pm, 1, 8 February, 6pm and 23 February, 3.00pm.

Pre-performance talk: Saturday 1 February, 4.15pm-5pm, £5/£2.50 concessions

A co-production with De Vlaamse Opera, Opera de Oviedo and Deutsche Oper Berlin

Original production supported by ENO’s English Opera Group.

Organ Music for Advent & Christmas

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advent 2

Christchurch Blacklands, Hastings, 30 November 2013

Advent is here and Stephen Page eased us into the season with music and carols to prepare us for the coming festivities. As Advent is a time of reflection, as well as often stressful preparation, it was good that so many of his pieces were reflective.

After a joyous fanfare by Gerre Hancock and the singing of Joy to the World he played Bach’s Wachet Auf and Daquin’s Noel; Grand Jeu et Duo. The former was familiar and given a gentle introspection while the latter twinkled merrily.

We sang O come, O come, Emmanuel before four linked pieces. Heathcote Statham’s Fantasia on Veni Emmanuel has wonderfully rolling English phrases and would be worth hearing again without the seasonal context. Eric Thiman’s Postlude on Adeste Fidelis seemed rather light-weight by comparison but Harrison Oxley’s Prelude: Whence is that goodly fragrance? brought a time of genuine meditation. Anyone who might just have nodded off while reflecting was soon awake thanks to the Dance of the Snowmen by Howard Blake.

Following Lo! He comes we came to the final set of pieces opening with William Lloyd Webber’s Rhapsody of Helmsley. While light in texture it aptly reflects the alleluias of the hymn. Philip Marshall’s Prelude on Forest Green proved as introspective as the Oxley had been and was followed by Samuel Wesley’s The Christmas carol varied as a Rondo – which turns out to be a set of variations on God rest ye merry with fine changes of tone and texture.

After a rousing rendition of Hark the herald angels sing, and Colin Mawby’s stirring variation we were ready for coffee and mince pies.

Blacklands organ is potentially a fine instrument but there are so many problems with it at present that not even an organist as skilful as Stephen could cover the difficulties he was having both in registration and individual notes. There may be no cyphers but it is the difference between driving a new car and one that is verging on the veteran and in need of a serious service and overhaul. There is only so much one can do.

The large audience/congregation were very appreciative of an event which subtly bridged the gap between service and concert, allowing both enjoyment of the music and time to reflect. Maybe this is a pattern for other events? BH

Maidstone Symphony Orchestra

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Brian Wright

Maidstone Symphony Orchestra

Mote Hall, 30 November 2013

Brian Wright obviously enjoys challenging both his players and his audience. Last night’s concert at the Mote Hall brought us a club sandwich with chunky crusts and a fascinating filling.

The orchestra blazed into action with Berlioz’ Overture Roman Carnival, with the brass and woodwind indulging themselves in the composer’s enthusiasm, but not before a limpid cor anglais solo from David Montague. The strings were more than up to the extravagance of the final pages putting everyone in a good mood for the following concerto.

Tom Bettley

Reinhold Gliere is hardly a household name and his horn concerto, though loved by those who know it, is not frequently performed. Tom Bettley was advertised as a local boy but there is nothing domestic about his approach to the work or to his professionalism as a soloist. Gliere spent time studying with a professional horn player before completing the work and this shows in the challenges he provides for the soloist. Not only are there some formidable technical passages in the outer movements but the long lyrical sections are equally difficult, and it was these which were particularly impressive. The Andante has a Tchaikovsky-like melodic line which wanders with great beauty – a beauty finely crafted in Tom Bettley’s gentle and mellifluous playing. By the end it was easy to see why players love the work – perhaps we might learn to if we heard it more often.

After the interval the orchestra brought us two large-scale romantic works, commencing with Richard Strauss’ Tod und Verklarung. The opening section caught the timelessness of the piece with ease, the long string passages unfolding with skill and great sensitivity. Brian Wright maintained the tension here, creating a fine balance between anxiety and ennui. The double climax was splendidly phrased and the strings were at their best in the outpouring of joy in the final pages.

Stravinsky’s 1919 suite from The Firebird was probably the most familiar item on the programme and brought the evening to an exultant conclusion. After a gentle Round Dance, the Finale built skilfully – including a fine bassoon solo from Philip Le Bas – allowing the colours and textures of the score to shine through. Wind and brass ensembles were at their most relaxed, and the percussion came into its own.

A suitably large and enthusiastic audience clearly enjoyed the whole evening. If anybody thinks I may be overlooking the odd missed note or fluff, the odd less than perfect entry, then let me assure them I am well aware of the minor imperfections of any live performance. There are very few orchestras in my experience who can get through an evening with every note perfectly formed – that only happens on carefully edited recordings – but the excitement of a live performance is far more worthwhile than any cd, no matter who the orchestra is! BH

The next concert is on Saturday 1 February with works by Mendelssohn, Sibelius and Beethoven. The Concerto soloist will be Mark Simpson playing Copland’s Clarinet Concerto. www.mso.org.uk