Monthly Archives: December 2014

Hastings Philharmonic Choir: Christmas Carols for all

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hast philA 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 2nd 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

 

BBC Singers: Messiah

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temple

The Temple Festival ended a fine week with Messiah but this was anything but a conventional performance. King George always complained about Handel having too many fiddles so we can assume he would have enjoyed this arrangement by Stian Aareskjold for wind band and continuo.

This was as a result of a link between the Norwegian Wind Ensemble and the BBC Singers, for which this Messiah was a return visit.

While much of the accompaniment sounded surprisingly close to the original there were many moments which suddenly came to life in a new way – the saxophone solo in O thou that tellest; the Bach-like intensity of the solo flute and continuo in If God be for us – and the use throughout of the variant versions of individual items, all kept us on our toes.

A brisk overture led to an intense reading of Every valley from tenor Samuel Boden and a crisp first chorus from the BBC Singers. Celebrating their 90th anniversary the BBC Singers were in excellent voice, the diction carrying easily across the Temple Church even at high speed.

David Hill takes a strongly narrative approach to his performance, building from a fast moving but somewhat reserved start to an ecstatic outpouring at the Hallelujah chorus which continues right up to the end. Adding in the organ during the Amen chorus was a stroke of genius, giving that final lift – and gravitas from the pedal – which brought the evening to a triumphant close.

Along the way there had been many splendid musical moments. Soprano Fflur Wyn was delicate for the angels at Christmas and radiant in I Know that my Redeemer liveth. Counter-tenor Robin Blaze sang the solo version of He shall feed his flock mellifluously, and the duet and chorus version of O Death, where is thy sting? Samuel Boden’s finely-focussed tenor brought us the alternative version of Their sound is gone out and a spikey attack in All they that see him. Mark Stone was a late replacement as Bass soloist and brought real authority to his arias. His commanding performance of The trumpet shall sound really deserved applause for that one aria alone.

There is no such thing as a definitive Messiah but this was certainly among the most enjoyable I have encountered for some while.

 

DVDs & CDs December 2014

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Strauss: Arabella

Staatsopernchor & Staatskapelle Dresden, Christian Thielemann

UNITEL CLASSICA 717208

Recorded live at the Easter Festival in Salzburg this year, the production has a welcome frisson not only from the quality of the singing but the simplicity of Florentine Klepper’s production which throws most of the weight onto the singers and the sensitivity of their characterisation. Renee Fleming and Thomas Hampson are outstanding as Arabella and Mandryka, and there is an exceptional Zdenka from Hanna-Elisabeth Muller. Christian Thielemann may look unduly calm in the pit but he has no problem creating the emotional storms the score requires.

Wagner: Parsifal

Royal Opera, Antonio Pappano

OPUS ARTE OA 1158 D

I found this production very effective in the opera house and it transfers to DVD with very little loss of impact. While Stephen Langridge’s production upset some, I found the sense of new life – even of resurrection – at the end completely convincing. The musical quality is also of the highest throughout, Antonio Pappano proving yet again he is a fine Wagnerian, and directs a world class cast led by Simon O’Neill and Gerald Finley. Willard White’s Klingsor is surprisingly sympathetic, shifting the balance of the second act and forcing us to reconsider the moral world Wagner creates.

Mahler Chamber Orchestra

With Steven Isserlis, cello, under Teodor Currentzis

EUROARTS 2059818

This recording was made live in the Concertgebouw, Bruges, in 2013 and brings an interesting if challenging programme. It opens with an exhilarating performance of Shostakovich’s first Cello Concerto with fiery playing from Stephen Isserlis. This is followed by a more reserved Sinfonietta by Benjamin Britten before returning to Shostakovich and his First Symphony. While enjoyable as a one off, it strikes me as an unlikely choice for repeated listening.

Bach: Mass in B minor

Arcangelo, Jonathan Cohen

HYPERION CDA6805 1-2

While some of the solo singing impresses, the approach by Jonathan Cohen is often too staid to involve the listener. The opening sections in particular lack dramatic impact and passion, leaving us feeling the music is worthy but ultimately rather dull. It picks up somewhat from the Credo but by then our appreciation has dropped and it never really recovers a sense of involvement. A pity, the musical qualities are potentially very strong.

Dvorak: Requiem

Warsaw Philharmonic Orchestra and Choir, Antoni Wit

NAXOS 8.572874-75

There was a time when the Dvorak Requiem was as familiar as the Verdi or Mozart settings. As fashions change it seems to have dropped out of the regular repertoire which is a pity for it is a very fine work as we can hear from this new recording with Polish forces under Antoni Wit. At Naxos’ low prices this is a real bargain if you don’t know the work well.

Debussy: La Mer

Singapore Symphony Orchestra, Lan Shui

BIS 1837

The Singapore Symphony Orchestra was very well received when it appeared at the Proms this summer and here prove it was not a one day wonder. The approach to a familiar programme of Debussy – which also includes L’apres midid d’un faune and Images – is sound and musically impressive. Lan Shui has a secure feel for the scores, creating long flexible paragraphs full of individual delights.

GLASGOW TOCCATA – ORGAN MUSIC BY ALAN GIBBS

KEVIN BOWYER, organ of Glasgow University Memorial Chapel

PRIORY 1141 (3 CD set)

This set collects a fine selection of Alan Gibbs’ music expertly performed by contemporary organ champion Kevin Bowyer. It is a follow up to Bowyer’s earlier recording of Gibbs’ music and does not duplicate any of the items on that CD. The organ is the substantial 1927 Willis / 2005 Harrison which sounds superb. The programme is well constructed so that it is an engaging listening experience as well as being a good record of this music. I found the first disk the most enjoyable with its emphasis on hymn inspired pieces but enjoyed the whole recording. The notes group the pieces into particular themes (e.g.  “Serial works”, “For Germany”, “For Scotland”) instead of a chronological commentary.  I found this to be an interesting way to look at the programme. As well as shorter pieces and sets there are a number of longer pieces including Sonatas 2 & 3.

OLIVIER MESSIAEN – LES CORPS GLORIEUX & other works for organ

KEVIN BOWYER, organ of Glasgow University Memorial Chapel

PRIORY 1142

An interesting comparison to the above CD set is this single disk from the same organist and organ. The other works are Offrande au Saint-Sacrament, Prelude, Monodie and Verset pour la fete de la dedicace. As to be expected this is another polished production. There are notes on the pieces by the performer. The first two pieces were only discovered after the composer’s death. A good all-Messiaen recital for anyone not wanting the complete works.

SAINT-SAENS- ORGAN WORKS VOL 4 Miscellaneous Works

GERARD BROOKS, organ of Collegiate Church of Staint-Hippolyte de Poligny

PRIORY 1107  78’56

It is unfair to judge a single disk from a collection without hearing them all. This is a good recording of a large collection of music and is the final CD of a set of 4.  Much of the music is service music which in the context of worship (or as a single item in a more varied concert) would have been fine but I tired of this programme. However, a couple of lively marches towards the end did reawaken my interest. As part of the set I’m sure this is a welcome conclusion but for me it doesn’t really work as a standalone disk.

MUSIC FOR EVENSONG AT GLOUCESTER CATHEDRAL COMMEMORATING THE START OF THE “WAR TO END ALL WARS” ON 4TH AUGUST 1914

GLOUCESTER CATHEDRAL CHOIR, conductor ADRIAN PARTINGTON
JONATHAN HOPE, organ of Gloucester Cathedral

PRIORY 1128

It may be argued that commemorations of the start of the First World War have already reached saturation point. However, it must be said that alongside the need to remember the beginning of such a shameful episode in the history of the modern world, it has been good to revisit some of the largely forgotten musical material from this time. I like the idea of commemorating important occasions with a carefully constructed sequence such as this. Included in this act of worship is an extended chorale prelude and a chant by Ivor Gurney, music from that time by Naylor, Goss and Vaughan Williams. Settings by Neil Cox and John Sanders,  both musicians more recently associated with the cathedral, are featured. The service ends with Parry’s “The Wanderer” Toccata and Fugue. Interesting and moving.

THE COMPLETE PSALMS OF DAVID VOLUME 7 SERIES 2

WAKEFIELD CATHEDRAL CHOIR, director THOMAS MOORE, organ SIMON EARL

PRIORY 1120   75’53

Another very welcome addition to the current series of Psalms sung to Anglican chant. This volume covers psalms  89-104. As with previous volumes there is an interesting selection of chants and well chosen registration which brings additional colour and expression to the psalms. The choir creates a very clear sound and, whilst full texts are included in the booklet, it is often possible to completely follow the words unaided. Sadly this is not always the case with recordings or in live situations. This is proving to be an excellent new series.

BH/SP

 

 

New Year at ENO

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The Mastersingers of Nuremberg (7th February – 10th March 2015)

ENO Music Director Edward Gardner will lead the outstanding ENO Chorus and Orchestra alongside an exceptional cast in these performances of Wagner’s epic masterpiece.

In a spectacular staging by director Richard Jones, Wagner’s only comic opera explores the tension between artistic creativity and conformity as it is played out in a society obsessed by rules and regulations.

From the ever-popular overture’s magisterial opening bars, Wagner’s score is full of glorious melodies and stirring choruses, revealing the composer at the height of his musical and dramatic powers.

The Mastersingers of Nuremberg opens on the 7th February for 8 performances. Tickets are available at eno.org / 020 7845 9300

 

The Indian Queen (26th February – 14th March 2015)

ENO’s director in residence Peter Sellars presents a newly contextualised version of Purcell’s The Indian Queen, which describes the first contact between Europeans and the Mayans of the New World from the perspective of the women who forged a new society.

Sellars takes Purcell’s glorious but incomplete score and incorporates some of the composer’s most ravishing sacred and secular pieces, adding vibrant set designs from graffiti artist Gronk and a text based on Nicaraguan author Rosario Aguilar’s novel The Lost Chronicles of Terra Firma.

The result is an astonishing spectacle of music, theatre, dance, literature and visual art that promises both an exceptional musical and theatrical experience.

The Indian Queen opens on the 26th February for 8 performances. Tickets are available at eno.org / 020 7845 9300

 

Between Worlds (11th April – 25th April 2015)

This groundbreaking world premiere, performed at the Barbican, is a sensitive, spiritual and uplifting journey inspired by the events of 9/11. The highly anticipated first opera from British composer Tansy Davies, Between Worlds will be directed by critically acclaimed opera and theatre director Deborah Warner,

A disparate group of individuals is trapped high up in one of the Twin Towers, caught between earth and heaven, between life and death.Between Worlds will provide a unique insight to the tragedy and the human experiences of those affected by it.

Between Worlds opens at the Barbican on the 11th April for 8 performances. Tickets are available at eno.org / 020 7845 9300

 

The Pirates of Penzance (9th May – 27th June 2015)

Fresh from the major success of his celebrated film Mr Turner, film-making legend Mike Leigh will make his opera directing debut with this eagerly anticipated new production of Gilbert & Sullivan’s sparkling comic masterpiece.

In a hilarious production where comedy and romance combine with surprising twists and turns, The Pirates of Penzance leads us into a swashbuckling world of orphaned pirates, flat-footed policemen and beautiful women.

The Pirates of Penzance opens on the 9th May for 14 performances. Broadcast as part of ENO Screen on 19th May. Tickets are available at eno.org / 020 7845 9300

GRANT FUNDING AWARDED TO TAKE GARSINGTON OPERA’S EDUCATION WORK AND DIGITAL SCREENINGS ON TOUR TO COASTAL COMMUNITIES

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Garsington Opera is delighted to announce that it has been commissioned by Arts Council England in partnership with East Lindsey District Council to deliver an exciting programme of free opera throughout the country.

Arts Council England has approved £750,000 for the Opera for All programme which will deliver free public screenings, together with extensive education projects, from Garsington Opera. The screenings will take place in the North, South East, South West and Midlands, including East Lindsey. A large-scale programme of education and outreach work is firmly integrated with the digital free public screenings and will provide ground breaking opportunities for communities to be involved in creating and learning about opera.

The project will be delivered through members of the Coastal Communities Alliance (CCA), which has identified areas of low engagement with the arts for the project to target, remaining a key strategic partner for the delivery of the programme.    The project will establish a new network of touring partners through the Coastal Communities Alliance in areas with little existing access to live performance, enabling high quality art to continue to be presented in these regions after the initial three-year period.

In 2012, Offenbach’s La Périchole was broadcast live to Skegness from Garsington Opera, with Sir Terry Wogan as compere. Following this success, in 2013 the SO Festival presented a relay of Humperdinck’s Hänsel and Gretel and in 2014 Offenbach’s Vert-Vert, both from Garsington Opera. Educational projects took place in support of these free screens.

Douglas Boyd, Artistic Director said:

“We are thrilled that Arts Council England is supporting the Opera for All project, which will be delivered in partnership with East Lindsey District Council and the Coastal Communities Alliance. To be able to reach new audiences through extensive education work and free opera screenings in areas that have limited engagement with the arts is vital and will have an enormous impact in the various communities who will participate in the project, as well as for access to opera and the arts nationwide.

This news comes at an exciting time in Garsington Opera’s development as we continue to strive for the very highest quality of production and performance in our award-winning new opera house at Wormsley. We are passionate about sharing our work with the widest possible audience and both this project and the continued work of our brilliant education team clearly demonstrates that what we do off the platform is as important as what we do on it.

Brighton Philharmonic Orchestra

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J Bradbury

The Dome, Brighton

Sunday 7 December

 

Barry Wordsworth may be basking in the delights of the Antipodes but that has not stopped the season from providing exceptional music-making. On paper, yesterday’s concert looked somewhat odd. Most programmes hang themselves on one or two key items but here we had eight shorter works reflecting a composer’s response to the life and landscape of the country as a whole.

In one sense they were all national composers for even Mendelssohn came to be seen as an English composer in the same way that Handel had done. His Hebrides Overture set the tone for masterly reflection on the impact of the sea. This was followed by Butterworth’s hauntingly subtle vision of A Shropshire Lad. In the opening passages the dawn eases in before the sun rises, but this is not the cathartic explosion we experience in Strauss but the gentle warming of an English summer sun. The structure was very finely caught by conductor Richard Balcombe who seems to have an innate sensitivity towards English music.

John Bradbury is far too rarely heard as a soloist. His magnificent New Year’s Day concert a few years ago remains firmly fixed in the memory, but his superb playing was very much in evidence for Vaughan Williams’ The Lark Ascending. Rarely have I sensed the various levels of the open-air as in this reading. While the woodwind provide hints of the bird life close to the ground and the cheerful folk melodies of the people below them, the lark sores above dipping and diving until at last it disappears not just from view but from our aural perspective. This certainly was a blithe spirit reflecting on the spiritual life of the world below. A masterly performance – when we will hear him again as soloist?

By contrast Hamish MacCunn’s youthful overture Land of the Mountain and the Flood seemed rather prosaic if easy to assimilate.

Sullivan’s Pirates of Penzance has little to do with Cornwall but the overture proved a cheerful opener to the second half before the more demanding Norfolk Rhapsody from Vaughan Williams. Though not as popular as the Lark its subtle beauty charmed us with ease.

The final two items were unarguably popular. Malcolm Arnold’s brief Four Cornish Dances have rather more to do with Cornwall than the Sullivan but they are distinctly tongue-in-cheek, particularly the rousing third dance in homage to Sankey & Moody. Then we came to Eric Coates and his London Suite, concluding with a rousing rendition of the Knightsbridge March. Most of us in the audience recalled this only too easily from In Town Tonight, but it was none the less nostalgically very welcome.

The next concert is the New Year’s Day Viennese Gala on 31 December, followed by a programme of Brahms and Beethoven on 11 January.

Bexhill Choral Society

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carols

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!

 

 

Buxted Symphony Orchestra

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Sophie Pullen

St Margaret The Queen, Buxted Park

Saturday 6 December

St Margaret The Queen in Buxted Park is a fine venue for a concert and its acoustic adds a bloom to the orchestra even on a very cold winter’s afternoon. The programme brought us two rarely performed English works and a familiar Beethoven Symphony.

Though I have heard Finzi’s Dies Natalis a number of times over the years it is infrequently performed given the spiritual sensitivity of the writing and the clarity with which the text can carry through the lush string sounds. Sophie Pullen proved to be an ideal soloist, enthusiastic and engaged with Traherne’s mystical text, her line floating easily above the orchestra. Finzi’s string writing is often complex and divides into nine parts on occasion across the string ensemble. Given the small numbers in the Buxted Symphony Orchestra this meant that at times desks would be playing by themselves, a difficulty for a fully professional orchestra and approached here with considerable skill. Julian Broughton maintained a firm sense of pace throughout which moved the score forward to its gentle speculative conclusion.

Elgar’s Romance for Bassoon and Orchestra is even less familiar than the Finzi. A short work, first heard in 1911, it has a drifting, haunted quality well captured by the Portuguese soloist Susana Dias.

Beethoven’s Fourth Symphony is possibly less well known than the rest of the canon but was given a highly convincing reading with firmer intonation from the strings and a tighter sense of ensemble throughout. Pacing was crisp and clear, with a bravura sense of attack in the final movement.

The concert was well supported, and enthusiastically received – such encouragement well justified by the standard of music presented.

ENO revives La Traviata in February

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Elizabeth ZharoffElizabeth Zharoff makes her UK debut in the first revival of Peter Konwitschny’s Olivier Award-nominated La traviata.

Described by The Guardian as a ‘totally convincing piece of music theatre’, this production was nominated for the Olivier Award for Best New Opera production in 2013.

Making her UK debut in the role of Violetta, which launched the European career of soprano Corinne Winters in 2013, is young superstar soprano Elizabeth Zharoff. Fast emerging as one of opera’s most exciting young artists, Zharoff was a member of the Junges Ensemble at the Semperoper Dresden in their 2012-13 season, where she performed the role of Violetta for the first time. 2015 will also see her create the role of Esther in the world premiere of Ricky Ian Gordon’s Morning Star at Cincinnati Opera.

ENO Harewood Artist and Wigmore Hall Emerging Talent Ben Johnson returns as Alfredo. His previous performances in the role were sung ‘with lovely lyricism’ (The Observer). He was most recently seen at the London Coliseum singing the role of Tamino in Simon McBurney’s production of The Magic Flute, where he sang ‘superbly throughout’ (Daily Express). In 2013 he was awarded the Audience Prize at the BBC Cardiff Singer of the World.

British mezzo soprano and former ENO Opera Works student Clare Presland will sing the role of Flora while acclaimed British baritone Anthony Michaels-Moore, who sang the role ‘with real style’ in 2013 (The Arts Desk), revisits the role of Germont. Paul Hopwood (Gaston), Matthew Hargreaves (Baron Douphol), Charles Johnston (Marquis d’Obigny), Martin Lamb (Dr Grenvil) and Valerie Reid (Annina) will also revive their roles from the 2013 performances.

La traviata will be conducted by Roland Böer. Music Director of the Cantiere Internazionale d’Arte in Montepulciano, he first appeared at the London Coliseum in 2005, where he ‘thrillingly conducted’ (Financial Times) David McVicar’s production of La clemenza di Tito.

La traviata opens at the London Coliseum on Monday 9th February for 9 performances – Feb 9, 13, 17, 20, 24, 27 & Mar 5, 11, 13 at 7.30pm.

Tickets from £12-£115
Running time: 1 hour 50 minutes

Pre-performance talk 13 Feb, 5.15-6pm, £5/£2.50 concessions

Broadcast live in cinemas across UK and Ireland, and selected cinemas worldwide, as part of ENO Screen on 11th March 2015

Garsington Opera 2015

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Garsington 11 (11)

Friday 5 June – Sunday 26 July 2015

Three new productions and the first collaboration on a joint project with the Royal Shakespeare Company in an abridged version of Shakespeare’s A Midsummer Night’s Dream with Mendelssohn’s incidental music.

Così fan tutte

Wolfgang Amadeus Mozart (sung in Italian)

Conductor Douglas Boyd  Director John Fulljames  Designer Dick Bird

Cast Andreea Soare, Kathryn Rudge, Ashley Riches, Robin Tritschler, Lesley Garrett, Neal Davies

5, 7, 13, 19, 22, 25, 28 June & 3, 8, 11 July. Start time 5.40pm

Intermezzo

Richard Strauss  (sung in English)

Conductor Jac van Steen Director Bruno Ravella Designer Giles Cadle

Cast  Kate Valentine, Mark Stone, Ailish Tynan, Sam Furness, Benjamin Bevan, Sarah Redgwick, Oliver Johnston, James Cleverton, Gerard Collett, Barnaby Rea

6, 8, 14, 20, 26 June & 2, 5, 7, 9 July. Start time 6pm

Death in Venice

Benjamin Britten

(sung in English)

Conductor Steuart Bedford

Director Paul Curran

Designer Kevin Knight

Cast  Paul Nilon, William Dazeley, Tom Verney, Joshua Owen Mills, Henry Manning

21, 23, 27 June & 1, 4, 10 July. Start time 6pm

Garsington Opera Orchestra & Chorus

A Midsummer Night’s Dream

William Shakespeare’s play (abridged)

with incidental music by Felix Mendelssohn

Royal Shakespeare Company under the creative guidance of Gregory Doran

Conductor Douglas Boyd

RSC Actors, Garsington Opera Orchestra & Chorus

16, 17, 18 July at Wormsley. Start time 6.30pm

26 July at the Royal Shakespeare Theatre, Stratford-upon-Avon. Start time 7.30pm

Garsington copy

Garsington Opera at Wormsley General enquiries 01865 361636

www.garsingtonopera.org