ENO: Lady Macbeth of Mtsensk

Posted on 23 July, 2015 by Admin

New ENO Music Director Mark Wigglesworth conducts Dmitri Tcherniakov’s new production of Lady Macbeth of Mtsensk

Award-winning Russian director Dmitri Tcherniakov returns to ENO with a new production of Shostakovich’s Lady Macbeth of Mtsensk. First seen in Düsseldorf in 2008, Tcherniakov’s bold and contemporary production goes to the core of Shostakovich’s powerful drama. Mark Wigglesworth conducts his first production as ENO Music Director.

Shostakovich’s operatic masterpiece of the Soviet era, Lady Macbeth of Mtsensk tells the story of a bored and lonely merchant’s wife, who seeks solace and excitement in an affair that ultimately leads to her downfall. Its graphic language and explicit portrayal of sex and violence led to the work being banned in the Soviet Union for almost 30 years.

Opera and theatre director Dmitri Tcherniakov has a global reputation for his daring and often contentious directorial style. For ENO he has directed Simon Boccanegra in 2011. The Independent noted “there is an extraordinary director at work here”. He has also created the design of this production.

ENO’s new Music Director Mark Wigglesworth is an acclaimed Shostakovich interpreter, having recorded all of the composer’s symphonies to critical acclaim, BBC Music Magazine named him as “the finest Shostakovich interpreter of his generation”. He conducted a previous production of Lady Macbeth of Mtsensk for the Company in 2001. For ENO Mark has also conducted Così fan tutte, Falstaff, Katya Kabanova and Parsifal.

Leading a world class cast is soprano Patricia Racette making her debut as Katerina (the title role). British tenor John Daszak made his professional opera debut with ENO in Jen?fa and has since appeared in a number of productions including Boris Godunov, Manon Lescaut, Nabucco, A Masked Ball and The Trojans. He will perform the role of Sergei. Bass baritone Robert Hayward will play Boris, Katerina’s father-in-law. Robert has performed in numerous productions for ENO including Otello, Pelleas and Melisande, Lulu and The Ring Cycle.

Bradford-born tenor Peter Hoare will sing the role of Zinovy Ismailov. Peter last performed at English National Opera in the role of Hermann in David Alden’s new production of The Queen of Spades. British bass Matthew Best was last seen at ENO as Tiresias in the world premiere of Julian Anderson’s Thebans and as Swallow in David Alden’s critically acclaimed production of Peter Grimes. He will sing the role of the Old Convict. Danish bass Per Bach Nissen makes his ENO debut as the Chief of Police.

Lady Macbeth of Mtsensk opens at the London Coliseum on 26 September 2015 for 8 performances – 26, 29 September, 2, 8, 10, 13, 20 October at 7.30pm, 17 October at 6.30pm.

It will also be broadcast live on BBC Radio 3 on Tuesday 13 October at 7.00pm.

All Saints, Hastings

Posted on 21 July, 2015 by Admin

DANIEL COOK 20 July 2015

Each year this series delivers a number of enjoyable concerts by experienced organists, many of whom are employed by cathedrals and larger churches. Some of these organists are great entertainers, some have a real gift of communication with the audience and some demonstrate great technical ability or particular gifts of registration and expression. Every now and again an organist displays all of these qualities. Tonight was one such occasion.

Daniel Cook, sub-organist of Westminster Abbey, presented a highly enjoyable programme which favoured the Romantic and Neo-Romantic repertoire. From the beginning he developed a wonderful rapport with his audience which combined humour and gentleness with enthusiasm for and knowledge of the music he was to perform.

Parry’s Fantasia and Fugue in G opened the proceedings in grand style. Daniel’s performance left no-one in any doubt that the concert was to be an exciting one. His ability to use a wide range of registration from the largest choruses to more subtle combinations, coupled with a lightness of touch despite the heaviness of this organ’s action was to be a hallmark of the whole evening’s programme. This piece was written in 1877, the year of construction of the All Saints Willis.

Two movements from Whitlock’s Sonata in C minor followed, providing a lovely contrast to the bombastic opening piece. Here some of the organ’s beautiful flutes and strings were to the fore. Rhythms and articulation were well handled. Prelude & Angels Farewell (Dream of Gerontius) by Elgar, in an arrangement by Brewer, effectively demonstrated the orchestral use of this instrument.

William Lloyd Webber’s Benedictus allowed Daniel to demonstrate how the organ can be used to build a great crescendo, here based around the Diapasons, but also incorporating Mixtures and Reeds. Further music by Whitlock brought the first half to a close. The March:Dignity & Impudence (transcribed by Riley) is a witty pastiche reminiscent of Elgar’s Pomp & Circumstance marches and was delivered with apparent ease!

The second half included a beautifully rhythmic Scherzetto by Jongen and Meditation by Vierne. As before these pieces were performed with real feeling and demonstrated Daniel’s expert handling of this particular organ and acoustic. Dupre’s transcription of Bach’s Sinfonia from Cantata No 29 was an exciting conclusion to the main concert. This once again showed the possibility of combining speed, “big” registration as well as quieter passages with good articulation and control.

Another piece by Bach had opened this half. Toccata, Adagio & Fugue has to be one of Bach’s most satisfying organ works with its contrasts of texture, speed and registration. This, for me, was the overall highlight in a concert which contained many gems. I have never before heard a performance of this piece which even included a very effective echo effect in the extended solo pedal passage. The whole piece was presented in an exciting but controlled and highly musical way.

A short Elegy by Parry as an encore brought us full circle to the composer with which the concert began.

This was an outstanding concert. I hope this will not be Daniel Cook’s last visit to Hastings.

BPO Summer Season: 3

Posted on 19 July, 2015 by Admin

Brighton Unitarian Church, 19 July 2015

This summer series has once again focused on Sussex composers and it was good to welcome back Peter Copley who introduced his Partita for String Quartet. The work has had a very slow gestation, starting as a single lively movement for amateur or young players and then developing, one movement per year, until it reached its final form. His friend Paul Carr was the driving force behind the work which was produced, movement by movement, as a birthday present for him each August. Peter Copley is clearly a man of very regular habits as he admitted that the work was written on his free days at summer school, though turning out music of this quality hardly looks like a leisure activity.

The opening movement sounds like fun to play and communicates its enthusiasm with ease. Peter Copley is a master at slipping short lyrical passages into otherwise complex ideas to deflate any notion that this is going to be difficult to listen to. If the first movement leaves us somewhat breathless the second moves us into another realm entirely. Entitled 42 it is unclear in the opening sections where we are time-wise or where we are going. Gradually however the piano seems to pull the other instruments into line and we become aware of a structure which is underpinning the apparent disparity. When the opening sections are eventually repeated, either from our increasing familiarity or the piano’s school-masterly control, we feel at ease even in a world as far removed from this as that of Arthur Dent.

The Shcherzo seems to take us into the wilds of Eastern Europe with its earthy dance rhythms and slapping chords, but even here there is a delicate, if brief, moment of intense lyricism for the piano. The finale is an homage to Paul Carr as it uses a lovely cello solo of his as the opening melody before gently retracing the earlier movements until it fades away into the distance. It left most of the audience with a smile on their faces. Peter Copley had said at the start he was calling the work a Partita as Quartet sounded too grand. He wanted something more enjoyable and he has certainly achieved this.

Rachel Fryer was the pianist keeping our regular Sunday quartet in order and all more than justified Paul Carr’s confidence that the opening movement was worthy of three more.

The concert had opened with a brisk and beautifully balanced reading of Schubert’s Quartettsatz in C minor and concluded with Haydn’s Lark Quartet. In reality this is a violin concerto for soloist and trio, as the others are, with the exception of the Minuet , little more than background to the virtuosic playing of Roland Roberts.

The final concert in this fine summer series is on 9 August when we will hear music by Barry Mills, Gordon Jacob and Haydn.

A Midsummer Night’s Dream

Posted on 18 July, 2015 by Admin

Garsington Opera & the RSC

Garsington Opera, Wormsley, 17 July 2015

It is not often that two artists of unimpeachable genius can be brought together to create something that excels their individually created works, but such is the case with Mendelssohn’s music for A Midsummer Night’s Dream. In the concert hall, while convincingly beautiful, it can seem remote from the play, particularly if one is aware of many recent productions. However, put together with the sensitivity that Douglas Boyd and Owen Horsley have brought to the current presentation at Wormsley, we begin to see that Mendelssohn’s score is far more than incidental music. While it does not go so far as to become a singspiel the impact of the score makes a profound effect upon the action and the characterisation. Most operatic versions of Shakespeare are so far removed from the original as to be works in their own right but here we are faced with a combination which regularly seems to exceed either. The final moments alone attest to this. Puck’s closing speech can seem a little flippant, a call for applause, but here, underpinned by Mendelssohn it has a far deeper spiritual impact. The only other time I can recall anything similar was in Peter Brook’s famous RSC production where give me your hands meant literally that and the cast went through the audience passing the peace. A magical moment, which was echoed at Wormsley. This should not imply that the whole was over serious. The comic moments, focused on more cleanly with the abridged text, were newly minted and genuinely funny. The regional accents for the mechanicals worked well, with Chris Nayak’s Wall particularly effective. Using David Rintoul and Marty Cruickshank as both Theseus/Hippolyta and Oberon/Titania may be encountered quite often today but was made to highlight the parallelisms in the text and across the couples. Their age also gave weight to their presence and authority. Oliver Johnstone’s Puck and David Collings Egeus/Philostrate were finely etched.

Placing the Garsington Orchestra on stage not only ensured we could hear all the detail of the score but helped focus the attention of the audience. All too often in the theatre, once the actors have disappeared the audience starts to shuffle or whisper. With Douglas Boyd centre stage there was no hint of sound, even during the long nocturne at the end of act one. I am not aware that this production is being recorded but it will be a great pity if it is not.

Moreover the venture is promised to be the first of a series and we can look forward to a danced interpretation of Haydn’s The Creation next year.

If you missed the sold out performances of The Dream at Wormsely you may be able to catch it at the Queen Elizabeth Hall on 22, 23, 24 July and at the Royal Shakespeare Theatre, Stratford upon Avon, on 26 July.

All Saints, Hastings: Organ Concerts

Posted on 14 July, 2015 by Admin

Monday 13 July 2013

Martin Setchell launched the 27^th season of Organ Concerts with a wide ranging and highly enjoyable programme before a large and enthusiastic audience. Some years it takes a few weeks for numbers to grow but there was no problem last night, which augers well for the following seven weeks.

The first half was more classically orientated if not over serious, opening with Elgar’s Imperial March and Bach’s G major Prelude and Fugue BWV541. He brought a restrained approach to both, with careful articulation and sensitive registration allowing clarity of texture, though tempi were on the slow side.

Two of Schumann’s Studies in Canonic Form brought a more relaxed, romantic approach before an enthusiastic Tromba solo for Hollins A Trumpet Minuet. The first real triumph of the evening came with Bossi’s Scherzo in G minor. This may be familiar but the articulation of the arpeggios and the lightness of touch was remarkably effective.

Those of us who know Wagner well in the opera house tend to be wary of transcriptions and the Pilgrims’ Chorus from Tannhauser was no exception. While much of it works well there were bars which seemed out of place in the line of the music and the conclusion was odd to say to least. I don’t blame Martin Setchell, I suspect Liszt who tends to mess around for his own purposes!

The second half may have looked lighter but was if anything more succinct and successful, opening with a splendid Handel in the Strand before three dances from Edward German’s incidental music to Henry VIII. Less familiar than the Merrie England dances, these are none the less wonderful pieces, the Shepherd’s Dance particularly apt for a summer evening.

Given the age range of the audience I suspect that most of us were singing along quietly to The Lost Chord which, as the soloist noted, works very well as an organ arrangement. But it hardly prepared us for the spiky jazz syncopations of Mons Leidvin Takle’s Blues Toccata. This was a wonderful tonic after so much that was familiar, though it was not the end. Ever one to entertain, the final piece was his own Wedding March Extraordinaire which collates not only Wagner and Mendelssohn but Suppe, Bizet and Sousa, leaving everyone with a smile. The encore – the Drinking Song from La Traviata – seemed a little superfluous after this but was welcomed.

Next week Daniel Cook from Westminster Abbey.

Garsington Opera: Cosi fan tutte

Posted on 9 July, 2015 by Admin

Garsington Opera at Wormsley, 8 July 2015

With the exception of the fine Figaro from John Cox, recent Mozart productions by Garsington Opera have, to say the least, been questionable, but this reimagining of Cosi from John Fulljames and Douglas Boyd is about as good as it gets.

Setting the whole evening within a wedding celebration could seem yet another director’s concept but in practice it works splendidly. At no point does the action seem strained and the unfamiliar circumstances, the endlessly free flowing alcohol and the loss of inhibitions all make the unlikely events seem all the more credible. Even the outlandish costumes – the younger women in eighteenth century dresses and vast wigs – are not too far-fetched. Anyone who has seen a few episodes of Don’t Tell The Bride will know that!

Within the unfolding events of the wedding the two couples are put through their paces by a cynic who has seen it all before and an organiser – Despina – who is used to playing games. What proves so convincing is the quality of the characterisation which unfolds. Where at the start there is little to choose between them, the moral character of each develops before us, until the conclusion – though startling – is in retrospect inevitable. Kathryn Rudge’s Dorabella is a fiery individual, out to enjoy herself, and Smanie implacabili is hurled across the stage with passion. It is no wonder that she is easily seduced by Ashley Riches’ louche Guglielmo. As he draws her on they start to undress and their off stage sex is clearly happening. In contrast Andreea Soare’s beautifully sung Fiordiligi remains moral and unmoved, her Come scoglio the heart of her character. Robin Tritschler’s Ferrando is equally uncomfortable with the games until he starts to realise that maybe Fiordiligi has more to offer than the flighty Dorabella. It comes as little surprise in the final moments to find Fiordiligi and Ferrando together, leaving a distraught Guglielmo and Dorabella to face up to what they have done and lost.

Through all of this Douglas Boyd keeps the score moving with a sense of attack and immediacy which focuses on the narrative rather than allowing singers to indulge themselves. This does not mean that it is ever rushed or over-hasty. Ferrando’s un’aura amorosa is lovingly phrased, and there are many moments of real intimacy even in the extrovert surroundings of the wedding breakfast. Above all, the work is taken seriously. This may be a drama giocoso but it is not a light comedy. Lives are broken here – and though the young people may be able to pick up and start again, they will never be the same afterwards. Though Neal Davies’ avuncular Don Alfonso may set the games in progress, it is the young couples themselves who see them through and there is never any sense that he is a puppet master. If things end unhappily then Don Alfonso has proved his point.

Is it simply the mishaps of an over-enthusiastic wedding? Possibly, but then life is full of events over which we think we have control, only to learn later that maybe we didn’t. Mozart’s genius is to show us the mistakes before we make them.

BPO: Summer Season – 2

Posted on 7 July, 2015 by Admin

Brighton Unitarian Church, Sunday 5 July 2015

Frank Bridge is still something of an unknown quantity and we rarely hear his chamber music. All the more enjoyable then to hear three sets of Miniatures for Piano Trio. Written between 1908 and 1915 for one of his students, they lie comfortably midway between Percy Grainger and the Palm Court of Grand Hotel. The opening Minuet is charming and gives way to a graceful Gavotte and whimsical Allegretto con moto. The second set is more serious with a reflective Romance and a dark, fierce Saltarello. The cello opening melody of the Vale Russe is very beautiful before a jolly Hornpipe and a final March Militaire. The enthusiastic piano chords here seem at once more sinister or possibly more tongue-in-cheek – the jury is out! Jeremy Young’s piano playing was tightly focussed and expressive throughout, finding excellent balance against cello and violin.

The second half was more familiar with Haydn’s Emperor String Quartet Op76 No3. The bravura of the opening Allegro slips into the increasingly gentle tones of the variations on Austria, before the rustic simplicity of the Menuetto. The Presto Finale almost came unstuck at one moment such was the intensity of the playing but easily regained control to finish with aplomb.

The now familiar quartet of Daniel Bhattacharya, violin, Ani Batikian, violin, Roland Roberts, viola and Peter Adams, cello, are to be congratulated on the continuing enthusiasm and professionalism they bring to these Sunday afternoons.

The next concert on Sunday 19 July brings works by Schubert and Haydn, together with Peter Copley’s Partita for Piano Quartet.

SUMMER ORGAN SHOWCASE

Posted on 7 July, 2015 by Admin

Michael Maine, Brighton Dome Concert Hall 6 July 2015

I have only ever heard this organ on the radio before and opportunities to hear it live are few and far between so it was a great pleasure to be in the audience at the Dome for this concert.

The organ is dual-purpose with a full complement of both “straight” and “cinema” ranks and percussion, making this a very versatile instrument. (Rev) Michael Maine knows this large instrument very well, having been largely responsible for saving the organ when the Dome was rebuilt. He presented a very varied programme in a relaxed and friendly manner, showing the organ off to great effect.

Von Suppe’s Light Cavalry Overture opened the proceedings, utilising a variety of registrations including some fiery reeds. I’ll follow my secret heart/ A Foggy day in London town followed, moving from concert to cinema mode, complete with various tremulants. Selections from La Traviata and Carousel were included, alongside Easthope Martin’s Evensong and Toccatas by Boellmann and Widor.

A less successful element of the concert was the inclusion of several songs with the organist accompanying himself. Despite being amplified there were times when the more dramatic organ accompaniment drowned out the voice. Although I applaud contrast in programming perhaps one or two songs would have sufficed.

There were a few times when the pace of playing was too fast for the response of the organ. This was particularly noticeable in Elgar’s Pomp & Circumstance No 4.

A very satisfying part of the second half was a short demonstration of various organ ranks and effects. This began with Michael specifically showing us some of the pipework which originally formed part of the Willis instrument in the Organ Room at Glyndebourne. It was also lovely to hear the Tuba Mirabilis and some of the tuned percussion in isolation. Following this was a great novelty number.

The presentation of the organ was first rate with console centre-stage and subtle lighting effects illuminating the drapes and the swell shutters on either side of the stage.

This was a wonderful opportunity to hear an expert musician handling a complex instrument which he knows intimately. The range of registration and the contrast between the bombastic/virtuosic and the mellow/reflective was superb. A highly enjoyable occasion and I hope there will be many more.

Stephen Page

Bath Camerata: Spirit of America

Posted on 5 July, 2015 by Admin

The Guildhall, Bath, 4 July 2015

Bath’s prestigious chamber choir chose to celebrate American Independence Day this Saturday with an all-American programme, and where more appropriate than the splendours of Bath’s Guildhall, built at precisely the same moment as our cousins across The Pond were fighting to cede from the English Crown. Sir Joshua Reynolds’s portrait of George III looked out across the Guildhall audience as Bath Camerata took to the stage. He would hardly have approved of such celebrations.

After 29 years under the leadership of former King’s Singer Nigel Perrin, Bath Camerata was also marking its own quiet revolution. This was the first outing under the direction of their gifted new conductor, Benjamin Goodson. And what a splendid debut it was, announcing a renewed focus and purpose from this much-loved choir.

At the heart of the concert stood a beautiful arrangement of the traditional American song Shenandoah, sung with quiet intensity. Tippett’s Spiritual arrangements, Barber’s famous Adagio arranged for voices, and Bernstein’s jazzy Warm Up demonstrated to the full the choir’s impressive expressive range, moving with ease between very different styles. When they sing softly, the music has a powerful concentration; when the 24 voices go off at full tilt, they blow you out of your seat.

Britten’s exceedingly English Flower Songs seemed a little out of place in this programme, and the choir too did not appear entirely convinced, but their strength is their trademark arrangements of popular songs. Regulars will have heard Billy Joel’s And So It Goes many times before, and they perform it brilliantly. Everyone was tapping their feet by the end, and the lengthy ovation was richly deserved.

An excellent start, then, for a new era with Bath Camerata. We look forward with excitement to their development over the coming years. They are truly the jewel in Bath’s choral crown.

Jonathan Cross

HASTINGS PHILHARMONIC CHOIR

Posted on 5 July, 2015 by Admin

Christchurch, St Leonards-on-Sea, Saturday 4^th July 2015

The last time I saw the choir in action was in an exuberant performance of Carmina Burana. Today’s concert was intended to be a complete contrast – it certainly was!

In the sumptuous Anglo-Catholic surroundings of Christchurch, St Leonards, the choir presented a concert which was rather unusual. Firstly it began at 5pm and was preceded by tea and cake. Secondly the choir sat in a less formal arrangement, around the piano and their stalwart accompanist, Francis Raynor.

Groups of Items were introduced by members of the choir and the audience was requested to refrain from applause until the end of the concert. The music was therefore allowed to proceed in a manner which created a more reflective mood.

The first four sections presented contrasting settings of the texts Ubi caritas, Ave verum, Ave Maria and O magnum mysterium. Each section began with Gregorian chant sung by three male soloists and the conductor. Composers of other settings included Durufle, Arcadelt & Victoria. Contemporary works came from Lauridsen, Mawby & the musical director himself, Marcio da Silva.

It was also very good to hear three short songs by Da Silva which formed part of the final, mixed, section ending with two pieces by Eric Whitacre. The longest and most demanding, for audience and performers, was the most avant-garde piece of the evening, When David heard.

This complex work sets a very short text in a number of ways, contrasting sound and silence, dynamics and texture, broken and smooth lines and much repetition with minimalist tendencies. In the Christchurch acoustic the performance was highly effective. It was very moving, especially with the background to the piece being explained as a response to the death of the son of the composer’s friend.

It is difficult to select other highlights but mention should be made of the septet, made up of soloists and members of the choir – Lin Westcott, Barbara Cornish and Alexander McMillan – who gave a marvellous performance of Ave Verum by Imant Raminsh, a composer I would have liked to have learned more about, being a new name to me.

The soloists Sarah Rowley, Victor Soares, Phil O’Meara & Henry Bennett gave some beautiful performances. I did, however, feel that the men were less comfortable with some of the chant, which is a different discipline in itself. However the male voices of the chant gave a lovely contrast to the mixed forces at work in the other settings.

Hastings Philharmonic Choir was once again on top form. They have shown a high level of control and depth of feeling in this music. To create a programme which does not rely on exuberance and flashiness is a risk today. How refreshing to be able to sit back and be transported to a higher realm as this sustained, luxurious and highly emotive music works its magic. What’s next?

For more information on the choir visit www.hastingsphilchoir.org.uk