International organ series – Royal Festival Hall, 24 September 2015

It takes brave programming to open an organ series with a set of songs accompanied by acoustic guitar and piano. I am sure there was much puzzlement throughout the audience at this stage but the sequence of music that was to unfold during the evening was wonderfully diverse, yet brilliantly connected.

Bedroom Community is a collective of musicians founded by Valgeir Sigurdsson in Iceland in 2006. This group links musicians from across the world and allows their differing disciplines to cross pollinate in a highly creative fashion. As well as giving live performances the group has its own record label.

James McVinnie is well known as a solo organist and for his work with other musicians. He has held organ posts at Westminster Abbey and St Paul’s Cathedral. His association with Bedroom Communiuty is allowing him to further develop his interest in new repertoire and in promoting the organ in a wider sphere.

Following on from the opening songs by Puzzle Muteson a complete contrast was presented with Ben Frost’s There are no others, there is only us, a beautifully evocative piece for solo double bass and electronics, accompanying visuals of massed birds in flight.

The pre-concert talk highlighted themes of repeated structures (including song forms, ostinato and other minimalist techniques). These opening items served as an introduction to some of these ideas and the double-bass also brought us close to some of the deep tones of the organ pedals which were soon to be heard.

There was much new music throughout the evening, including the well formed set of three pieces by Nico Muhly – an organ solo, Rev’d Mustard his installation prelude, a piece for solo viola, Etude 3 and the last for the brilliantly paired marimba and organ, Beaming Music. It was refreshing to hear the organ being used alongside such different solo instruments – both were very effective partners.

Another musical element of the performance was the use of live electronics where sounds previously played were sampled and then manipulated as they were played back. This allowed for denser textures to be created as well as echos and loops that created an otherworldly impression. One example of this was the Bach chorale Ich ruf zu dir. This was played in conventional fashion on the organ and then developed by the addition of viola da gamba and live electronics, drawing on aspects of the original material and morphing it into something completely new by Valgeir Sigurdsson, I call to you.

Two large scale organ solos were highlights of the evening – Bach’s majestic Passacaglia & Fugue in C minor  and Philip Glass’ Mad Rush. Both were played with sensitivity as well as grandeur demonstrating James McVinney’s musicality and practical understanding of this instrument. (He gave one of the opening recitals in last year’s post-restoration series.) Mad Rush was a particularly thrilling, but not overpowering, performance.

The evening ended with a set of three pieces by Valgeir Sigurdsson, involving the whole ensemble. After a more meditative period the proceedings came to a close in upbeat celebratory style. It is clear that as well as the expertise and passion of all concerned one of the great strengths of Bedroom Community is its basis in genuine friendships that were very much in evidence throughout.

A bold experiment that really delivered!

Stephen Page

London Coliseum, Saturday 26 September 2015

One of the benefits of rare works is that you have little if any preconception as to how they should be staged. Dmitri Tcherniakov certainly takes liberties in his new staging of Shostakovich’s Lady Macbeth of Mtsensk but they are tightly controlled and never clash with the score. As a result the impact is often overwhelming, not least from the battery of brass in the side boxes.

For most of the evening the stage is filled with a bright modern factory, in the midst of which is a carpeted closet within which Katerina spends much of her time. Boredom is a key feature of the opening sections of the opera, but where the factory workers bring a rough, if often violent, humour to their lives, Katerina is self-absorbed and increasingly obsessed by her sexual frustration. This is not helped by the insensitive and often drunken attention of her father-in-law Boris. While his murder may not be morally acceptable it is certainly understandable in the claustrophobic circumstances in which she is forced to live.

As her relationship with Sergei develops, her obsessive traits become increasingly obvious to the point where she snaps and it is downhill from that point onwards. The final act is the furthest removed from any conventional approach. Where the score expects a large open space and a milling chorus of prisoners, we are given a tightly confined cell within which Sergei is able to have sex with Sonyetka while Katerina sleeps. It is brutal and unforgiving, as is her death at the hands of the prison guards. Forcing the chorus off-stage brings an entirely different focus to this final scene and we are ever more aware of the catastrophic effect on her life of Katerina’s inability to take control of her situation.

The work is cast from impressive strength with Patricia Racette an utterly convincing anti-heroine. Her self-control in the public scenes, putting up with abuse and violence, her icy stillness as she poisons her father-in-law, her gradual sexual melt-down are all crafted with a musicality and acting skill that is rare even today on the operatic stage.

John Daszak’s Sergei is a slippery individual, a rough workman who is used to getting his own way and does not care who gets hurt in the meantime. The voice retains its heroic edge and seems to improve with age. Robert Hayward’s fiercely sung Boris makes little effort to ingratiate himself and his death comes almost as a relief. Of the many smaller parts, Adrian Thompson was splendid as the Shabby Peasant, destroying the wedding breakfast even as he destroys Katerina’s plans.

But above all this was Mark Wigglesworth’s evening. This was his first production since taking over as Music Director and set an impressive standard with fine ensemble throughout and a sense of excitement which communicated easily across a long evening. ENO may have had some problems in recent months – let us hope that this marks a turning point.

Fresh from a packed summer at the Royal Albert Hall, the BBC Symphony Orchestra has hardly had time to breathe before the winter season is upon us, but given the enthusiasm they brought to Mahler’s 3^rd Symphony you could be forgiven for thinking they had spent the summer on the beach.

The sense of joy and excitement in the work radiated throughout, much of it emanating from Sakari Oramo. Sitting slightly to one side gave me a rather better view of the conductor than is often the case and I was struck by the number of times he was beaming at the players, almost carried away by the exuberance of the music. But there was no sense of emotional wallowing here. The opening movement was notable above all for its precision and clean lines. The passion came out of this sense of control rather than being allowed to run riot. If there are passages which seem over-naïve then they are meant to be and the clash of innocence and dramatic struggle against dark forces is ever present. Moments of pastoral lushness seemed all the more indulgent in the surrounding tension. The end of the first part was frenetic and exhilarating.

By contrast the second movement seemed self-indulgent in its beauty, and this lightness was carried over into the third movement even where the writing is dense and wild. The off-stage trumpet was finely balanced and led us gently towards O Mensch. Karen Cargill eased the text into the hall with great beauty of line but without becoming over-spiritual. The combined women’s voices of the BBCSO Chorus and Trinity Boys Choir brought jollity to the bells before the sudden change of mood into the final movement What God tells me. This finale was lovingly crafted with a sense of inevitability that never relapsed into the sentimental.

A magnificent performance with some exceptional solo playing – in particular the solo trombone of Helen Vollam.

And for all that we love the Proms – what a pleasure to be back at the Barbican in an acoustic which enables us to hear detail and value individual players in a way which we can never do at the RAH.

Elgar: The Dream of Gerontius 

Magdalena Kozena, Toby Spence and Roderick Williams 

BBC Proms Youth Choir & Vienna Philharmonic, Sir Simon Rattle

There was a palpable air of excitement in the Hall as a capacity crowd gathered on the penultimate evening of the 121^st Season. All the ingredients of this concert promised an evening of music of the highest quality. The audience was not to be disappointed.

Elgar’s setting of Newman’s words is a masterpiece in itself. The opening orchestral prelude leading into the first part transports the listener into a complex and involving sound world where the orchestra is an important force in its own right, alongside the vocal soloists and chorus. The whole work is charged with emotion. The through-composed structure (breaking only between the two parts) makes for an experience in which there is constant change and interplay between the various forces. It is a striking entry in the catalogue of English choral writing – highly individual and making a bold statement of the Catholic faith.

The forces gathered for this particular performance helped to make this an inspiring one. Under Sir Simon’s guidance the Vienna Philharmonic created sublime music from the outset. The vast forces of the orchestra, together with the equally impressive BBC Proms Youth Choir were a delightful combination. Youth and experience combined to great effect. As if this were not enough, the three soloists brought something special to the proceedings. Roderick Williams was impressive as the priest/ angel of agony. His marvellously rich voice was able to make its way through the orchestral forces at all times. Toby Spence gave a very committed performance, even if, occasionally, his voice was partially eclipsed by the instrumental forces. Likewise, Magdalena Kozena, gave a more gentle performance as the angel, making for some beautifully restrained passages. Unfortunately this resulted in a number of occasions when her delivery was not powerful enough to be heard through the orchestra.

Despite the grand scale there were many instances of the still small voice. Chorus and orchestra were well controlled and focussed, not in a mechanical way, but responding brilliantly to their conductor’s direction.

For much of the evening I was entranced. I have used the word performance but I suspect that for many in the audience, and on stage, this was more an act of devotion. A captivating experience.

Stephen Page

Birmingham Symphony Hall, 8 September 2015

The 25^th anniversary season was launched last night with the Vienna Philharmonic Orchestra under Sir Simon Rattle in Elgar’s The Dream of Gerontius. The same forces will be giving a repeat performance on Friday at the Proms, but given a choice to hear it in London or Birmingham there was no hesitation – it had to be Birmingham. I have been covering performances since the hall opened and it is still the finest orchestral venue in the country, and last night proved the point yet again.

I can’t recall the first part of Gerontius as compellingly performed or as musically beautiful. The radiance of the string sound and the total sense of an orchestra playing as a single instrument was encapsulated as I have never heard before. Added to this, Sir Simon Rattle’s sensitivity to the score, his loving attention to detail, both orchestral and choral was obvious throughout. The prelude was slow unfolding but with a sombre sense of inevitability which held throughout the first half. The work was being performed without an interval so it is possible that Proms listeners may not pick up the subtle difference between the two halves. Where the intensity of Gerontius’ pain and anxiety informed the first half, there was a genuine sense of calm within the second which carried through even to the Demon’s chorus and the meeting with God. It was as if, on this occasion, there was no doubt as to the outcome of Gerontius’ judgement – he was saved and the score supported the joy inherent in this.

Essential to that sense of joy was the magnificent singing of the BBC Proms Youth Choir under Simon Halsey. The text was surprisingly clear, given the large numbers involved, and the clarity of sound often overwhelming. Go forth and Praise to the Holiest were spine-tingling in their intensity, but the hushed moments were equally impressive with ppps held easily without losing impact.

Toby Spence is a virile Gerontius, more secure in his faith musically than the text might indicate and he rose to key moments with ease. Firmly I believe was heroically challenging and Take me away was less a cry for help than a realisation of the glory of the presence of his Lord.

In the two bass roles Roderick Williams brought not only nobility but a nuance to each which allowed for individual characterisation. The angel of the agony seemed to have a more humane, gentler tone than the grandeur of the Priest.

Magdalena Kozena as the Guardian Angel was more problematic. The overriding difficulty was with the text. Where all the other singers gave us great clarity, her singing, given her Czech background, was clouded and words often did not carry. Added to this the bottom range of the voice did not seem particularly strong. While there were many moments of great beauty – her emphasis on One Moment and the start of Softly and gently – too often we seemed to be hearing an indication of what the part was about rather than the part itself. Her approach was also highly operatic with a large amount of physical movement which did not seem in keeping with the score. In any other performance her singing may have been perfectly acceptable, but in the given circumstances, with so much around her that was as close to perfection as we are likely to get, it created an imbalance which even Rattle and the VPO could not overcome. After such a fine first half, the second simply did not quite live up to the promise.

It will be interesting to see how she comes across in the Royal Albert Hall. I suspect listeners at home may get a better impression that those listening live in the hall.

We shall see.