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Monthly Archives: December 2015
Brighton Philharmonic Orchestra
New Year’s Eve, 2015
The Dome, Brighton
It must be New Year’s Eve – we have spent the afternoon in Vienna with the Brighton Phil and it proved as genial and uplifting as ever. Barry Wordsworth may have had some difficulty with his throat but this did not impair his conducting abilities as he launched into the Overture to Die Fledermaus. I suspect it may be the result of many years working with the Royal Ballet, but his approach to Strauss is always mellifluous in its line spinning. There is none of the over-exaggerated marking of rhythms or the – often very unfunny – musical jokes which can mar the finest playing. Instead all we had was some exceptional playing of hugely enjoyable works. Yes they were mostly familiar from the lushness of Lehar’s Gold and Silver Waltz to the inevitable grandeur of the Blue Danube, by way of The Emperor Waltz and Roses from the South.
As a change from the normal Viennese diet he introduced three pieces of British light music; all familiar and all very welcome. British light music needs no apology, surely, these days and sat comfortably alongside the Egyptian March and Pizzicato Polka. Coates’ Dance in the Twilightwas possibly the least well known of the three pieces played but proved to be a fine waltz in its own right. Robert Docker’s Tabarinage and Hartley’s Rouge et Noir are more familiar – particularly to those of us who remember Music while you work or the early days of Friday Night is Music Night.
Barry Wordsworth suggested we might like to hear more like this as part of a British New Year celebration – he is right; we would!
The guest soloist this year was soprano Kiandra Howarth who has a confident stage presence to add to a fine voice which easily filled The Dome. She opened with the familiar Meine Lippen, following this with Eine wird Kommen from Der Zarewitsch, its heady sentimentality easily bewitching the audience. In the second half she was radiant as Dvorak’s Rusalka, singing the Song to the Moon and was the unexpected vocal soloist in Voices of Spring where her coloratura excelled expectation.
She came back at the end to entrance us with O mio babbino caro proving herself to be a soloist of many parts. It will be worth following her blossoming career.
We all joined in the Radetzky March before Barry Wordsworth led the orchestra off to platform before we demanded any more. If the rest of the year is as good as this we have little to worry about.
Hastings Philharmonic Choir: Christmas Carols for All
St Mary in the Castle, Hastings, 20 December 2015
This was the 18th time Hastings Philharmonic Choir have led us in Christmas Carols for All and they do seem to improve year on year. If one overlooks the tiny blip at the start of Gaudete the balance and quality of tone was a delight throughout. Under their conductor Marcio da Silva they seem to be taking on greater challenges each year and meeting them with success.
In the first half, alongside familiar favourites, we heard John Rutter’s arrangement of The Infant King and Bob Chilcott’s rendition of Stille, stille, stille. When one puts these finely honed readings together with a hugely effective singing of Lauridsen’s O Magnum Mysterium we realise that Marcio da Silva is trying to create something very different. Rather than sticking to the familiar, with the significant input of instrumental accompaniment, we had a collection of pieces which were almost a capella, highlighting the sensitivity not only of the singers but of Frances Rayner’s continuously tactful piano support.
One of the highlights of a previous Christmas had been Marcio’s singing, at very short notice, of O Holy Night. He repeated it here, with the same wonderful outpouring of tone – and an enthusiasm that lifted the choir to their best singing of the evening.
Where we were all invited to join in, it was good to have Inspiritus Brass on tap, and they also provided two jolly interludes, one of which disarmingly included the Pizzicato Polka arranged for brass!
Gary Marriott provided the brief links between items and introduced his own choir Tune-Up Tuesday Singers who gave us Sweet Bells of Bethlehem.
The Choir are due to perform Brahms’ Requiem in May. Before this evening I had thought that was something of a large undertaking for them, but on the strength of what we heard, and the quality of the ensemble, I am looking forward to it already.
Details of this and membership at www.hastingsphilchoir.org.uk
ENO 2016 Highlights
Norma
Award-winning director Christopher Alden returns to ENO for its first ever production of Bellini’s indisputable Bel canto masterpieceNorma. Alden’s critically acclaimed production, first seen at Opera North in 2012 comes to London for the first time.
A close-knit community’s way of life is threatened by unstoppable change. The people want war. Their priestess Norma, secretly in love with one of the enemy Pollione, resists. But now he has a new love and in the face of his betrayal it seems Norma is prepared to make the ultimate sacrifice. Celebrated for its fine melodies Norma features one of opera’s most recognisable arias ‘Casta Diva’, made famous by sopranos Maria Callas and Dame Joan Sutherland.
Rising star soprano Marjorie Owens makes her UK, ENO and role debut in the demanding title role with British tenor Peter Auty debuting in the role of Pollione.
Norma opens on Wednesday 17 February 2016 at 7.30pm for 7 performances. Tickets are available at eno.org/020 7845 9300
Akhnaten
Watching Akhnaten is a thought-provoking, absorbing experience. The opera, which has not been seen in London for almost 30 years, explores the life and religious convictions of the Egyptian pharaoh.
Following the success of his ENO productions of Philip Glass’s Satyagraha and The Perfect American, Improbable Theatre Company’s Phelim McDermott returns to direct this hypnotically mesmerising work. Countertenor Anthony Roth Costanzo sings the challenging title role for the first time while conductor Karen Kamensek, a specialist in Glass’s music, makes her ENO debut.
This new production celebrates ENO’s close relationship with one of contemporary music’s leading composers.
Akhnaten opens on the 4th March for 7 performances. Tickets are available at eno.org / 020 7845 9300
Tristan and Isolde
An epic drama told on a grand scale, Tristan and Isolde will be an unforgettable highlight of ENO’s 2015/16 Season. From the opening bars of the famous prelude, Wagner’s powerful opera is one of the most significant pieces in the repertoire.
ENO’s first new production of Tristan and Isolde since 1996 is directed by ‘theatre’s most exciting young director’ (Daily Telegraph) Daniel Kramer, with designs from Anish Kapoor, one of the most influential sculptors of his generation. The exceptional cast is led by the outstanding Wagnerian Heldentenor Stuart Skelton as Tristan. He is joined by American dramatic soprano Heidi Melton and British Bass Matthew Rose. Former ENO Music Director Edward Gardner conducts.
Tristan and Isolde opens on the 9th June for 8 performances. Tickets are available at eno.org / 020 7845 9300
A Child of Our Time
BBC Symphony Orchestra & Chorus
Barbican Hall, 17 December 2015
A Child of Our Time would not appear to be an obvious choice for a Christmas choral work, but its passionate, heartfelt plea for humanity seemed all the more relevant in the current political situation. The BBC Chorus were on tip-top form with the outbursts thrillingly exciting and hushed moments genuinely moving. Sarah Tynan’s clarion soprano carried easily over the massed choral forces and the richness of Brindley Sherratt’s bass added authority to the narrator. Human warmth was again very evident from the compassionate approach of Alice Coote. The only slightly weak link in this strong group of soloists was Robert Murray. While the voice is finely honed, the actual volume was not strong enough to ride the chorus and so the text was frequently lost.
Tippett’s text, over half a century on, still causes problems but there is no such difficulty with the setting itself, the radiant spirituals drawing all the elements together.
This would easily have stood by itself but we had a first half which was in no way insubstantial, opening with the brief but finely formed potpourri from Oliver Knussen’s Higglety Pigglety Pop. The colour palette impressed throughout as does the subtle use of percussion even if the melodic structure might be too complex for young listeners.
This was followed by Beethoven’s Fourth Piano Concerto with the young Swiss pianist as soloist. He produced clean, crisp articulation throughout, often light and fluid even where the volume and intensity levels were high. His approach is frequently clipped and percussive, which suits the work well, and the orchestra was carefully crafted by Edward Gardner to mirror the approach. The only minor problem was Louis Schwizgebel’s left leg which seemed to have a mind of its own, flashing out sideways and often tapping loudly. Bring this under control and his performances could be faultless.
Proposals for a Centre for Music in London move forward as feasibility study published
As London expands, a proposal for a building to inspire a new generation of music-lovers:
- A world-class concert hall, built for the digital age
- An education facility offering immersive experiences for all
- A digital offer available to the whole of the UK and internationally
- Engagement for London’s communities and young people
- A renewed commitment to London as a world musical centre
Proposals to build a new state of the art Centre for Music in the heart of London took a step forward today with the announcement that the Government will provide £5.5 million in funding for a full business case for the project while the City of London Corporation has agreed its willingness in principle to make land available for the site.
The opportunity to begin the next phase comes as a feasibility study exploring options for a new world class music facility in London is published. The study sets out an economic, business, cultural and educational case for a potential new Centre for Music in London, and highlights a significant moment of opportunity in delivering an outstanding new facility in the capital.
The Government is making £5.5 million available via Arts Council England to fund the development of a detailed business plan and analysis of costs and benefits; work on the initial design for the building; explore the options for funding the project and beginning fundraising; and undertake extensive consultation with the arts and education sectors.
Meanwhile, the City of London Corporation is backing this vision by agreeing in principle to make the land available for the Centre, significantly reducing the external funding requirement for the project. This support is part of the City’s ambitious plans to transform the area surrounding the Barbican into a world-leading cultural hub for the arts, heritage and learning.
The six-month initial feasibility study, Towards a World-Class Centre for Music, was commissioned by the Chancellor of the Exchequer and the Mayor of London in February this year. The report has been produced by the Barbican Centre, the London Symphony Orchestra (LSO) and the Guildhall School of Music & Drama alongside expert specialist teams.
The St Nicolas, Pevensey, 2016 Events Programme
Talks
May 18th 7:00 PM, ‘Archaeological History of St. Nicolas Church’ with a description of exhibits from recent excavations on church land, by Dr. Scott McLean, Professor of History and former Head of Field Studies at Herstmonceux Castle. £7.50
October 14th 7:00 PM (Battle of Hastings 950th Anniversary Day), ‘Untold consequences of the Battle’ an entertaining and informed talk by the Curator of Pevensey Museum, Peter Harrison, followed by soirée drinks hosted by Carr Taylor Wines £10.00
Concerts
January 23rd 7:00 PM: NOTEworthy– New Eastbourne choir sing a programme of church music through the ages £6 each or £12 Family
April 23rd 7:00 PM —St. George’s Day: Harvey’s Brass – East Sussex based Symphonic 10-piece Brass ensemble of experienced musicians, £10
May date tba: Organ Recital, by John Collins, Royal College of Music, & Royal College of Organists lecturer £7.50
May 28th 7:00 PM : Pasadena Roof Orchestra ‘Hot Five’ – Jazz Night, £12.50
June 11th 7:00 PM: Hailsham Choral Society with pupils from Pevensey & Westham School choral concert including an especially composed St. Nicolas celebration choral cantata ‘The True St. Nicolas’, and Haydn’s St. Nicolas Mass. £10 adult/£5 child
June 26th 4:00 PM ‘Tea Concert’: Catherine Rimer, a baroque music specialist, Royal College of Music Tutor and member of The Orchestra of the Age of Enlightenment – ‘Cello recital £10
July 9th 7:15 PM: Canterbury Cathedral Boys Choir, cathedral choral music programme £12.50
August 6th 5:00 PM: Chamber Music for Flute & Harp. Musicians from The Orchestra of the Age of Enlightenment and London Symphony Orchestra £10
September 3rd 7:00 PM: Eastbourne Symphony Orchestra ensemble perform English compositions for strings to show off the wonderful church acoustics. £10
October 21st 7:00 PM: The King’s Singers – internationally renowned ‘a cappella’ vocal ensemble sing a programme of secular and contemporary ‘pops’. £20
December 4th 2:30 PM: Vivace! Seasonal Concert Ditchling based ‘a cappella’ choir who only sing for Charitable causes – their fifth annual visit to St. Nicolas. £10.
Figaro Forever – Opera Trilogy for Welsh National Opera’s Spring Season
One opera trilogy, three established directors and two of Britain’s most celebrated theatre designers are just some of the ingredients for two new productions and a world premiere in Welsh National Opera’s forthcoming spring season.
For over 200 years the character of Figaro has remained one of opera’s most theatrical creations. Welsh National Opera will celebrate the story of this wily character with his lust for life and a desire for matchmaking and mischief in a trilogy of operas in their spring season Figaro Forever.
The season of operas, all sung in English, features new productions of Rossini’s The Barber of Seville and Mozart’s The Marriage of Figaro together with the World Premiere of Figaro Gets a Divorce by Russian born British composer Elena Langer with a libretto by WNO’s Artistic Director David Pountney.
The exceptional design team for the trilogy will be set designer Ralph Koltai CBE RDI and costume designer Sue Blane MBE. Koltai is generally acknowledged as the principal innovator of British Theatre Design and has designed some 250 productions of opera, dance, drama and musicals throughout the world. His contemporary set for the WNO productions will feature in all three operas in a unique design system evoking the changing worlds in which Figaro must operate.
Sue Blane is one of the UK’s leading film and theatre costume designers who has been at the forefront of the European theatre scene for over forty years and is particularly well known for her original designs for the iconic Rocky Horror Picture Show.
Beginning the story is The Barber of Seville with its much loved characters and music inspired by the comedy by Beaumarchais. The Barber of Seville will be directed by young British theatre director and comic opera specialist, Sam Brown, making his WNO debut with Welsh National Opera Orchestra conducted by James Southall. Australian born baritone Nicholas Lester also makes his WNO debut and takes on the role of the scheming Figaro. Andrew Shore reprises his recent role with English National Opera as Bartolo, whilst British soprano Claire Booth will sing the role of Bartolo’s young ward Rosina. Tenor Nico Darmanin takes the role of her lover Count Almaviva with Richard Wiegold as Basilio.
Mozart’s ever popular The Marriage of Figaro continues with the spirited characters in the story of Count Almaviva’s household with a host of intrigues and romances all packed into one day :Figaro’s Wedding Day! Tobias Richter, Director General of Grand Théâtre de Gèneve, directs and Lothar Koenigs conducts his last opera as the Company’s Music Director. David Stout sings Figaro and is alongside Anna Devin as Susanna with Mark Stone and Elizabeth Watts as the troubled Count and Countess Almaviva.
The World Premiere of Figaro Gets A Divorce will be conducted by Justin Brown, General Music Director of the Badisches Staatstheater Karlsruhe, Germany, and Music Director Laureate of the Alabama Symphony Orchestra in the United States. In an affectionate sequel to Mozart’s classic, the final chapter of the story is brought to a close for these much loved characters, whose relationships are put under intense strain by political instability in 1930’s Europe. David Stout, Mark Stone and Elizabeth Watts continue their roles as Figaro and Count and Countess Almaviva for the opera, joined by a cast that includes Marie Arnet (Susanna), Alan Oke (The Major), Andrew Watts (The Cherub) Naomi O’Connell (Serafin) and Rhian Lois (Angelica).
Composer Elena Langer has written compositions in diverse genres including opera and multimedia, orchestral, chamber and choral works and together with WNO’s Artistic Director David Pountney has created a lyrical and striking ending to Figaro’s story.
David Pountney said “I had been intrigued by the idea of how the story might end and what the world of Figaro sounds like in the hands of a contemporary composer. As well as the everyday troubles, the rumblings of revolution were getting closer in The Marriage of Figaro posing the question of how these characters would survive as their world breaks apart.”
More information on WNO’s spring 2016 season is available at wno.org.uk/figaroforever
The Mikado celebrates 200 performances at English National Opera
On Sunday 6 December, British mezzo-soprano Dame Felicity Palmer presented director Jonathan Miller and the cast and chorus ofThe Mikado with a cake to celebrate the 200th performance of the Gilbert and Sullivan classic at the London Coliseum.
This production first premiered for English National Opera on 21 September 1986 and has delighted audiences for almost 30 years. During this time, it has played to over 400,000 audience members and has been broadcast on ITV (in 1987) and screened live to cinemas across the UK and internationally (3 December 2015).
Original cast members include: Eric Idle playing Ko Ko, the Lord High Executioner, Lesley Garret, Jean Rigby and Susan Bullock as Yum-Yum, Pitti-Sing and Peep-Bo, Dame Felicity Palmer as Katisha and the late Richard Angas as the Mikado.
Miller’s ‘glorious production of Gilbert and Sullivan’s best comic opera’ (Daily Express) has become a true audience favourite and is the perfect Christmas treat for all the family. Its Marx Brother’s inspired song-and-dance take on Gilbert & Sullivan has long been a hit with theatre-goers of all ages. Full of high-kicking chorus lines, satirical touches and a wonderfully elegant score it tells the tale of Nanki-Poo and his love for Yum Yum. There’s just one snag. She’s betrothed to Ko-Ko, the new Lord High Executioner. And he needs someone to execute otherwise it’s his own head on the block. Perhaps Ko-Ko and Nanki-Poo can come to some arrangement, without anyone losing their head?
The Mikado runs until 6 February 2016 www.eno.org
photos(c) ENO/Richard Hubert Smith
Bexhill Choral Society
St Augustine’s Church, Bexhill, Saturday 5 December 2015
The year’s roll round so quickly it hardly seems twelve months since we were last here for the traditional carol concert from Bexhill Choral Society. If the programming is familiar there is always enough variety to keep us on our toes. On this occasion we had two carols which were certainly unfamiliar to me and a number of others which are more rarely performed, alongside familiar favourites, and of course carols for audience participation.
Bob Chilcott’s The Sparrow’s Carol is a chirpy delight and was set against Alan Bullard’s gentle Scots Nativity. There was an unfamiliar American setting of Away in a Manger which charmed, and Philip Ledger’s Bell Carol maintained the local connections, along with the opening Sussex Carol. Bob Chilcott was also heard in a fine arrangement of Silent Night.
As usual, Ken dusted off his saxophone for a Christmas Medley before the interval, and the evening concluded with Leroy Anderson’s Sleigh Ride and Bernard’s Winter Wonderland.
Kenneth Roberts not only conducts with aplomb but knows his forces well. As a result his own arrangements are particularly apt and successful, not only for the choir but also for Cinque Ports Brass who accompanied throughout.
It was good to have both Robert Aldwinckle on piano and Nigel Howard at the organ, avoiding any unnecessary rushing between consoles.
The choir certainly did themselves proud. Though there were only five tenors listed in the programme, there was no sense of the male voices seeming under-powered. They had a number of exposed sections which were roundly filled, producing a full and very pleasing tone. Female voices were richly focused with no problems at the top of the range.
In May we are to her Puccini’s Messa di Gloria and Poulenc’s Gloria. Put that in your diary now.