Positive Points about Selected Concerts - 2001/02
Autumn 2001 to Summer 2002 (end of the season = "last night of the
proms")
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4th Sept 2002 - 7:00pm - BBC Prom 60 - BBC National Orchestra of Wales
- Richard Hickox - James Ehnes (violin)
Royal Albert Hall, London
James Ehnes demonstrated perfect technique (especially apparent during
the first movement cadenza by Joseph Joachim) in the Brahms violin
concerto.
The bright orchestration and juddering rhythms of Walton's first
symphony sound fresh and bright in a live performance (often they are less
convincing on CD). Some pleasingly sustained passages from the strings in the
slow movement worked well.
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1st Sept 2002 - 7:00pm - La Boheme - Opera Box
Dyffryn Gardens, St Nicholas, Vale of Glamorgan
Open air opera proving a particularly challenging art form, especially
given the clear blue autumn skies giving way to a very cold evening. Puccini's
magnificent score reduced to a tiny group of players meant that even a good
sound system would have sounded thin. The sound system was poor and some good
singers did their best to inject some life under impossible circumstances.
It would be good to credit the singer taking on the role of Mimi - but
the programme listed two names for most of the key roles and there was no
indication of who was performing on this particular occasion - very poor.
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1st Aug 2002 - 8:00pm - Midsummer Nights Dream - Stamford Shakespeare
Company
Tolethorpe Hall, Lincs
A superb evening. Shakespeare's classic outdoor play in one of the
unique outdoor arenas in England. Some beautiful lighting (Mick Manning) added
to the atmosphere and the 'flying' of Puck, Titania and Oberon was used to
great effect (rather than just being a fancy gimmick).
All performers were good - but a special mention must go to the dog
(Beano Friend) who performed his small, but very comic, walk on role to
perfection.
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31st July 2002 - 7:00pm - BBC Prom 16 - BBC National Orchestra of Wales
- Tadaaki Otaka - Kyoko Takezawa (violin)
Royal Albert Hall, London
A concert full of masterpieces of orchestration was brought to life by
Takaaki Otaka. He clearly new his scores inside out, showing rhythmic precision
(and drawing rhythmic accuracy from his musicians) throughout yet enjoying some
remarkably restrained moments.
The breathtakingly quite opening to Ravel's Rapsodie Espagnole set the
scene to perfection. Kyoko Takezawa had the required high note technique to
keep Szymanowski's soaring First Violin Concerto in the stratospheres.
The second half was marred by a noisy fan sound (air conditioning?)
clearly audible from the arena. This was switched off somewhere through an
otherwise riveting account of the Concerto for Orchestra by Lutoslawski in
which the BBC NOW sounded at their best.
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27th July 2002 - 10:00pm - BBC Prom 12 - Wynton Marsalis and the
Lincoln Center Jazz Orchestra.
Royal Albert Hall, London
It was good to see the Royal Albert Hall packed to capacity to witness
the phenomenally tight playing of the Lincoln Center Jazz Orchestra. Every time
Wynton Marsalis takes a solo you find yourself completely captivated (with
perhaps his highlight of the evening coming in "Back to Basics").
The gig also featured a particularly enjoyable sleazy solo from Wess
'Warmdaddy' Anderson on alto sax.
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27th July 2002 - 7:00pm - BBC Prom 11 - BBC National Orchestra of
Wales, BBC National Chorus of Wales, London Symphony Chorus - Richard Hickox -
Janice Watson (sop) - Catherine Wyn-Rogers - (mezzo) - Paul Charles Clarke
(ten) - John Tomlinson (bass)
Royal Albert Hall, London
After the Walton rarity: Christopher Columbus Suite the large mass of
forces tackled Dvorak's Stabat Mater. Good singing from the four soloists was
matched by some lovely ethereal sounds (which work well in the Albert Hall)
from the combined choirs.
The playing of the BBC NOW trumpets impressed throughout.
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21st July 2002 - 7:30pm - BBC National Orchestra of Wales - Richard
Hickox
Tewkesbury Abbey, Tewkesbury
The 71st and final concert in the Cheltenham Music Festival
attracted a capacity audience.
The concert included the world premier of John Tavener's 'Life
Eternal', a work that suited the massive reverberation of the beautiful abbey.
The two soloists (Patricia Rozario (sop) and Stephen Richardson (bass)) left
their musical phrases intermingling in the air seemingly for ever.
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19th July 2002 - 7:30pm - London Sinfonietta
Town Hall, Cheltenham.
The 62nd concert in the Cheltenham Music Festival showed
players from the London Sinfonietta in a wide range of contemporary chamber
music (with five out of the seven composers represented being present in the
audience).
Highlights included the spacious feel of Bryn Harrisons "Time and
Invention" and the dynamic "Eternal Escape" for unaccompanied 'cello by Dai
Fujikura - wonderfully played by Timothy Gill.
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24th July 2002 - 7:30pm - London Gala Orchestra - John
Bradbury - Julia Parot (soprano)
Little Easting Manor, Essex
A perfect summer's evening and some excellent sherry from the house of
Lustau made for ideal conditions for a fireworks concert.
The venue was under the departing flight path from Stanstead which
meant that some of the quieter passages were drowned out by passing 757s.
A couple of premature star bursts in bright sunshine around 8:00pm left
the audience wondering what the final display might be like. In fact it proved
to be an impressive demonstration with the organisers wisely saving the best
pyrotechnics for the encore.
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29th June 2002 - 7:30pm - University of Leicester Sinfonia -
Michael Sackin - Heather Birt (viola)
Fraser Noble Building, London Road, Leicester
A varied and enjoyable concert started with Rosemary Curtis (Ob), Ralph
Whiteman (cl), Ceri Gough (fag), Mark Penny (hn) giving an accomplished
performance of the Sinfonia Concertante K 297b (attributed to Mozart). The slow
movement was especially lyrical and the double reed players sounded beautifully
as one - the peak of good all round ensemble.
The first public performance of Richard Wilkins' Concerto for Viola and
Strings was played with great expertise by Heather Birt. Her viola makes a big,
warm, sound that was a pleasure to revel in. The piece fluctuated somewhat
between Berg like colours to some sentimental sounding Frank Bridge like
English Wallowing……
Haydn's Farewell symphony made an energetic finale - and the players
made their exists to great effect - although one couldn't help but enjoy
Maestro Sackin gently bumping into a conveniently (?) placed microphone stand
as he turned to depart……
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28th June 2002 - 7:30pm - The Silver Tassie - English
National Opera - Paul Daniel (MD) - Bill Bryden (Director)
Coliseum, London
Mark-Anthony Turnage's opera cannot be classed as the most cheerful way
to spend a Friday evening - but the ENO cast and orchestra gave a dramatic
performance which drew this reviewer in as the work progressed.
The one spark of optimism (a flicker of male friendship bonding the two
principle victims together) lasted all too briefly resulting in a piece
emphasising the inadequacies of man both as a warring species and as an
individual failing to come to terms with his, or someone else's,
suffering.
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22nd June 2002 - 7:00 pm, COMA - Gregory Rose / Stephen
Montague - Spitalfields Music Festival Concert
Spitalfields Church, Commercial Street, London
Roger Swann = horn.
Gregory Rose directed a carefully judged performance of James
Harrison's Six Preludes, followed by the interestingly geographically
structured "Last Pagan Rites" by Bonius Kutavicius (scored for the curious
combination of soprano soloist, large choir, four horns and organ).
It was a valuable experience to rehearse and perform under the baton of
Stephen Montague in his own "Dark Sun - August '45". The audience seemed
visibly moved by the results, too.
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21st June 2002 - 7:30 pm, Fawlty Towers - Main Street Theatre
Company
Great Glen Village Hall, Great Glen, Leics
An unusual exercise: Main Street Theatre trying to do an exact
impersonation of two of the classic scripts from the classic TV series
(choosing "Gourmet Night" and "The Kipper and The Corpse").
The scripts by John Cleese and Connie Booth would survive a far worse
battering than they received here as all the principle roles came reasonably
close to their corresponding TV characters.
Amongst the lesser cast Gordon Dainty captured some perfect facial
expressions as the patient guest Mr Twitchen and Liz Morris was the perfect dog
owner as Mrs Chase.
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20th June 2002 - 7:30 pm, Leicester International Music Festival
Ensemble
New Walk Museum, Leicester.
The performance of Olivier Messiaen's masterpiece Quatuor pour la fin
du Temps included some spacious 'cello playing by Colin Carr. Ronan O'Hora
captured the transparent, fragile style of Messiaen's piano writing
beautifully.
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15th June 2002 - 7:30 pm, Helix Ensemble 10th Anniversary
Concert - David Drummond
Emmanuel Church, Loughborough, Leics.
Roger Swann = horn.
Ensemble members Jude Brimmer (Cor) and Martin Cresswell (Trumpet) gave
a well balanced account of "Quiet City" by Aaron Copland. There were some
perfect sound transfers between the two of them.
David Drummond sees (hears) some of the marvellous themes in
Mendelssohn's Italian Symphony in an almost operatic way and the ensemble
enjoyed this and the way he kept the ever shifting orchestral layers ordered
with the most important at the top. The final fifty odd bars of the first
movement had particular drive.
**********************************************************************
10th June 2002 - 7:30 pm, Kaleidoscope - Andrew Constantine - Nikolai
Demidenko
Symphony Hall, Birmingham
Some rhythmical bass playing throughout.
The orchestra clearly enjoyed playing Tchaikovsky's Souvenir de
Florence (in the arrangement for full orchestra) and Julia Knight's viola solos
deserve a special commendation.
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9th June 2002 - 8:00 pm, Cecilian Singers - Jeremy Jackman
St. Mary de Castro, Leicester
Some excellent singing - perhaps especially in the 'amen' at the end of
O Lord make thy servent Elizabeth (Byrd) and in the sublime Curx Fidelis by
John IV of Portugal.
Jeremy Jackson gave intelligent introductions to the items in a
spectacularly strong voice with perfect diction.
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8th June 2002 - 7:30 pm, COMA East Midlands + COMA West Midlands
The Powerhouse Theatre, Victoria Studios, Nottingham Trent University,
Nottingham
Roger Swann = horn
A typically eclectic mix of COMA repetoire. David Machell's 'Coma Toes'
had some sweet ideas that were developed effectively.
The set of four pieces presented by the West Midlands ensemble
(directed by Helen Smith) as "Outer Circle" (composed by ensemble members Ruth
Uduman, Jane Carrington-Porter, Andy Philips and Ian Chapman) captured
different aspects of the Number 11 bus route rather well. The touch of the
lonely man talking to himself and the antiphonal sound of a wandering viola
were especially enjoyable.
The two ensembles joined under the baton of KieranO'Riordan to play
some loud rousing finales as well as the more intimate Six Preludes by James
Harrison (of which numbers 4 and 5 were especially successfully
performed).
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3rd June 2002 - 8:30 pm, Leicester Symphony Orchestra - Nicholas
Daniel
Salles des Fetes, Strasbourg, France
Roger Swann = horn
A second performance (cf 2/6/02) of the same programme gave a chance
for the band to improve dramatically throughout.
In particular the whole of the Brahms symphony matched the quality of
yesterdays third movement.
The second movement became movingly atmospheric as players responded to
some remarkably explicit phrasing and shaping in the conducting of Nicholas
Daniel. The much more reasonable intonation achieved by the end of the finale
meant that the music came close to achieving the serenity that Brahms presents
in his score.
**********************************************************************
2nd June 2002 - 8:00 pm, Leicester Symphony Orchestra - Nicholas
Daniel
Reithalle, Offenburg, Germany
Roger Swann = horn
An exceedingly warm concert hall with a distinctly unsympathetic
acoustic made for less than ideal conditions for performance. In spite of this,
Nicholas Daniel gave a gently restrained superb performance of the Adagio for
Cor Anglais and strings by Mozart (K580a).
In the second half the orchestra responded to his every ebb and flow
especially well in the third movement of Brahm's 3rd Symphony.
**********************************************************************
DeMontfort Hall, Leicester
Roger Swann = horn
A programme celebrating English music designed to coincide with the
Queen's golden jubilee provided a chance to perform the wonderfully colourful
music from the film "Things to Come" by Arthur Bliss.
Another highlight of the evening was the light and delicate
interpretation of Vaughan Williams The Lark Ascending given by the orchestra's
leader Adam Summerhayes. From the moment it took to the air his lark was a
gently fluttering creature on a warm hazy June afternoon.
Robert and David Calow's joint arrangement of the National Anthem,
complete with an introductory Jubilee Fanfare, set the formal tone of the
evening perfectly.
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22nd May 2002 - 7:30pm - La Traviata - The Ukrainian National Opera of
Odessa
DeMontfort Hall Leicester.
Presumably severely underpaid musicians and singers took us back to the
glorious days when opera singers just stand around and sing the parts rather
than attempting any real acting. It was good to enjoy a good old fashioned
canvass set that looked like (for want of a better description) canvass.
Petru Racovita impressed as Giorgio Germont (the father) - having a
good solid bass voice with rounded tone filling the not especially generous
acoustic of DeMontfort Hall.
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14th to 18th May 2002 - 7:30pm (also 2:30pm on
18th May) - My Fair Lady - Greasepaint Productions
Loughborough Town Hall
Roger Swann = horn
Reviewing from a pit position with zero stage visibility means
concentrating on the (high) quality of the singing and enjoying the (frequent)
nuances in the spoken dialogue. Shane Perry's direction of this Lerner and
Loewe classic encouraged two fine performances from Gilly Grigg (as Eliza) and
Keith Reynolds (as Henry Higgins). Second hand reports from audience members
suggest that the quality of their dialogue was matched by the quality of their
acting.
As MD, Jonathan Orton's relaxed approach allowed the band to play
freely throughout the week (a privilege one or two instrumentalists may have
enjoyed just a little too much by the last couple of performances?).
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11th May 2002 - 7:30pm - The Avondale Ensemble - Barry Collett
St Botolph's Church, Barton Seagrave, Northants
Roger Swann = horn
About 50 local parishioners enjoyed a warm sunny evening with the
relaxed Avondale Ensemble.
Guest 'cellist Graham Stevenson demonstrated is good ear and his good
nature as he played works by Mendelssohn and Saint-Saens with an electronic
substitute for a piano.
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10th May 2002 - 7:00pm - Lulu - English National Opera - Paul Daniel
(MD) - Richard Jones (Director)
Coliseum, London
Alban Berg's Lulu (3rd act completed by Friedrich Cerha) has
a plot that make Gilbert & Sullivan seem straightforward and raises many
more questions about men's sexual drive than it answers. The ample essays
included in the programme only serve to complicate the issues further.
The technically fiendish music has all the characteristic thickly
textured luscious sound that is Berg's hall mark and the orchestra enjoyed it
to the full.
The quality of the staging was remarkable - and Pat Collins' lighting
added dramatic emphasis to the event.
Lisa Saffer took on the very challenging title role and seemed to sail
through it without blinking.
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7th May 2002 - 7:45pm - Houghton Music Club - Performers Evening
Houghton-on-the-Hill, Leics..
Roger Swann = guitar / singer
A real classic of the genre - with just about every form of live music
represented - and the chairman of the club briefly forgetting that it was also
the AGM.
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5th May 2002 - 2:30pm - A Quiet Afternoon With Chris and Richard (part
of bmic Cutting Edge weekend)
Djanogly Theatre, Nottingham.
Chris Brannick and Richard Benjafield using nearly 2 hours of playing
to demonstrate their perfect sense of rhythm.
The programme included many (too many?) pieces based on a sense of
atmosphere. It is interesting that two of the most successful were both by top
class contemporary music pianists, namely Rolf Hind's (again - see below)
"Thirteen O'Clock Shadow" and Joanna MacGregor's "Lullaby for M".
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5th May 2002 - 11:00am - Vanitas (part of bmic Cutting Edge
weekend)
Djanogly Recital Hall, Nottingham.
A variety of pieces performed by Vanitas (Lore Lixenberg (sop), Zoe
Martlew (cello) and Dominic Saunders (piano). Highlights were Rolf Hind's "The
City of Love" (with surprisingly unvirtuosic piano part) and Camden Reeves'
"Inventions and Fantasies, written for solo piano and proving very virtuosic
indeed!
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4th May 2002 - 7:30 pm, University of Leicester Sinfonia-
Michael Sackin - Sebastian Millett ('cello)
Fraser Noble Building, London Road, Leicester
Roger Swann = horn
Sebastian Millett was the brilliant soloist in the B flat Cello
Concerto that Grutzmacher built from various Boccherini works. Some members of
the audience were heard to (rightly) comment on his virtually faultless
technique but of greater import (and bringing greater pleasure) was his
musicallity. He produced some exquisite tenderness in sections of the slow
movement and used changes in vibrato to build tension through some of the
sustained notes. Subtle hold ups in the tempo of the finale were used to keep
the listeners attention throughout.
This peak of playing was surrounded by Mozart's Symphony No. 33 (K319)
and Haydn's Symphony No 102. As ever, Michael Sackin aimed for some refined
phrasing and shaping in both pieces, but the orchestra were somewhat more
successful in meeting his demands in the Haydn.
**********************************************************************
27th April 2002 - 7:30 pm, Houghton Music Club Choral Workshop with
Anselm Kersten
The Village Hall, Houghton on the Hill, Leicestershire.
Roger Swann = conductor (Bach) and bass (Vivaldi)
Sarah Cresswell (violin), Jo Conquest (flute) and Sophie Cash played
with silky smoothness in the slow movement of Bach's Brandenburg Concerto No. 2
and matched the agility and accuracy of Paul Bennett's trumpet playing in the
two outer movements. I Postini accompanied with the rich romantic sound that
the conductor (rightly or wrongly) requested.
Throughout the day the ever likeable Anselm Kersten demonstrated his
efficient rehearsal organisation skills and his in depth knowledge of Vivalid's
Gloria (both in an academic and a musical sense). His enthusiasm for the work
was infectious and all singers taking part benefited from the experience.
The young soloists (Lizzie Blackwell and Sarah Brown) both sung with
strength and confidence
**********************************************************************
25th April 2002 - 7:45 pm, The Leicester Symphony Orchestra - Nicholas
Daniel- MinJin (violin)
The DeMontfort Hall, Leicester.
MinJin gave a very spacious account of the violin concerto by Sibelius.
She captured the stark, cold nature of the music to perfection.
Nicholas Daniel enjoyed the smooth rounded writing in Brahms' Symphony
No. 3 to the full. There were some especially gentle yet mysterious moments in
the slow movement.
The concert was marred by the continuous background noise of the hall
fans. These should be switched off during the performance so that moments of
silent are genuinely silent. And the owner of the mobile phone should be
shot……
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20th April 2002 - 7:45pm - London Sinfonietta - Markus Stenz
Queen Elizabeth Hall, London
A fascinating programme including Stockhausen's significant
Kontra-Punkte (played with riveting precision and refinement) and a tape
recording, presented by Sound Intermedia of Kurtag's Memoire de Laika.
Luigi Nono's Omaggio a Gyorgy Kurtag showed the Sinfonietta at their
extreme peak with some remarkable sound echos hanging in the air under the
expert supervision of Sound Intermedia.
Claron McFadden (always a favourite [eg. 3rd Sept 2001]) fronted a
superbly colourful performance of Kurtag's Messages of the Late Miss R.V.
Troussova (whilst the whole of the sinfonietta played well the horn playing of
Michael Thompson was particularly noteworthy (in all senses!)). It was great to
see a clearly jubilant 75 year old Gyorgy Kurtag acknowledging the enthusiastic
applause at the end of the event.
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19th April 2002 – 7:30pm The Solaris String Quartet
The Cedar Park Music Centre, Murray Park Community School, Murray Road,
Mickleover, Derby.
The Solaris Quartet included two pieces by Jewish composers both of
whom had been sent to Theresienstadt before being murdered by the Nazis. The
Theme and Variations by Hans Krasa was followed by the much more significant
and intense Fantasy and Fugue by Gideon Klein.
Individual members of the (young) quartet had different strengths and
weaknesses so it will be interesting to see how they develop in the next few
years.
**********************************************************************
15th April 2002 – 5:00pm Wagner: Tristan und Isolde
The Royal Opera, Royal Opera House, Covent Garden, London
The orchestra were just sublime. Bernard Haitink (in his final year as
Music Director of the Royal Opera) allowed the music to flow serenely
throughout with some magically paced climaxes and countless tiny details of the
score made to tell.
Some wonderful horn playing, totally accurate without ever being staid,
was matched by exquisite solos from the (vital) cor anglais and bass clarinet.
In fact virtually the whole band were stunning.
The music was matched by the carefully presented production with
particularly effective lighting (Herbert Wernicke).
Lisa Gasteen was a fine Isolde and Petra Lang (Brangane) deserves a
prize for the most graceful and complete curtsey during the curtain calls!
***********************************************************************
13th April 2002 - 7:30pm, The Bardi
Symphony Orchestra - Andrew Constantine - David Fruhwirth (Violin)
DeMontfort Hall, Leicester.
Roger Swann = horn
The Bardi Strings were on good form for Elgar's Introduction and
Allegro - very ably fronted by the quartet of Adam Summerhayes, Derek Williams,
Philip Houghton and Rachel Calverley.
The orchestra rose to the challenge of Walton's Violin Concerto,
inspired by a soaring performance by David Fruhwirth. Playing some of the less
frequently performed repertoire such as the Walton is what the Bardi Orchestra
should be all about.
With his scintillating upper register in mind, it was suggested to
David Fruhwirth that he should return to play one of the Szymanowsky concertos.
His reply, without hesitation, was that he would like to tackle the
Stravinsky……
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11th April 2002 - 7:30pm - CBSO - Thomas Dausgaard - Pekka Kuusisto
(Violin)
Symphony Hall, Birmingham.
Thomas Dausgaard produced a sparkling performance of the overture to
Mozart's The Magic Flute. It was played with copious fizz and awe inspiring
precision. The perfect concert opener - it certainly made one wish to hear the
conductor direct the whole opera.
The Mermaid by Alexander Zemlinsky formed the second half. The program
notes suggest that this is a favourite of the conductor and he took on the
large and complex work without a score and seemed to know precisely what was
required (both musically and technically) at every bar. Whilst the piece
included some orchestration clearly borrowed from the Wagner/Strauss school it
still proved a rich and enjoyable show piece for the orchestra and included
some lyrical violin solos elegantly tackled by the leader Jacqueline
Hartley.
On the basis of this concert Thomas Dausgaard will be a name to look
out for in the future.
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30th March 2002 - 7:30pm - Bardi Wind Soloists - David Calow
Methodist Church, Lake Road, Bowness on Windermere, Cumbria
Roger Swann = horn
The Bardi Wind Soloists played a wide range of music including a
particularly effective arrangement of tunes from Sullivan's The Mikado arranged
by Jones.
It was wise to introduce a change of tonal colour in the form of guest
soprano Marilyn Tordoff (accompanied by Colin Tolson at the piano) who showed
pleasingly accurate intonation.
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24th March 2002 - 7:45pm - London Sinfonietta - Paul Zukofsky
Queen Elizabeth Hall, London
The center piece was Jo Kondo's Hagoromo performed semi-staged with
both Teresa Shaw (singing) and Tomoko Shiota (narrating) with a precision that
matched the style of the music. Alyssa Dodson provided the visual interest with
her dancing (as 'The Angel'). The exquisite peace of the music (reminiscent of
gentle lapping of water at the edge of a lake on a completely still day) was
captured well by Paul Zukofsky (he seems to naturally conduct [and conduct
himself] in this manner!).
The first half included Percy Grainger's arrangements of Debussy -
Pagodes and Ravel - La Vallee des Cloches. These short pieces seemed to capture
the attractive features of both arranger and original composer (and minimised
the less attractive features of the same). They proved an ideal introduction to
the main work.
***********************************************************************
21st March 2002 - 8:00 pm, Martin Taylor
Phoenix Arts, Leicester.
Martin Taylor is perhaps at his best on nights like these with no
accompaniment to get in the way and a small hall filled to capacity to play to.
The music just flows out effortlessly and the jazz orientated audience were
listening with classical intensity and attention for the whole evening.
It's a privilege to sit and enjoy him enjoying playing with the
harmonies underneath the tunes.
***********************************************************************
16th March 2002 - 7:45 pm, The Charnwood Orchestra - Nic Fallowfield -
Alexander Taylor (piano)
Emanuel Church, Loughborough, Leicestershire.
The strings were strikingly solid and powerful in the Hungarian
Rhapsody No. 2 by Liszt - perhaps showing the positive effects of having Nic
Fallowfield in charge.
Alexander Taylor captured the intense mood changes of the third piano
concerto by Bartok to great effect. You could feel (hear?) the pain of the
composition trying to find the "right words" to say. It was a bold decision for
the orchestra to include this piece in their programme - and one that certainly
paid off.
***********************************************************************
15th March 2002 - 7:45 pm, HP Sauce, Houghton Singers, Aquila
Winds
Houghton on the Hill Village Hall, Leicestershire.
Roger Swann = Conductor (HP Sauce)
The Aquila Winds opened the concert with some tight but light playing.
This was their first public performance and on this showing they will prove to
be an ensemble to watch.
The children from Houghton Primary School sounded impressive in their
own composition "Space Walking".
The concert finished (at the sensible time of 9:15pm) with a rousing
performance of Walton's Crown Imperial - especially fitting in 2002: two weeks
away from Walton's centenary day and in the year of the Queens Golden
Jubilee.
**********************************************************************
14th Mar 2002 - 7:30 pm, Leicester Grammar School Concert of French
Music - David Whittle + Bryan Shaw
St James the Greater Church, Leicester.
Roger Swann = horn (in Faure Requiem)
The concert started with a wind ensemble playing two movements from the
Petite Symphonie by Gounod. They had the confidence and skill to give a
rhythmically secure performance without the aid of a conductor.
It was a pleasure to hear students of a wide range of ages tackling
some quite tricky orchestral French repertoire including the two Pavanes by
Faure and Ravel.
Joining forces with the LGS Choral Society for the Requiem by Faure
made an appropriate emotional climax to end the evening.
**********************************************************************
9th Mar 2002 - 7:00 pm, BBC National Orchestra of Wales – Richard
Hickox – Janice Graham (violin)
Brecon Theatre, Brecon, South Wales.
Janice Graham boldly tackled the fiendish violin concerto by Britten in
the most unforgiving acoustic of Brecon theatre.
It was good to have a chance to hear Dvorak’s first symphony
– a very early work but already showing the distinctive sounds of the
composer.
The concert was introduced by a very comprehensive programme including
a special section for family groups listening.
**********************************************************************
8th Mar 2002 - 7:30 pm, Pate’s Grammar School Concert
Pittville Pump Rooms, Cheltenham, Gloucs.
Roger Swann = horn
Darren Wood enjoyed milking J Strauss’ (junior) Emperor Waltz to
the full – and the talented musicians enjoyed trying to match the
demands.
The Senior Vocal Group showed good diction and sound intonation under
the fluent control of Nathalie Jackson.
The highlight was the more than competent performance of the Bruch
violin concerto by Kevin Weaver.
**********************************************************************
7th Mar 2002 – 8:00pm Bartok: Duke Bluebeard’s Castle –
Schoenberg: Erwartung
The Royal Opera, Royal Opera House, Covent Garden, London
Two operas intelligently linked as one production based on a single
dramatically sinister set (especially spooky effect as Judit and Bluebeard
emerged from the shadows at the start of the evening).
Absolutely top quality singing from all the principles.
**********************************************************************
6th Mar 2002 - 7:30 pm, The Lindsays
Fraser Noble Hall, Leicester University, London Road, Leicester.
The quartet were on good form this evening - curious intonation
fluctuations excepted (were there some new strings on the second violin and
viola?).
The final movement of Mendelssohn's E flat Quartet (op 12) particularly
shone with the exiting fizz so characteristic of the composer's fast tempo
writing.
Prokofiev's First Quartet (Op 50) was given a particularly aggressive
interpretation which might not have been to everyone's taste but certainly
brought out some of the acrid writing in the piece.
**********************************************************************
2nd March 2002 - 7:30 pm, Nottingham University Wind Orchestra and
Choir - Philip Weller and Kieran O'Riordan
St Mary's Church, High Pavement, Nottingham
Roger Swann = horn (Wagner & Berlioz).
The Choir (augmented by the Viva Voce Singers) used the spacious
acoustic of St Mary's Church to grand effect in Bruckner's Mass in E minor. The
splendid high arches of the church (with alarmingly out of perpendicular
pillars) matching the similar structures in the piece. Philip Weller coaxed
some good strong singing from the choir.
Berlioz Grand Symphonie Funebre et Triomphale made a voluminous (in all
senses) if somewhat sombre conclusion to the evening. A large wind orchestra
was conducted with accuracy by Kieran O'Riordan and included a top class
trombone solo in the second movement by Tim Brown.
**********************************************************************
1st March 2002 - 7:15 pm, Albert Herring- Opera North
The Royal Theatre, Nottingham.
An interesting production with on stage band. Especially good tone and
diction from Iain Paton in the title role.
**********************************************************************
23rd Feb 2002 - 7:45 pm, The Leicester Symphony Orchestra - Pavlo Kotla
- Charles Owen (piano)
The DeMontfort Hall, Leicester.
Some good violin intonation in Rachmaninov's 2nd Piano Concerto was
matched in one noticable passage by a soaring viola section (and the players
looked like they were enjoying every last drop of it!)
Pavlo Kotla drove Elgar's magnificent first symphony (op 55), avoiding
too much sentimentality but still allowing the spacious tunes to make their
mark. The start of the second movement (Allegro Molto) had a particularly
exciting fizz to it.
The brass and horns were well balanced with the rest of the orchestra,
being suitably prominent without ever becoming overbearing. [Some professional
orchestras would do well to consider learning from this!]
**********************************************************************
20th Feb 2002 - 7:30 pm, The Lindsays
Fraser Noble Hall, Leicester University, London Road, Leicester.
A most enjoyable performance of Elgar's string quartet op 83 complete
with all the necessary gushes and swirls that so characterise Elgar's
writing.
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2nd Feb 2002 - 7:30 pm, University of Leicester Sinfonia- Michael
Sackin - Ron Abramski (piano)
Fraser Noble Building, London Road, Leicester
Roger Swann = horn
The main thrust of the concert was the first performance of "The Chant
of Carnus" by Luke Ottevanger. This work is based on the greek myth describing
how Carnus (the name means 'trumpet') was murdered whilst chanting prophetic
verses, being mistaken for an enemy magician. The composer points out the
parallel with 'mob rule' overpowering individual voices in contemporary
society.
David Cutler took the challenging trumpet part in his stride (both
metaphorically and literally) as he approached the orchestra in stages before
his final annihilation.
The piece showed a good sense of structure and certainly developed
towards the exciting climax. Some of the tone colours around the piano writing
seemed to be borrowed from Messiaen's note book but none the less one looks
forward to hearing (or performing) more works by Luke Ottevanger.
**********************************************************************
27th Jan 2002 - 7:30 pm, Helix Ensemble - Graham Oppenheimer - (Musical
Director and Viola)
Victorian Art Gallery, New Walk Museum, Leicester
Roger Swann = horn
The Helix Ensemble was honoured to be part of the 2002 Holocaust
Memorial event presented jointly by the Leicester City Council and the
Leicester Council of Faiths. A great many optimistic words about the future
were uttered, one hopes that they may reach those who need to
listen……
The concert provided a platform for some rarely heard music written by
Jewish composers including works by Hans Krasa and Rudolf Karel, both of whom
lost their lives as a result of the Holocaust.
Graham Oppenheimer demonstrated the dark strong tone he enjoys
producing on the viola in an ominous performance of 'Yiskor' [literally
Remember] for solo viola and strings by Oedoen Partos.
**********************************************************************
21st Jan 2002 - 7:30 pm, Philharmonia Orchestra - Yevgeny Svetlanov -
Nikolai Demidenko (piano)
DeMontfort Hall, Leicester
Svetlanov brought some delightfully gentle colouring to Glinka's
Overture from Ruslan and Ludmilla.
Demidenko stepped in at short notice (replacing the "indisposed"
Arcadia Volodos) and gave a breath taking performance of Prokofiev's Second
Piano Concerto (which is in turn a breath taking piece). As ever, it is the
range of pianistic sound envelopes (together with their perfect musical
placement) that makes Demidenko's playing stand out from the crowd.
On leaving the hall at 9:50pm one was forced to think back to Saturday
night when there was still another twenty minutes to go to the end of the FIRST
half (see below….)
**********************************************************************
19th Jan 2002 - 7:30 pm, The Ken Dodd Happiness Show
DeMontfort Hall, Leicester.
Ken Dodd proving that he is still unique in his trade (and he's no
spring chicken now!). He took the stage prompt at 7:30 pm. The first half had a
20 min support spot by Sybie Jones and the interval ran from 10:12pm to
10:40pm. The second half started at 10:40pm with Jimmy Carlo and Crystal doing
a comedy/conjuring act but Ken was back on stage at 11:00pm and then went non
stop through to 12:35pm.
And the audience enjoyed every minute of it. And he looked like he
could have gone on for another four hours…..
***********************************************************************
17th Jan 2002 - 7:30pm - Sinfonia Viva (chamber music concert)
Djanogly Recital Hall, Nottingham.
Relaxed performances of Mozart's Flute Quartet K285 and the
Introduction and Allegro by Ravel made a pleasing (if not spectacular) start to
the New Years concert going.
***********************************************************************
16th Dec 2001 - 3:30pm - "Music for a Winters Afternoon"
All Saints Church, Scraptoft, Leics.
A level students from Wyggeston & Queen Elizabeth I College
presented a series of baroque chamber ensemble works to give the concert a
pleasingly formal feel.
This was followed by the mellow voice of the ensemble "Flute Sounds"
(directed by Jenny Brooks). The antiphonal positioning of the players around
the church for Margaret Lowe's 'Dawn Carol' was especially interesting.
***********************************************************************
9th Dec 2001 - 7:45pm - "Related Rocks" - Magnus Lindberg Festival -
London Sinfonietta - Esa-Pekka Salonen
Queen Elizabeth Hall, London.
A concert in three halves started with Lindberg's Related Rocks
complete with five dancers (Akram Khan - choreograpy) and included a rare
chance to hear a live performance of Deserts by Varese - 'live' for orchestra
(wind + brass) and pre-recorded tape which was synchronised with a thought
provoking video by Bill Viola. These images dramatically helped emphasise some
of the stark qualities in the music.
The climax of the evening came with a riveting performance of
Stravinsky's Les Noces (final version). The rhythmic power Esa-Pekka drew from
the singers was quite startling.
***********************************************************************
8th Dec 2001 - 7:30pm - Felsham & Gedding Village Hall Christmas
Cabaret
Felsham & Gedding Village Hall, Felsham, Suffolk.
Lyndsey Conquest (accompanied by Katherine Thomas) successfully took on
some ambitious 'standards' and Gail Whalley was almost terrifyingly slinky in
"Hey Big Spender". Andrew (Harry Conick) Conquest stole the show with his slick
dress suite changes.
The backing of John Casson (Piano) and Geoff Pollard (Drums) and the
three course meal were of an equally high standard.
**********************************************************************
4th Dec 2001 - 7:00 pm, Leicestershire Arts Christmas Concert
DeMontfort Hall, Leicester.
A very colourful event (choir of 300 in bright orange and yellow
contrasting (violently?) with steel pan band players in glowing green!).
The Intermediate Band (conductors Paul Bennett and Jo Conquest)
presented a varied programme including Michael Brand's Avebury Circles and
Bandology by Eric Osterling before joining forces with the massed choir for a
strikingly bouncy version of Rockin' Around the Christmas Tree.
**********************************************************************
2nd Dec 2001 - 6:15 pm, The String Sensations, Unicorn Horn Ensemble,
Alexandra Gamble (contralto)
St Peter's Church, Thornton, Leics.
Roger Swann = horn (for Unicorn Horn Ensemble)
A Christmas concert featuring a wide range of music played in a church
just about warm enough for a concert.
The event was notable for the complete loss of light (electric heaters
overloading the supply?) fifteen minutes from the end. The Unicorn Horn
Ensemble and the The String Sensations each played their last items by hand
held candles and the audience was forced to concentrate entirely on listening -
there being no chance of any visible visual distractions.
**********************************************************************
28th Nov 2001 - 7:30 pm, The Lindsays
Fraser Noble Hall, Leicester University, London Road, Leicester.
Hugh Wood introduced his Quartet No. 5 "Persistence Works" recently
completed and written especially for The Lindsays. The piece included two
shimmering Nocturne scherzos and some beautifully written passages making
extensive use of harmonics. The Lindsays performed it as if they would be happy
to include the work in future programmes, here's hoping that they do so.
The programme also included the searing Quartet No. 1 'From My Life' by
Smetana. An intense personal essay by the composer on his physical, emotional
and financial problems. Not a piece for the faint-hearted!
**********************************************************************
27th Nov 2000 - 8:30 pm, The Jazz Network
The Crazy Coyote, St Nicholas Place, Leicester
Tight jazz quartet with special strengths in the lively bass of Steve
Nutter and the sensitive intelligent drumming of Dougie Wright.
The Crazy Coyote cajun swordfish was also excellent.
**********************************************************************
25th Nov 2000 - 7:30 pm, The String Sensations and Ian Imlay
(organ).
St John The Baptist Church, Hungarton, Leics.
Ian Imlay coaxed a wide variety of colour working within the restraints
of the Hungarton church organ.
The String Sensations, after a slightly tentative opening, played with
panache. There was some good fiddle playing in the arrangement of "Every Valley
Shall Be Exalted" from Handel's Messiah.
A generous supply wine and food in the interval helped make the event a
complete success.
**********************************************************************
21st Nov 2001 - 7:30pm, Derby Bach Choir and Orchestra - Richard
Roddis
Derby Cathedral, Derby.
Roger Swann = horn
An unusual selection of English music started with and exciting
performance of Finizi's To Saint Cecilia, followed by the serene Serenade to
Music by Vaughan Williams (choral version). The spot on intonation of Julie
Kennard (sop) was spectacular.
The second half of the evening was devoted to the (over-) thickly
scored Hymnus Paradisi by Herbert Howells. A complex piece involving large
forces was given a swirling performance. The trumpet section shone and the
girls choir 'Voices' helped produce an atmospheric end to the fifth
movement.
**********************************************************************
14th Nov 2001 - 7:30pm, Romeo & Juliet - William Shakespeare
New Vic Theatre - Newcastle-under-Lyme, Staffordshire
Artistic director Gwenda Hughes chose a conventional setting of
Shakespeare's classic - emphasising the opulence of both the Capulet and
Montague families, and the loneliness of Juliet's position.
Especially moving performances from Robert Pickavance as Friar Lawrence
and Janice McKenzie as Lady Capulet.
**********************************************************************
12th Nov 2001 - 7:30pm, Buddy Guy and his band.
DeMontfort Hall, Leicester.
A real showman, doing all the standard blues numbers, name dropping
every big name in the genre and including the longest ever (in terms of
distance) audience walk about guitar solo - complete with wireman reeling out
meters of cable. The audience loved it. Buddy Guy's real class showed in his
beautifully controlled quiet playing and his absolute control over the backing
band's dynamics.
His band also included a magnificent wooden boxed organ complete with a
larger than life organist.
**********************************************************************
10th Nov 2001 - 8:00pm, "The Play What I Wrote" - Sean Folley - Hamish
McColl - Toby Jones - Special Guest Richard Wilson.
Wyndham's Theatre, London.
An absolutely hilarious quick fire gag filled evening's affectionate
tribute to the great Morcambe and Wise.
**********************************************************************
9th Nov 2001 - 7:30pm, The Bardi
Symphony Orchestra - Andrew Constantine - Jonathan French (Piano)
DeMontfort Hall, Leicester.
Roger Swann = horn
A Tchaikovsky Gala concert attracted a sell out audience and the
inevitable 1812 overture was accompanied by a dazzling array of indoor
fireworks. These were strikingly rhythmic (completely unlike any other
fireworks / 1812 combination this reviewer has experienced).
It is a great shame that the same adjective cannot be applied to the
Bardi percussion section. They were truly awful throughout the concert and were
an embarrassment to the other members of the orchestra.
***********************************************************************
7th Nov 2001 - 7:45 pm, John Montague
Houghton Music Club, Houghton-on-the-Hill, Leics.
John Montague performed a wide variety of songs, including several of
his own and several written by local songwriters.
The intelligent (ie not overpowering) use of amplification was well
suited to his gentle laid back presentation.
***********************************************************************
31st Oct 2001 - 7:45 pm, HP Sauce, Houghton Singers + Guests
All Saints Church, Stoughton, Leicestershire.
Roger Swann = Conductor (HP Sauce)
Houghton Music Club's first presentation in Stoughton Church proved
popular with the audience.
After enjoying a varied selection of Sullivan tunes, HP Sauce performed
Fiona Chamberlain's "Making Pastry" under the baton of the composer. This used
various motifs to represent the components of pastry and then effectively
interweaved these to produce a result that one felt was sure to rise when
baked!
The Houghton Singers were on fine form (under the direction of Helen
Noble) including some soaring phrasing in 'A Nightingale Sang in Berkley
Square'.
As 'guest artists', Eleanor Turner (harp), Jo Conquest (flute), Mark
Lansdale (viola) repeated their performance of 'Between Earth & Sea" by
Sally Beamish which they played as part of the Helix Ensemble Concert on 13th
Oct. On this occasion they captured the conversation (both tunes and textures)
between the viola and flute to perfection.
The concert also included some very vivacious harp and violin duets
played by Eleanor Turner and Roger Owen, including one of Miss Turner's own
compositions inspired by a recent visit to the Scottish Highlands.
**********************************************************************
21st Oct 2001 - 3:00 pm, The COMA Ensemble Autumn Residency Showcase
Concert - Kieran O'Riordan
International Community Centre, Nottingham.
Roger Swann = horn
Following an intensive weekend working on varied COMA repertoire an
informal concert showed the wide range of pieces produced by COMA members.
Perhaps the most musically effective items were those written by the more
recognised composers with Michael Levinas' Trois Pensees pour COMA being
especially challenging to perform.
**********************************************************************
St James The Greater Church, London Road, Leicester.
Roger Swann = horn
The final session of four, in which The Bardi Orchestra played all nine
Beethoven symphonies, included symphonies 2 and 9.
Andrew Constantine wisely ignored the 'careful' approach that could
have been chosen for such a mammoth project, choosing instead a 'go for it or
bust' direction. A few blemishes (caused by both mental and physical tiredness)
were a small cost to pay for some surprisingly good results.
**********************************************************************
17th Oct 2001 - 7:30 pm, The Lindsays
Fraser Noble Hall, Leicester University, London Road, Leicester.
All four of the Lindsays seemed to be firing on only 3 out of 4
cylinders this evening. They had chosen a challenging programme (including the
wonderfully intense 15th string quartet by Shostakovich (op 144)). It was easy
to enjoy the warm rounded sound of Robin Ireland's viola playing.
**********************************************************************
13th Oct 2001 - 7:30 pm, "Music from Venus" - Helix Ensemble - David
Drummond (Musical Director)
Music Studio, Loughborough University, Leics.
Roger Swann = horn.
The Helix Ensemble were justifiably proud to present a programme of
20th century works by female composers. The resulting programme was challenging
but rewarding for both players and audience alike.
David Drummond provided a dynamic drive to the event (from his initial
input in the process of programme selection through some very industrious
rehearsing to the final carefully shaped interpretations (particularly
noteworthy in Barbara Kolb's "Soundings")).
It's still early in the season but this concert is undoubtedly going to
be regarded as one of the highlights during any retrospective discussions next
summer.
**********************************************************************
5th Oct 2001 - 7:30 pm, Mack & Mabel - Leicester IDOLS - Angela
Lomas (Producer) - David Calow (Musical Director)
The Little Theatre, Leicester
Tony Whitmore and Sarah Woodall in the two title roles did a good job
at bringing the rather dull and somewhat predictable characters to life.
The band were first class - albeit at the expense of audibility of the
lyrics.
**********************************************************************
30th Sept 2001 - 7:30 pm, Philharmonia Orchestra - Vassily
Sinaisky - Vadim Repin (violin)
DeMontfort Hall, Leicester
Everything went wrong for this gig: The planned conductor (Yevgeny
Svetlanov) was indisposed [Sinaisky took over at very short notice]. Vadim
Repin broke his G string immediately prior to the cadenza in the first movement
of the Brahms violin concerto [He played the cadenza on Christopher
Warren-Green's fiddle whilst the said leader fitted a new string - working to a
tight dead line]. Christopher Warren-Green then went on to drop his bow in one
of the pizzicato sections of act II of the Nutcracker Suite.
In spite of these set backs the concert was hugely enjoyable. Vadim
Repin was completely unperturbed by the string incident. He played the cadenza
with faultless intonation and went on to give a beautifully poised lyrical
account of the slow movement.
The Philharmonia were clearly enjoying the variety of shaping that
Sinaisky brought to the Tchaikovsky. The wind section of the Philharmonia were
ravishing throughout the evening.
**********************************************************************
29th Sept 2001 - 7:30 pm, Rutland Sinfonia - Graham
Stevenson - Caroline Clemmow (piano)
St. James the Greater Church, Leicester
Roger Swann = horn
Perhaps helped by Tim Warburton as guest leader, Graham Stevenson drew
some good sound from the strings for his first concert as the new conductor of
Rutland Sinfonia.
Caroline Clemmow played Mozart's Piano Concerto No 21 (K467) with
lightness and agility in the outer movements and with a gentle relaxed style in
the slow movement, which the orchestra made a good attempt at matching.
************************************************************************
23rd Sept 2001 7:30 pm - The Bardi
Symphony Orchestra and Chorus - Andrew Constantine - Wynne Evans (tenor) -
Naomi Harvey (soprano) - Jeremy Huw Williams (baritone)
DeMontfort Hall - Leicester
Roger Swann = Horn.
A performance of Britten's War Requiem proving sadly appropriate in the
light of the terrorist attacks in the USA of the 11th Sept.
Some fine playing from the orchestra as a whole but what really brought
the concert to light was the superb (both technically and musically) singing
from Wynne Evans and Naomi Harvey in the two key soloist roles.
************************************************************************
22nd Sept 2001 5:00 pm, The Moscow State Circus (UK Tour 2001)
Victoria Park, Leicester.
A true performance in every positive sense of the word. All artists
demonstrated considerable skills with all traditional circus acts being
represented including acrobatics, juggling, tight-rope walking and trapeze
troupes. Even a bit of screaming trumpet to be heard above the inevitable
electronic keyboard based live band.
The only regret is the absence of lions, horses, elephants and other
trained animals, bowing to (illogical) public political pressure.
************************************************************************
18th Sept 2001 to 21st Sept 2001 - 7:30 pm, Jesus Christ Superstar - P
Promotions
Loughborough All Saints Parish Church, Loughborough, Leics.
Roger Swann = horn
Shane Perry again demonstrated is ability to direct with energy and
enthusiasm and the talented cast presented a colourful and theatrical
spectacle. Kate King directed the band with precision in spite of being placed
behind the singers with the inevitable loss of control that this arrangement
causes.
***********************************************************************
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