Positive Points about Selected Concerts from 2010/2011
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software? You can download a free version of this product developed by Roger
Swann from here.
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Roger Swann
has a beautiful 2 bedroom holiday cottage called Swann Cottage in Derbyshire. You can get information about renting it
here.
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10th Sept 2011 - 19:30 hrs - Das Rheingold - Opera North - Richard
Farnes
The Lowry Theatre, Salford
A concert performance of the "preliminary evening" of Wagner's Ring
Cycle with limited video backing was an interesting experiment for the
orchestra of Opera North. Within the orchestra the balance was sometimes a
little too much in favour of the heavy brass and percussion but the quality of
the singing was pretty high - particularly the two key roles of Loge (Wolfgang
Ablinger-Sperrhacke) and Alberich (Peter Sidhom). The acting from these two
leads was also especially enjoyable.
Wagner's superb opening to the ring cycle proved very disappointing,
the pianissimo playing of the orchestra was drowned out by the hiss of the air
conditioning in the auditorium. In an opera house, silent moments (from which
the rhine motif should emerge) need to be genuinely silent. The Lowry Theatre
needs to urgently address this problem.
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28th Aug 2011 - 14:00 hrs - Ilkeston Brass Band - David Jones
Belper Riverside Gardens, Belper, Derbyshire.
What more enjoyable way to end the 2010/2011 season than listening to a
brass band performance in windy conditions from the band-stand in the manicured
Belper Riverside Gardens? This event was actually the debut performance with
the band's trombone section of your reviewers yonger good friend, Jake
Cresswell.
Featuring a varied programme (with excellent soloistic contributions
from solo cornet, flugal horn, solo euphonium and solo tuba players) and some
amusing narrative from the MD, David Jones, this was just the sort of
entertainment that is perfect for a Sunday afternoon. The series of concerts
promoted by Amber Valley council in the "Riverside Gardens" quite correctly get
good support from the locals. Long may they continue.
Trombone section photo: (Jake Cresswell in the center)
Jake Cresswell, photographed during the concert interval (Can Can still
to come....)
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St Nicholas Church, Leicester
The Helix Ensemble has become a regular fixture within Leicester City's
annual "Castle Park Festival". On this occasion the task of representing the
group fell to a string quartet (Sarah Cresswell, George Sutcliff (violins),
Elspeth Brien (viola) and Gareth Stevens ('cello)). They played magnificently
throughout the evening. From the opening harmonious bars of a Canzona by Hasse
it was obvious that intonation was never going to be a major problem.
A guest appearance in the second half by oboeist Anne Allcock for the
attractive Oboe Quartet by Malcolm Arnold served to emphasise the quality of
the string ensemble playing, particularly in the pizzicato passeges in the
outer two movements.
The concert also included St Nicholas organist Ian Imlay taking the
organ in this beautiful building through it's paces with music from Handel's
"Occasional Oratorio".
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18th July 2011 to 24th July 2011 - West Side Story
Roger Swann = horn
Good to be involved in this lively community project, playing in a
fairly tight band which also featured an excellent trio of violinists (John
Britten, Mike Shaw and Des Perkins).
Sitting way back from the front of the stage it was difficult to assess
the production quality from an audience perspective. Feedback from friends who
came during the week's run was all very very positive. Musical Director Chad
Kelly seemed genuinely pleased with the overall proceedings.
It is strange that the Curve used a digital camera link to pipe the
conductor's image to a point where the actors/actresses could watch. This
system created a significant time lag, the downbeat coming nearly half a second
after it was actually made. This made the set up completely self defeating. Who
ever specified this clearly needs to understand the aim of the system !
Why does the Curve theatre insist on playing "musak" during the
interval? This only impedes conversation and creates the atmosphere of a
shopping mall. It certainly does not enhance one's experience of a theatre
visit. The situation was even worse on the Friday night when for some reason
that was unclear to all, we had a school disco type DJ blasting out completely
inappropriate Steve Wonder songs so loud that it was impossible to talk at all.
Truely awful. Sort of thing that puts you off going to the theatre all
together.
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17th July 2011 - 19:00 hrs -
BBC Prom 4 -
BBC National
Orchestra of Wales - BBC Concert Orchestra - Martyn Brabbins - Susan
Gritton (sop), Christine Rice (mezzo), Peter Auty (ten), Alastair Miles (bass)
- ten choirs (too many to list)
Royal Albert Hall, London
Havergal Brian's Gothic Symphony given a very rare outing - the sort of
thing that the BBC proms do best. Great NOT to have the distraction of BBC TV
cameras, allowing the audience in the hall to concentrate on the vast array of
sound coming from all angles. This piece really is grand theatre (both audio
and visual) and Martyn Brabbins definitely had the audience with him for the
whole journey - the long silence he held in the hall following the final chords
acting as definitive proof of this. A magnificent team effort from all
involved.
Your reviewer wonders if he will ever hear the work in a concert hall
again?
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16th July 2011 - 19:30 hrs - The Dartington Piano Trio
St Andrews Church, Lyddington, Rutland.
Part of the "Music in Lyddington" summer season, the highlight of this
concert was the sensitive and uncluttered piano playing of John Brydon (who
also introduced each piece with a brief but witty point of interest) and the
sense of line in the cello playing of James Halsey.
The concert included a performance of the trio by David Johnson
(1942-2009) - a varied, tuneful number which used all three instruments very
effectively.
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12th July 2011 - 19:45 hrs - Severn Angels
The Linbury Theatre, The Royal
Opera House, Covent Garden, London.
The Opera Group's production of Seven Angels (Music: Luke Bedford,
Words: Glyn Maxwell) received it's London premier as part of it's UK tour.
Lightly scored (apart from some fortissimo bass drumming) and lightly conducted
(Nicholas Collon) the piece allowed most of the words to be heard. Some clever
lighting / video effects (Jon Clark) alluded to the text of Milton's Paradise
Lost, from which the idea of the work was originally drawn.
Young singers performing a young composers work, made for an
interesting evening's diversion. Full marks go to the Royal Opera House for
their continued efforts in promoting new opera.
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9th July 2011 - 19:30 hrs -
Helix Ensemble - Roger Coul
St Mary's Church, Clifton, Nottinghamshire
Roger Swann = horn
The Helix Ensemble was priviledged to provide the final concert in the
three day Clifton Music Festival. St Mary's church has an excellent acoustic
(helped by a specially designed wooden ceiling) . A near capacity audience
enjoyed Roger Coul's gently persuasive playing in Mozart's third violin
concerto K216.
There were some tidy woodwind duet passages in Handel's Concerto Grosso
Op 3 No. 1 - oboes: Christine Griggs and Daniel Saunders, bassoons: Sarah
Brookman and Shelagh Thomson. Sarah Cresswell's violin solo shone out in this
work too.
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8th July 2011 - 19:30 hrs - Stephen Hough (piano)
New Walk Museum and Art Gallery, Leicester
A piano receital promoted by the Leicester International Music Society
attracted a capacity audience. A very powerful (in all senses of the word)
performance by Stephen Hough included two of Alexander Scriabin's piano sonatas
(the music of Scriabin always seems very "other worldly" to your reviewer) and
finished with Liszt's Sonata in B minor (characteristically loads of notes !).
The later work allowed the performer to show off some exquisite light
fingerwork as well as use his muscular force to the full.
The first half included a performance of Stephen Hough's own Sonata for
Piano (broken branches). The structure of the work held together well - each of
the sixteen fragments following on from each other with a feeling of continuity
and ending with a major key version of the opening fragment. At times the
texture was thin enough to be reminiscent of the writing of Howard
Skempton.
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18th June 2011 - 19:30 hrs - University of Leicester Sinfonia - Michael
Sackin - Abigail Johnson (piano)
Fraser Noble Hall, Leicester
Roger Swann = horn
Michael Sackin celebrated the fortieth anniversary of the University of
Leicester Sinfonia with a concert of music written by the composers in the
earlier stages of their careers. In all cases the vibrancy and optimism of the
young is prominent and a joy to be immersed in. This was matched by the musical
directors informal mid-interval speach made from the unlikely position of
standing on a chair in the middle of the audience as they imbibed on a well
deserved interval glass of wine.
Beethoven's Piano Concerto No. 1 in C major Op 15 was the ideal vehicle
of Abigail Johnson to demonstrate the fluidity of her semi-quaver runs and
lightness of touch (particularly in the more gentle slow movement).
Michael Sackin's infectious enthusiasm for Schumann's Second Symphony
(Op 61) prompted your reviewer to aquint himself more thoroughly with all of
Schumann's symphonys. In all four cases the music feels as if it gushed
straight from the pen onto the page. The long lines of harmonic development are
something to be marvelled at. The second symphony contains an awful lot of
notes for the strings and the ULS string section rose to the challenge
magnificently, perhaps helped by a double bass section who were noticably
playing in tune and in time throughout (Jamie Wall, Peter Betts, Ben Le
Grice).
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30th May 2011 - 19:30 hrs -
The Charnwood Orchestra - Nic Fallowfield -
Gina McCormac (violin)
St Mary's Church, Haddington, Scotland
Roger Swann = horn
A repeat of yesterday's programme gives your reviewer a chance to
applaud the splendid performance of Glazunov's tuneful violin concerto. There
was a notable picollo solo in this work too (Ailsa Gillies-Loach)
Horn section photo: Front Row L to R: Martin Gilding, Tim Newton, Roger
Swann, Simon Marshall (principal)
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29th May 2011 - 19:45 hrs -
The Charnwood Orchestra - Nic Fallowfield -
Gina McCormac (violin)
St Cuthburt's Church, Edinburgh, Scotland
Roger Swann = horn
The first of two concerts presented in Scotland by The Charnwood
Orchestra under their musical director Nic Fallowfield. The orchestra has a
reputation for sociability within the players and this is increasingly matched
by it's reputation for the quality of it's music making. Nic Fallowfield
alway's pays great attention to balance, both during the rehearsals and then by
appropriate gesturing during the performance. Choosing to conduct both the
overture and symphony without scores demonstrates his confidence in the
orchestra.
Paul Ripley (con-anglais) played the slow movement solo in Dvorak's New
World in an attractive smooth manner (no sign of his broken ankle having any
ill effects).
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Town Hall, Loughborough, Leics
You come away from this production reminded what a fantastic show this
is both in terms of Bernstein's music and Sondheim's lyrics. MD James Stevens
kept band and stage together and the balance was such that most of the lyrics
were audible. The dancing was terrific - making the Town Hall stage appear
rather cramped for such pyrotechnics (choreography: Aimee Fardell).
Great singing and acting throughout, as one comes to expect from
Greasepaint. Both Gareth Wynne (Tony) and Sarah Bonser (Maria) seemed very
comfortable with Bernstein's demanding vocal writing.
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21st May 2011 - 19:30 hrs -
The Rutland Sinfonia- Paul
Hilliam - Carol Barker (Piano)
Oakham School Chapel, Oakham, Rutland
Roger Swann = horn
Carol Barker gave a fluid and pleasingly unpretentious performance of
Beethoven's Piano Concerto No. 2 in B flat Op 19. She was also generous enough
to take one of the piano parts during the second half of the concert.
Oakham School Chapel's pipe organ was given a good work out by talented
Oakham School pupil William Fox in Saint-Saens Organ Symphony. A truely rousing
end to the concert, although your reviewer particularly enjoyed the string /
organ combination which is used for the slow section towards the end of part
one of the work.
It is good to observe that the Rutland Sinfonia are sounding as if they
are enjoying performing again, as they did under their founder Barry
Collett.
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14th May 2011 - 19:30 hrs - The
Bardi Symphony Orchestra- Claus Efland - Norman Beedie (piano)
de Montfort Hall, Leicester
Roger Swann = horn
The last concert of the 25th season of the orchestra was an ideal
opportunity to present Stavinsky's Rite of Spring. Some intense rehearsal paid
off with the whole orchestra excelling themselves.
The perfect opening bassoon solo (Ceri Beaumont taking lots of time to
make every part of the phrase tell) set the standard that the rest of orchestra
aimed to match. There certainly were some exciting moments.
It's flattering to know that Claus Efland believed the orchestra
capable of playing this challenging score to this level.
Thanks are also due to Orchestral Manager Robert Calow for all his
behind the scenes work sorting out the large number of "extra" players demanded
by Stravinsky.
Horn Section Photo : Back Row L to R: Stuart Bower, David Leeder, Sarah
Tyler, Nigel Moore
Front Row L to R: Roz Saunders, Roger Swann, Julian Haslam, Mark Penny
(principal)
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12th May 2011 - 19:45 hrs - Clemency
The Linbury Theatre, The Royal
Opera House, Covent Garden, London.
James MacMillan's latest opera (ROH2 co-production with Scottish Opera
accompanied by the strings of the Britten Sinfonia) featured a very clever set
showing the same room from two perspectives, allowing characters facing each
other to both also be facing the audience. The use of a chamber orchestra
forces and a smaller theatre immediately solves many balance issues that are
problematic in "grand opera". Certainly the intimacy of the venue allowed the
quality acting of the two leads Sarah (Janis Kelly) and Abraham (Grant Doyle)
to quickly draw you to their characters.
An enigmatic tale with a (presumably deliberate) inconclusive end
demonstrated James MacMillan's skill at writing for voices. The opening entry
of the "Triplets" was one example of the startling effects achieved without
resorting to any orchestral or vocal gimics.
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15th, 19th, 21st and 23rd April 2011 - 19:30 hrs - Rigoletto - Stanley
Opera
Concordia Theatre, Hinckley, Leicestershire
Roger Swann = horn
An innovative idea by Stanley Opera spreading their performances of
Verdi's melodious Rigoletto over two weeks meant that the orchestra and singers
were "fresh" for each night. An excellent arrangement of Verdi's score by Chris
Ward combined with a strong orchestra allowed MD Janet Bacon to concentrate on
helping the on stage singers give their best.
All lead roles were more than up to their parts - a most enjoyable
experience to be part of. Stanley Opera is a major asset to the Hinckley
cultural scene.
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One of series of concerts presented by the imaginative and enterprising
Keswick Music Society
this was a varied programme of music performed with accuracy and style by the
London Concertante.
The opening bars of the Octet by Jean Francaix had a decidely sultry
air. In this piece the muted sound of the horn (Mark Smith) blended perfectly
with the playing of the woodwind.
The most substantial work of the concert was Beethoven's Septet. There
was much to enjoy here with many pleasing nuances in the phrasing.
The vocal introductions to each piece given by 'cellist Chris Grist
were first class; informative but brief with dashes of humour.
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14th April 2011 - 19:00 hrs- The Tsar's Bride
The first performance of Rimsky-Korsakov's opera loosely based on Tsar
Ivan the Terrible. Director Paul Curran brought the setting up to date (pistols
and mobile phones) but this in no way detracted from the functionality of the
piece. The Russian text sounded splendid in the hands of a cast of excellent
voices (mostl Russian).
Mark Elder gave the stars plenty of time to emphasise the drama (or did
they make him wait for the next bar....). The orchestration was typically
colourful Rimsky-Korsakov but it was interersting that Lyubasha's key aria
(sung by Ekaterina Gubanova) is set almost entirely unaccompanied.
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3rd April 2011 - All Day - British Horn Society - East Midlands Horn
and Alphorn Festival
Lakeside Arts Centre and Music Department - University of
Nottingham
A very worthwhile day for all participants of all ages. The event was
well organised with several "modules" specifically aimed at younger players
(with favourable reports being fed back!).
The day included two formal (-ish) concerts. In the afternoon Stephen
Stirling demonstrated agility as well as some excellent phrasing in Weber's
Concertino in E minor Op 45 (Tony Halstead providing faultless piano
accompaniment as he did throughout the day). Stephen Stirling is a subtle and
refined player who always backs up his performances with careful research and
thought. It was also good to hear the vienna horn represented by the group
"Scottish Vienna Horns", led by Tim Barrett.
The evening concert included a remarkable range of styles of horn
playing and an equally wide variety of styles of music. The credit for this
achievement goes to the main organiser of the whole festival Stuart Bower, who
has worked tirelessly for many months to ensure that his imaginative vision
turned into reality. Tony Halstead bowled us all over with his low note power
in "Fat Belly Blues" (arr by Richard Bissill) and Tim Jackson's playing in his
own set of (unaccompanied) variations on "Hey Jude" showed how subtle "chord"
playing can be used to great musical effect.
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Holbrook Memorial Hall, South Knighton, Leicester
Roger Swann = horn
A kind invitation by the South Knighton Community Group allowed members
of the Helix Ensemble to promote the Ensemble and it's activities in an
enjoyable atmostphere. Part concert and part (too much?) spiel from your
reviewer, the event allowed eight players to perform Mozart's E flat Seranade
K375.
The programme also included the third performance of my "Five
Philosophies" (scored for viola, double bass, bassoon, french horn and single
timp complete with a narrator).
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1st April 2011 - 19:30 hrs - Fidelio
Your reviewer has long wanted a chance to get to know Beethoven's only
opera. What a dark piece it turns out to be. The score oozes "Beethoven",
sounding deceptively straight forward under the baton of Mark Elder the
orchestra played with precision without ever sounding boring. The horns, in
particular, were wildly flamboyant where required and always stunningly
accurate.
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Oakham School Chapel, Oakham, Rutland
The enterprising Eleanor Turner organised this concert as an
opportunity to perform works she has prepared for the Amsterdam based Gaudeamus
Interpreters Competition (this year running from 10th to 17th April). The
audience was treated to a varied programme of contemporary music together with
Hindermith's Sonate (written in 1939) (the competition encourages the inclusion
of one piece from the first half of the 20th centuary).
Two composers by dutch composers (Tratti by Ig Henneman and Mirror by
Edward Mebius) proved an interesting contrast, with Edward Mebius' work ending
on a distinctly interrupted cadence implying that the soul searching in the
looking glass of the title had not been conclusive.
The visual centerpiece was The Crown of Ariadne by RM Schafer in which
the soloist surrounded her self with a complex array of percussion instruments,
all of which were used to good effect. Some good "bottle neck" style glissandi
(using a screwdriver against the strings) in the atmospheric movement "dance of
the night insects" and some particularly aggessive low notes in the "dance of
the bull" all served to demonstrate the versatility of the soloist.
Your reviewer wishes Eleanor all the best for the competition !
NEWS (added subsequently) : Eleanor was awarded second prize <
Bravo ! >
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27th March 2011 - 19:30 hrs - The
Bardi Symphony Orchestra - Leicestershire Chorale - Claus Efland - Moira
Johnston (soprano) - Tom Williams (counter tenor) - Ben Thapa (tenor) - Jimmy
Holliday (bass)
de Montfort Hall, Leicester
A rare (and very pleasurable) chance for your reviewer to hear the
Bardi Symphony Orchestra from the audiences perspective rather than from
sitting in the horn section.
An all Mozart programme was a good excuse to perform the Masonic
Funeral Music K477/479a, featuring the veiled tones of three basset horns.
The Leicestershire Choral (choral master Tom Williams) were
impressively powerful in Mozart's Requiem K626 sounding significantly stronger
than their numbers might suggest. Vocal clarity was achieved throught their
wide dynamic range. Of the soloist's Ben Thapa's tenor voice projected with
ease and comfort. The three trombones of the Bardi played the technically
challenging parts well having the sense of taste never to overly dominated the
proceedings.
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26th March 2011 - 19:30 hrs- Cichester Symphony Orchestra - St. Richard
Singers - Michael Walsh - Sarah Baldock (organ)
Chichester Cathedral, Chichester
A large audience in the awe inspiring Cathedral in Chichester enjoyed
Chichester Symphony Orchestra's Spring Gala Concert. The concert commenced with
Haydn's Te Deum with the choir wisely placed in front of the orchestra allowing
their excellent diction and good dynamic contrast to be enjoyed to the full.
The concert used the Cathedral organ to the full, with Sarah Baldock
joining the orchestra in Poulenc's Organ Concerto. The strings sounded
impressively gutsy where needed and made a commendable attempt at the Poulenc's
whispy high writing too (leader: Mark Hartt-Palmer). Michael Walsh was
comfortable conducting this complicated score and achieved admirable
synchronisation between the orchestra and soloist.
Saint Saens magnificent organ symphony brought the event to a close - a
piece ideally suited to the impressive space of Chichester Cathedral.
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17th March 2011 - 19:30 hrs- Seth Lakeman
Subway 91, Leicester
Seth Lakeman's songs display a fascination with rhythm with a wide
variety of time signatures, extensive use of 3/4 time and varying syncopated
accents. His collegues, Benji Kirkpatrick (Guitar) and Cormac Bryne (drums and
percusson) were equally tight with this demanding repetoire. Especially
enjoyable was Seth Lakeman's jig style fiddle playing.
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The Coliseum, London.
Wagner's final masterpiece, Parsifal was conducted by Mark Wigglesworth
(including first class horn playing throughout) and directed by Nicolaus
Lehnhoff. Towering majestically above all of this was John Tomlinson
(Gurnemanz) with every word (English translation by Richard Stokes) clearly
audible. He gave a truely awe inspring performance.
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11th March 2011 - 19:30 hrs - Iolanthe - Leicester Gilbert &
Sullivan Operatic Society
The Little Theatre, Leicester
Roger Swann = horn
Following on from the visit of 8th March it was flattering to be
invited to play in the pit orchestra for one night. Seeing the show from a
different angle it is to be hoped that your reviewer matched the sensitivity in
the brass section that was heard on the Tuesday!
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8th March 2011 - 19:30 hrs - Iolanthe - Leicester Gilbert &
Sullivan Operatic Society
The Little Theatre, Leicester
Good to see (and hear) Leicester G&S Society encouraging younger
people onto the stage particulalry the key rolls of both Stephon (Daniel Neal)
and Phyllis (Daisy Carter). Director Stephen Bruce has a good eye for simple
comic additions to the stage business which his company carry out very
effectively. There was much to enjoy and chuckle at.
Musical Director Sandra Tebbutt kept her cool through occassional
moments of potential panic. The orchestra sounded reasonably tight for most of
the evening and the brass section played with sensitivity to what was going on
around them.
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5th March 2011 - 19:30 hrs - University of Leicester Sinfonia - Michael
Sackin - Zlatko Velichkov (viola)
Fraser Noble Hall, Leicester
Roger Swann = horn
Michael Sackin continues to plan programmes with great originality (as
well as musical and artistic structure) and it was interesting to observe
several audience members stay for the first half of this concert and leave
during the interval - thereby missing the performance of Dvorak's New World
Symphony (and also missing a lyrically phrased cor anglais solo in the slow
movement (Daniel Saunders)).
The evening opened with a performance of ULS violinist Sonja Grossmer's
"Destiny". An interesting combination of twelve tone writing combined with a
tonal tone row and a wood wind heart beat. The piece is well orchestrated. It
would be great to give a repeat performance some time in the future. It is
always inspiring (and a little intimidating) to perform works in the presence
of the composer....
The potential highlight of Barok's Viola Concerto (completed by Tibor
Serly) was put in jeopardy by soloist Eniko Magyar being indisposed. However
Zlatko Velichkov took up the challenge or replacing her and, given the
extremely short notice he had combined with the visciously short rehearsal time
on the afternoon of the concert, did a stirling job at capturing some of the
varied styles of playing present in this rarely performed work.
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18th Feb 2011 - 19:30 hrs - Knighton Chamber Orchestra - Paul Jenkins -
Dana Morgan (flute) - Francois Salignat (piano)
Fraser Noble Hall, Leicester
Dana Morgan proved the star of the show with her dazzling fingerwork in
Nielson's Flute Concerto. The work features some tutti moments of classic
Nielson orchestration along with a prominent pseudo disruptive bass trombone
part (rombustiously played by Stuart Braithwaite). Dana Morgan paid great
attention to bringing out the lyrical moments and contrasting them with the
staccato scatty passages.
Francois Salgnat sailed through Schumann's piano concerto and the
interval included a very reasonable Chilean Merlot.
Several audience members agreed with your reviewer's observation that
the hall heating was particularly noisy and intrusive.
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17th Feb 2011 - 19:30 hrs - Anna Nicole
Prceded by much press build up, this was the long awaited world premier
of Mark Anthony Turnage's Anna Nicole (Libretto <very amusing in places>
by Richard Thomas). The work was vigorously conducted by Antonio Pappano to an
opera house audience zinging with a palpable sense of expectation.
Any understandable first night nerves for Eva-Maria Westbroek soon
settled as the opera unwound this American tale (surely it could only happen in
the USA ???) of excess of all kinds. Alan Oke was excellent in the role of Old
Man Marshall, shaking with excitement or just plain old age in a highly
convincing manner.
Mark Anthony Turnage's score showed his skill in different genres, at
times approaching a broadway musical style and at other's being acerbic and
angry. The orchestra (in their somewhat inappropriate dinner jackets and black
ties) coped with this somewhat disconcerting array of demands with ease.
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12th Feb 2011 - 19:30 hrs -
The Leicester Symphony
Orchestra - The Last Night of the Proms Ever... Rainer Hersch - Mark
Holland (baritone)
de Montfort Hall, Leicester
Rainer Hersch bounded on to the stage with the sole intention of
ensuring everyone has a good time as he presents "The Last Night of the Proms
Ever....". His effervescent character took the audience through gags that
varied from the amusing (British and Russian descriptions of music), the
sophisticated (the Archers theme combined with Prokofiev's Romeo and Juliet)
through to (in some cases) the mechanically quite crude. Mercilessly lampooning
the Royal Family and the Leicester City Council's threat to de Montfort Hall he
also got the audience to join in with some very offbeat lyrics to Rule
Britania.
Baritone Mark Holland very much entered into the spirit and the
orchestra coped with Rainer's spontaneous antics very well for the most
part.
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5th Feb 2011 - 19:30 hrs - The Bardi
Symphony Orchestra - Claus Efland - Nikolai Demidenko (piano)
de Montfort Hall, Leicester
Roger Swann = horn
A celebration of the orchestras 25th anniversary (something founder
Andrew Constantine has every right to be very proud of) attracted a large an
enthusiastic performance. Pianist Nikolai Demidenko has always had a special
relationship with the orchestra and his encouragement and advice freely offered
during rehearsals were an indication that he still feels very comfortable
working with the Bardi. He has a huge range of dynamics and pianistic colour
which he used to the full in his interpretation of Rachmaninov's 2nd Piano
Concerto. During the interval your reviewer overheard someone say "... the
man's a genius", sentiments it would be hard to argue with.
The horn section enjoyed the challenges of the combination of severe
flu/cold symptoms and Nielson's Helios overture.
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2nd Feb 2011 - 19:30 hrs -
City of Birmingham Symphony Orchestra -
Birmingham Contemporary Music Group - Andris Nelsons - Ulrich Heinen
('cello)
Symphony Hall, Birmingham.
Andris Nelsons' solution to the problem what do you pair with Mahler's
9th Symphony to make a satisfying programme was to get the BCMG and Ulrich
Heinen to revist Kai by Mark Anthony Turnage. Is Symphony Hall just a little to
large for this piece? certainly the balance as peceived from the middle of the
stalls sometimes found the strings swamped by wind and percussion. The piece
works well with Ulrich Heinen playing lyrical phrases over the top of a wide
variety of accompaniament. Mark Anthony Turnage doesn't create density for the
sake of it, you always get the feeling he has taken great care over his
orchestration.
As for the Mahler 9 - this was a young man's interpretation of this
great symphony - lots of contrast in dynamics and moods and very exciting in
places. Andris Nelsons got the 'cello section to play frightningly quietly in
the finale (at least it must have been frightening for the players !).
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16th Jan 2011 - 19:30 hrs - St Martin's Sinfonia - Nan Ingrams - Mark
Penny (horn) + Roger Swann (horn)
St Peter's Church, Empingham
Roger Swann = horn in the Haydn double horn concerto
A chance to work with Mark Penny on the double horn concerto attributed
to Joseph Haydn. A good sized audience were generous in their applause (and the
orchestra were generous with the wine presented after the concerto, too).
Nan Ingrams had assembled a talented selection of string players with
the strong viola section making an especially valuable contribution in Elgars
String Serenade.
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15th Jan 2011 - 19:30 hrs -
Helix Ensemble - Natalia Luis-Bassa - Alan Thomas (guitar)
St Andrews Church, Countesthorpe
Roger Swann = horn
The Helix Ensemble made a welcome return to St Andrews Church with a
programme in which the first half had a distinctive latin american feel with
Natalia Luis-Bassa drawing an energetic performance of her fellow countryman
Aldmaro Romero's Fuga con Pajarillo.
Alan Thomas performed his own composition: Rhapsody on a Spanish Theme
using a very discretely amplified acoustic guitar. This piece deliberately
catches the overt romanticism of composers such as Rachmaninov and does so very
well. Alan Thomas makes the technically busy guitar part look and sound fluent
and easy. It would be great to work further with him in future concerts.
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22nd Dec 2010 - 18:30 hrs - Tannhauser - Director: Tim Albery, Musical
Director: Semyon Bychkov
The music is yet another example of Wagner's mastery as a showman and
dramatist as well as composer and orchestrator - building towards the great
climax of the third act using every musical trick in the book (off stage horns,
gallery trumpets, heavenly chorus in the gods somewhere).
The title role was taken by the considerable bulk of Johan Botha. This
was a really impressive (and hugely enjoyable) demonstration of technique and
stamina. Sung with perfect intonation and excellent projection throughout the
three and a half hours of music, this really was genuine star quality.
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de Montfort Hall, Leicester
Roger Swann = horn
A Sunday evening gala concert including lots of "popular" works proved
very popular with the audience. "Popular" the pieces may be, but that doesn't
make them easy to bring off. Claus Efland certainly makes no concessions for
the orchestra in terms of tempo!
The quality of the event was set from the opening work, a sparkling
interpretation of "Capriccio Espagnol" by Rimsky-Korsakov. The concert also
included the rarely performed "Merrymakers" by Eric Coates as well as the witty
Candide Overture by Bernstein.
Patrick White and Sue Robinson formed the alto sax section for
Shostakovich's Second Jazz Suite, capturing the smokey atmosphere of the main
waltz theme to perfection.
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27th November 2010 - 19:30 hrs - University of Leicester Sinfonia -
Michael Sackin - Simon Locke (horn)
Church of St John the Baptist, Leicester
Roger Swann = horn
St John's Church is not the ideal place to be on a bitterly cold
November evening when "problems with the heating" had arisen during the day.
The conditions made playing very uncomfortable. The small audience deserve full
marks for enduring the arctic experience.
The concert programme played to the orchestra's strength, consisting of
Mozart, J C Bach and Schubert. Schubert's Symphony No. 2 D125 was given a
particularly spritely performance bringing lots of life to this work, written
when the composer was still a teenager.
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20th Nov 2010 - 19:30 hrs - Market Harborough Choral Society - Bardi
Symphonic Wind - Anselm Kersten
The Methodist Church, Market Harborough, Leics.
Under the direction of Anselm Kersten, the Market Harborough Choral
Society are known for ambitious concert programming. Having decided to tackle
Bruckner's Mass No. 2 in E minor they were wise enough to get the wind and
brass section of the Bardi Symphony Orchestra as their accompanying
ensemble.
Placing Bruckner's two Aequale (each for three trombones) either side
of the Credo in the mass is a typical Anselm Kersten idea; perhaps not
authentic but musically quite satisfying.
Amusing and informative concert programme notes are another Anselm
Kersten speciality and this concert was no exception.
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14th Nov 2010 - 19:30 hrs - SCAW
Nottingham Boys High School Music Studio, Nottingham
SCAW (Antony Clare (piano) and Sarah Watts (bass Clarinet) are always
worthy of attention. One could be forgiven for expecting an evening of music
consisting totally of bass clarinet to become monotonous but in the hands of
these two experienced performers (and concert programmers) there is no danger
of this. The variety of styles, timbres and dynamics that Sarah Watts can coax
from the unwieldy bass clarinet is remarkable.
The world premier of Tim Benjamin's three movement sonata was perhaps
the most powerful piece presented (particularly the first movement). The
jauntiness of the (terrifyingly tricky) rhythmical final movement was also very
effective.
There was also a good sense of line in the compositional technique of
John Hails "Duo" (also a world premier) provided by a return to the sustained
single note (later modified to be a simple chromatic theme). The use of the
pool balls inside the piano was a pleasing diversion.
Your reviewer is also pleased to be able to comment favourably on the
complimentary glass of New Zealand Sauvignon Blanc served during the
interval.
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25th Oct 2010 - 17:30 hrs - Wicked
The Apollo Theatre, Victoria, London
A good romp through the period leading up to the Wizard of Oz included
some excellent lighting and a (somewhat underused) dragon with bright red eyes.
The lyrics/text included much amusing (and skillful) use of words (Stephen
Schwartz) not all of which were as audible as one has a right to expect from a
London show well into its 5th year.
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23rd Oct 2010 - 15:00 to 18:30 hrs - The Arditti String Quartet, Helmut
Lachenmann (piano), Oliver Coates ('cello), Clio Gould (violin), Sarah Leonard
(sop), Rolf Hind (piano).
The Queen Elizabeth Hall, London
The first of a two day mini-festival devoted to two works by Helmut
Lachenmann provided a fascinating insight into the mind of this seventy five
year old German. Ivan Hewett's live chat with the composer allowed him to
demonstrate his sincerity and dedication to his work together with a pleasing
sense of modesty and humour.
All the performances were of the highest class, with the Arditti
Quartet impressing with their accuracy and dynamic range (through much extended
technique) and (more importantly) their conviction to the music (String
quartets 1 and 3). It was predictably fascinating to hear the composer at the
piano for his "Ein Kinderspiel".
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16th Oct 2010 - 19:30 hrs - Nathanaelle Marie (Violin) - Barry Collett
(Piano) - Cantus Ensemble
St Mary's Church, Ketton, Rutland
Roger Swann = horn
A very welcome chance to hear Nathanaelle Marie (in past years a
regular soloist with the Rutland Sinfonia) who had made the journey from her
home in Paris especially for this event. Playing two sonatinas by Schubert as
well as six pieces for Violin and Piano by Elgar, Nathanaell Marie has an
enchanting way with the audience. Her playing is light and sensitive, playing
Elgar almost with a classical style.
With typical programming imagination Barry Collett provided musical
intermissions from the violin recital by including two of Haydn's Lira
Concertos. These rarely performed works have Haydn's characteristic wit and
charm. The Lira parts were played by husband and wife time Peter and Clare
Hitchcox on treble recorders.
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14th Oct 2010 - 19:30 hrs - Ex Cathedra Consort and Baroque Ensemble -
His Majestys Sagbutts and Cornetts - Jeffrey Skidmore
Church of St James the Greater, Leicester.
Some wonderfully pure "straight lined tone" singing from all members of
Ex Cathedra and some interesting off stage placements kept the audiences
attention throughout this performance of Monteverdi's Vespers of 1610. It's
great that the church of St James the Greater is promoting concerts of the
highest standard.
The ticket price included a complimentary glass of wine - the Chilean
red (Carmenere) tasted significantly better than the quality of wine The Royal
Opera, Covent Garden sell at towards £5 per glass!
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11th Oct 2010 - 19:45hrs - The Promised End
The Linbury Theatre, The Royal
Opera House, Covent Garden, London.
English Touring Opera performed Alexander Goehr's latest opera with the
usual quality of singing and lighting that one expects at Covent Garden. Based
on Shakespear's King Lear (but drastically reduced in magnitude) this new work
failed to project the characters of the people involved and proved a very
static affair.
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Oakham School Chapel, Oakham, Rutland
Roger Swann = horn soloist (Franz Strauss Horn Concerto Op 8)
The opening concert of the season for Rutland Sinfonia was a chance for
the orchestra to justify it's reputation for programming rarely performed works
by including a performance of Franz Stauss' Horn Concerto Op 8. This work plays
up the lyrical side of the horn to great effect and surely deserves more
frequent outings. It is not for your reviewer to comment on the quality of the
performance of the soloist. It is good to acknowledge with thanks the support
from the many friends who made a special effort to come and support the
event.
Dvorak's New World Symphony formed the second half of the concert. The
orchestra created some genuine tension and excitement towards the end of the
first movement. The front desks of the strings played with sensitivity in the
solo passage towards the end of the slow movement. Leader Sarah Latham seemed
very comfortable in the role (her first time in this position) and indeed the
strings made a good sound throughout the symphony.
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8th Oct 2010 - 19:00 hrs - Knighton Opera - Paul Jenkins - Jenny
Sherrard (producer)
Fraser Noble Hall, Leicester
The ever enterprising Paul Jenkins brought to Leicester audiences a
chance to hear Mozart's masterful comic opera The Marriage of Figaro. Sung in
English with the recitatives spoken, and using a translation that at times
might have had Lorenzo Da Ponte turning in his grave, this production
nevertheless captured the spirit of the work.
Nicola Bingham (countess) and Michelle Martin (Susanna) shown out as
jewels in the Knighton Opera cast. It was a well judged touch to have Susanna
strumming an (inaudible) electric guitar during Cherubino's first act
aria.
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3rd Oct 2010 - 19:30 hrs -
The London Sinfonietta -
EXAUDI - Baldur Bronnimann - James Weeks - Leigh Melrose (baritone)
Queen Elizabeth Hall, London
Your reviewer was suffering withdrawal symptoms as a result of not
hearing the remarkable London Sinfonietta for far too long. This concert was a
blatant reminder that they still play with stunning accuracy, technical agility
and security and communicate enthusiasm for the music to all.
Working with star guest performers whose accolades result from musical
skill rather than marketing skill has always been one of the hall marks of the
ensemble - and tonight's baritone Leigh Melrose was a classic example. His
powerful voice with clear diction made Michael Finnissy's Maldon sound like a
masterpiece.
This concert was really about Rolf Wallin's "Strange News" (which
features text by Josse de Pauw). Here harrowing video of African child soldiers
was juxtaposed with Ugandan born Arthur Kisenyi creating a role of narrator and
victim. Certainly a very thought provoking performance.
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2nd Oct 2010 - 19:45 hrs - The Charnwood Orchestra - Daniele Rosina -
Teodor Iliescu (bassoon)
Holy Trinity Church, Barrow upon Soar
Guest conductor Dan Rosina seemed particularly good at interpreting the
mood and style changes in the music. The concert opened with Haydn's Symphony
No. 80 and the first movement provided an excellent example of exactly this
quality. The opening bars were almost Wagner like in their power with an
instant contrast provided by the delicate woodwind entry.
Teodor Iliescu really sings through his bassoon making a lovely warm
smooth sound which had the audience enthralled.
Ending with Schubert's Symphony No. 5 (Dan Rosina again achieving much
variety in orchstral colour throughout this delightful work) this was a most
enjoyable event. It is pleasing to report that the church was very full and the
audience were able to enjoy a choice of wine or beer (the later provided by the
The Castle Rock Brewary)
during the interval.
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25th Sept 2010 - 19:30 hrs - The
Bardi Symphony Orchestra - The Ladies of the Leicestershire Choral - Claus
Efland - Peter Smith (tuba)
de Montfort Hall, Leicester
Roger Swann = horn
A large and enthusiastic audience heard a swirling performance of
Elgar's "In the South". Claus Efland has a good feel for the ebb and flow
demanded by Elgar's music.
Peter Smith proved just how versatile the tuba can be in his virtuosic
performance of Vaughan William's tuba concerto. At times he makes the most
light, delicate sound (not adjectives commonly associated with the tuba) whilst
moments later the instrument in his hands is soaring lyrically skyward with
awesome ease.
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23rd Sept 2010 - 19:45 hrs - Houghton Music Club
Performers Evening
St Catharine's Church, Houghton on the Hill, Leicestershire
Roger Swann = horn
Another classic Houghon Music Club evening with a very wide range of
musical styles (and performance styles) represented. Of the many special guests
the funky sound of the sax duet (Gary Mills (Baritone sax) + Jane Calow (Alto
sax)) brought a smile to the lips of the audience members, who also appreciated
the welcome return of Karen Herringshaw and her delicate, fluent, performance
of Bach's Prelude No. 1 BWV 946.
The evening ended with three arias from Mozart's Marriage of Figaro,
with the soprano's Nicky Bingham and Michelle Martin both singing with power,
expression and accuracy.
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Leicester Cathedral.
The world premier of John Woolrich's "From the Eastern Roses" was
imaginatively programmed by Festival Director Nicholas Daniel between two
unaccompanied string instrument solos by J S Bach. Specifically requesting no
applause between the pieces immediately increases the attention of the audience
and creates a more intimate atmosphere, very appropriate for the event. Written
for the oboe d'amore and string quartet, rather than bask in the instruments
warm lyrical side Woolrich chooses a less romantic approach, frequently taking
advantage of the instruments clarity in the upper register (at least in the
hands of expert Nick Daniel). It's almost as if the strings keep trying to
inflect mood changes into the music (at times stridently rhythmic, at others
hushed and tender) which the oboe d'amore constantly resists. The 8-o-clock
chimes by the cathedral bells were less of an interuption than you might
expect.
The Leicester
International Music Festival is a major feature on the Leicestershire music
scene. The team of volunteers who provide the driving force and administrative
expertise that allow the festival diretor and his musicians to visit the city
and play to such consistently high standard deserve recognition and
thanks.
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18th Sept 2010 - 20:00 hrs -
City of Birmingham Symphony Orchestra -
Andris Nelsons - Marina Shaguch (sop), Erin Wall (sop), Carolyn Sampson (sop),
Katarina Karneus (mezzo), Mihoko Fujimura (mezzo), Sergei Semishkur (ten),
Christopher Maltman (bar), Stephen Gadd (bar), CBSO Chorus, CBSO Youth Chorus,
CBSO Children's Chorus, Halle Choir, Members of the City of Birmingham
Choir.
Symphony Hall, Birmingham.
It is difficult to imagine how any performance of Mahler's Symphony No.
8 could ever not be a remarkable occasion. From the striking opening bars to
the closing climax this is an amazing exercise in orchestration and can't help
but uplift listener.
Andris Nelsons seemed to keep the huge choir, spread down the sides of
the halls upper balconies, absolutely as one (at least from your reviewers seat
in the middle or the rear row of the stalls) making the choral contribution
heavenly.
This was the first choral concert (as opposed to opera) your reviewer
has been to in which surtitles were used to project a translation of the words.
Effective? In the case of this symphony, perhaps not. The translations
inevitably seem a trifle banal and the music itself seems a much more fitting
illustration of each phrase's meaning.
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New Walk Museum, Leicester.
John Woolrich is very fortunate to have such a powerful advocate of his
music as the oboist (and Festival Director) Nicholas Daniel. The quality of his
musicianship combined with his superb oboe technique could make even "average"
music sound good - and "Kingdom of Dreams", written for Nicholas Daniel by John
Woolrich in 1989, clearly could not be classed as merely "average". Carefully
crafted with some attractive dialog between the piano (Charles Owen) and the
oboe interspersed with oboe solo writing with supportive piano accompaniment
the work reminded one, at times, of the music of Toru Takemitsu. Instead of the
slightly miserable quality possessed by most of his Japanese near
contemporary's music John Woolrich writes with a happy lightness of touch in a
most pleasurable way.
James Gilchrest has a magic stage presence, much of it due to his
complete belief in (and obvious passion for) the music he is about to sing. One
thought his performance of Schumann's Liederkreis, Op 39 would have been a
difficult act to follow, yet the playing of Priya Mitchel (violin), David Cohen
('cello) and Alexander Longquich (piano) in Schubert's Piano Trio No. 1 in B
flat D898 was so full of the obvious pleasure of the performers that they came
dangerously close to being the wining team in this concert of high class
exponents.
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15th Sept 2010 - 19:45 hrs - In The Penal Colony
The Linbury Theatre, The Royal
Opera House, Covent Garden, London.
A particularly gruesome tale of torture and execution by Philip Glass
brought to life by the enterprising Music Theatre Wales and their director
Michael McCarthy. The five strings, conducted by Michael Rafferty seemed
comfortable with Glass' complicated rhythmic score and Omar Ebrahim projected
the voice of "The Officer" with great clarity.
The blood on the final victim at the end left a deep impression !
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