** Positive Points about Various Concerts **
Season - 2013/2014
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14th Sept 2014 - 19:30 - Houghton Music Club Presents: -
The Rutland Big Band
Houghton on the Hill Village Hall, Leics
Directed by Marcus Reynolds the Rutland Big Band play with both
precision and energy. Marcus Reynolds ensures good dynamics and changes of tone
colour keep the music alive and interesting. All sections are strong and the
range of music they include is varied. This was a good example of the Houghton
Music Club demonstrating it's commitment to a broad range of music making.
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6th Sept 2014 - 20:00 hrs - Casualties of War -
Richard
Roddis (tenor) - Clive Pollard (piano) - Rosalind Williams (reader) -
Gillian von Fragstein (reader)
St Mary's Church, Wirksworth (Presented as part of the
Wirksworth
Festival)
A quiet reflective way to spend a saturday evening in the company of
words and music from poets who perished or suffered greatly during the
1914-1918 war. Both readers were perfectly miked and wisely chose to let the
words speak for themselves rather than trying to add any great
histrionics.
Richard Roddis was on fine form (the lengthy evening must have a been a
demanding sing), not shying away from some powerful high notes and getting most
of the text across to the audience without seeming to exaggerate the consonants
in any unnatural way.
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Cadogan Hall, London
Another 80th birthday celebration (see 30th Aug 15:00 hrs, below), this
time Sir Harrison Birtwistle was the focus of attention. Oliver Knussen
conducted two pieces which helped cement both Birtwistle's reputation and his
style at the end of the 1960s and start of the 1970s.
The musicians of the BCMG certainly gave the London Sinfonietta a run
for their money - with some outstandingly tight tuned percussion (Julian
Warburton, Simon Librick, George Barton) being but one example of precision
playing that lost no excitement or energy through being accurate.
As well as the two main works "Verses for Ensembles" and Meridian, the
three oboists and harpist played Dinah and Nick's Love Song, a short work based
on the spatial idea of having the oboists around the gallery of the hall.
Tranquil and effective use of minimal material - not a phrase one commonly
associates with this composer.
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30th Aug 2014 - 19:30 hrs -
BBC Prom 58 - Deutsche Oper
Berlin - Donald Runnicles
Royal Albert Hall, London
A concert performance of Salome allows you to revel in the
orchestration of Richard Strauss. Surely, when he added a small but important
part for an organ he can't have visualised it being played on the magnificent
organ of the Royal Albert Hall. One danger of a concert performance could be
the overpowering of the singers (particularly in such a large auditorium).
Absolutely no danger of this with the extraordinary power of Nina Stemme in the
title role. Her acting (under close scrutiny from the proms arena) was of an
equally high level.
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30th Aug 2014 - 15:00 hrs -
BBC Saturday Matinee Prom 3
- London
Sinfonietta - Sian Edwards - Timothy Gill (cello) - Rebecca Bottone
(soprano)
Cadogan Hall, London
Great to see the lucid Peter Maxwell Davies in the audience
(interviewed on stage by Clemency Burton-Hill) in this concert to celebrate is
80th birthday. He had chosen three pieces from his substantial portfolio. Much
of this tested the virtuosic players of the London Sinfonietta to the limit
(John Orford's bassoon sounding a times like a wailing saxophone and some
effortless very high playing from horn player Michael Thompson being two
examples). Timothy Gill's musical dialog with first violinist Alexandra Wood in
the upper stratosphere of harmonics in Linguae Ignis was a good example of the
understanding of instruments capabilities of Peter Maxwell Davies.
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10th Aug 2014 - 14:00 hrs -
The BM & W Brass
Band - Graham Randle
The Belper River Gardens, Belper, Derbyshire.
Raining hard at 13:45, but the Brassington, Middleton and Wirksworth
Band set up regardless and were rewarded with 2 hours of dry weather from the
start time of 14:00 hrs with many sunny intervals. Brass band music in the park
is quintessentially English (particularly when dodging the inclement weather)
and this event was hugely enjoyable. A slightly tongue in cheek bit of
programming meant we were treated to a rather clever arrangement of "I'm
Singing in the Rain".
Rather unusually, the band also featured David Brown singing "Keep the
Home Fires Burning". This was a very commendable turn by the soloist. It is
always challenging singing above a brass band accompaniment, even more so when
outside. The audience enjoyed joining in with the chorus to this well known
song from the 1914-18 war.
Brassington, Middleton and Wirksworth Band with their entertaining
conductor, Graham Randle, in full swing in The Belper River Gardens.
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7th Aug 2014 - 18:15 hrs - David Clark (baritone), Abigail Johnson
(piano) with Richard Gill
Bishop Street Methodist Church, Leicester.
An hour of songs more or less related to the 100th anniversary of the
start of world war 1 introduced with clarity and lucidity by Richard Gill (who
also read three short poems dating from the 1914-1918 war during the
evening).
David Clark and Abigail Johnson worked well together (consideration had
been given to the balance with the piano lid wedged just open by the careful
placement of single book), the climax of Ivor Gurney's "By a Bierside" (words
by John Masefield) achieving genuine power and depth by both performers.
At the opposite end of the dynamic spectrum was the pianisimo ending to
match the poet's sting in the tale of the final song in George Butterworth's
song cycle "A Shropshire Lad" (words by A E Houseman).
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26th July 2014 - 19:30 hrs - Voces8
St Andrews Church, Lyddington.
Part of the enterprising Music in Lyddington series, this
concert saw an absolutely jam packed church enjoy a very varied programme
presented by the eight voices of Voces8.
Good throughout, highlights included the antiphonal Magnificat Quinti
Toni by Hieronymus Praetorius and Rachmaninov's Borgoroditsye Dyevo which
included much effective pianissimo singing.
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25th July 2014 - 19:30 hrs - Moses und Aron,
Welsh National Opera
The first visit in what promises to be a new relationship between the
Royal Opera and Welsh National Opera was WNO's performance of Schoenberg's
rarely performed Moses und Aron. The work was never completed; the libretto for
the third act exists but no music.
John Tomilinson took on the title role, cast as an ageing professor
attempting to lead his students (of life?) according to the messages he
receives from above. His staggering around the lecture theatre certainly had an
air of authenticity.
The orchestra of WNO (conducted by Lothar Koenigs) seemed very
comfortable with Schoenbergs intricate and demanding score.
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17th July 2013 - 19:45 hrs -
Mahogany Opera Group -
Gloria A Pigtale
A not completely convincing evening! In spite of HK Gruber's relatively
light orchestration much of the dialog was lost (perhaps due to the decision of
having the band on the stage rather than in the pit?). Without dialog it was
not easy to establish exactly what was going on, leaving the visual gags to
look a bit silly out of context.
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16th July 2013 - 19:15 hrs - Royal
Shakespeare Company - Two Gentlemen of Verona
RSC Theatre, Stratford upon Avon
An evening of amusement with a happy ending and an excellent role for
Mossup (a grey haired lurcher) taking the role of Crab, Launce's dog. The
acting from the leads was excellent throughout with Shakespeare's words being
as ever a joy to listen to. The production also featured some short but helpful
musical contributions from a tight ensemble directed by Gareth Ellis.
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5th July 2014 - 19:30 hrs - COMA East Midlands - Kieran O'Riordan
St Jude's Church Hall, Mapperley Nottingham
Roger Swann = horn
It is great to present contemporary music (of the thirteen pieces
performed, six were written by people present for the concert) to a good sized
attentive audience. Of much interesting music one highlight was "Nocturn in CU"
by Tom Zadik, his first piece for the ensemble inspired by his recent
experiences in the Cardio Unit of a Nottingham Hospital.
The group's improvisation on a print "Long Landscape" by Alan Jenkins
demonstrated the ability of players to listen and respond to each other's
musical ideas.
This concert also saw the world premier of your reviewer's computer
controlled piece: Just
Sit
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29th June 2014 - 19:30 hrs -
University of
Leicester Sinfonia - Michael Sackin - Abigail Johnson (piano)
Fraser Noble Hall, Leicester
One of Maestro Michael Sackin's strengths is his empathy with the
classical repertoire. Tonight's concert drew on this expertise, with the most
recent work presented being Beethoven's second symphony in D maj. Good 'cello
and bass section playing was in evidence, particularly in the slow movement.
The concert started with one of Michael Sackin's deservedly favourite
works, J. C. Bach's Symphony in B flat major Op 18 No. 2. Dan Saunders (oboe)
deserved his singleing out for applause for his attractive oboe solo.
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28th June 2014 - 19:30 hrs -
The Charnwood Orchestra - Nic Fallowfield -
Fenella Humphreys (violin)
St James the Greater Church, Leicester.
The final concert of the Charnwood Orchestra's 40th Anniversary season
(the orchestra was started in 1973 by Jo O'Reilly) gave the orchestra a chance
to demonstrate it's strength in three important areas.
A) Variety of repertoire: The concert started with two rarely heard
tone poems by Liadov.
B) The ability to attract a high class of soloist: Fenella Humphreys'
performance of the Tchaikovsky Violin Concerto was staggering in it's technical
security (with no concessions made on choices of tempos) and strength and
beauty of tone. From the opening bars this was a completely captivating
performance. It was very noticeable how the orchestra's playing rose in
response to the soloist's musicianship.
C) Technical security: Having the self-confidence to programme the
challenging "Symphonic Dances" by Rachmaninov and then having the skill to be
able to pull it off on the night! Well done to both players and conductor Nic
Falowfield.
Select members of the Charnwood Orchestra preparing for the evening's
concert. Left to right: Jo Chapman (horn), Heather Marshall (viola), Simon
Marshall (horn), Martin Gilding (horn)
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26th June 2014 - 19:45 hrs - Quartett
Luca Francesconi's opera Quartet was given it's premier at La Scala,
Milan in 2011. Here, director John Fulljames has created an intimate version
for the Linbury Theatre. Andrew Gourlay conducted a characteristically superb
London Sinfonietta in the pit and there was some mood setting lighting to enjoy
designed by Bruno Poet.
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20th and 21st June 2014 - 19:30 hrs -
Knighton Chamber
Orchestra - Paul Jenkins - Soh-Yon Kim (violin) - Alan Speight
(baritone)
The Richard Attenborough Centre, Leicester
Roger Swann = horn
There are arguments fore and against repeating the same concert on
successive nights in the same venue. Perhaps the audience is divided and one
loses a little of the atmosphere of a "packed house" (although the Saturday
evening drew a good sized audience). Perhaps the Friday evening may be
considered a "dress rehearsal" for the following night (although on this
occasion different moments became precarious on the two different evenings).
Either way, Paul Jenkins manages to create a pleasant informal atmosphere,
helped by the orchestra playing in different coloured shirts and his short but
effective "chats" with the audience between some of the pieces.
21st June clashed with Kasabian's appearance at Victoria Park, just up
the road from the Richard Attenborough Centre. at 21:13 hrs the band proper
started up - right in the middle of the first movement of Soh-Yon Kin's
peformance of the Beethoven Violin Concerto. From this moment on both soloist,
conductor and orchestra showed admirable concentration, although sadly the
heavy beat music did mean that any chance of musical nuance was
impossible.
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17th June 2014 - 19:30 hrs - Benvenuto Cellini -
English National Opera
The Coliseum, London.
Berlioz colourful orchestration was overwhelmed by even more dazzling
antics on stage (at times overspilling into / onto the audience). This was not
opera at it's most subtle but perhaps at it's most fun. The over-the-top
direction by Terry Gilliam meant that one was often distracted from both the
music and the plot development by on stage peripheral "business". Michael
Spyres in the lead role out sung his male colleagues (with the possible
exception of the great Willard White taking the almost walk on role of the
pope).
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The Coliseum, London.
The first production of Julian Anderson's first opera is based on
Sophocles three plays telling the Oedipus tale. An atmospheric set, excellent
singing (and diction) from all the cast and equally fine playing from the ENO
orchestra under Edward Gardner made this a compelling evening - so much so that
your reviewer failed to notice the passage of time (well beyond both the
originally advertised running time of 2 hours and the time quoted in the
programme of 2 hours and 15 mins) and missed his booked return train.
There were moments where the music was distinctly reminiscent of
Messiaen. At other times the repetition reminded one of the music of John
Adams.
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29th May 2014 - 19:30 hrs - The Britten Sinfonia - Britten
Sinfonia Voices - Balder Bronnimann
The Barbican Hall, London
A rare chance to enjoy Birtwistle's Yan Tan Tethera: A Mechanical
Pastoral, given here in a semi-staged performance designed and directed by John
Llyod Davies. Opera rarely suffers from being "semi-staged", the restrictions
imposed by cost, time and venue basically prohibit ridiculous off-beat
interpretations of the work being staged. Here was a perfect example. Simple
and unfussy use of video images together with the placement of the two opposing
shepherds on opposing sides of the stage allowed Birtwistles dramatic narrative
to come through with full force, admittedly with the benefit of excellent
singing from the three main characters (Roderick Williams [Alan], Omar Ebrahim
[Caleb Raven] and Claire Booth [Hannah].
Birtwistle uses the Cumbrian shepherd with his Cumbrian sheep counting
to represent good and the Wiltshire shepherd with his black faced sheep to
represent evil. A simple enough concept but his work leads you to believe that
evil is going to triumph over purity until close to the end when the moral
"greed does not lead to happiness" surfaces.
The concert was part of the Barbican's series celebrating Harrison
Birtwistle's 80th birthday. It was great to see him in the audience.
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26th May 2014 - 19:00 hrs - Leicester Symphony Orchestra - John
Andrews
St Michaels Church, Leuven, Belgium
Roger Swann = horn
The second concert of this brief but enjoyable tour to Belgium saw the
orchestra in a church in the centre of the attractive town of Leuven.
It is always fun to play the horn parts in Humperdinck's prelude to the
opera Hansel und Gretel. This piece makes a perfect opening when performed in a
church with a generous acoustic.
John Andrews secured a well paced morendo at the end of Holst's
Somerset Rhapsody.
LSO (overseas) horn section enjoying a drink in paradise (Stella Artois
guide, Luke's term for the bar in the brewery in Leuven at the end of his
enlightening and amusing tour - 10:30 hrs on 27th May 2014). Left to right, Roz
Saunders, Roger Swann, Nigel Moore (principal), Julian Haslam.
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25th May 2014 - 18:00 hrs - Leicester Symphony Orchestra - John
Andrews
Collegiale Notre-Dame, Dinant, Belgium
Roger Swann = horn
A great chance to play in this grey church in the pretty village of
Dinant set in a limestone valley somewhat reminiscent of Matlock Bath in
Derbyshire. The church was partly destroyed by the Germans at the very start of
the first world war but has been restored to glory complete with some
impressive stained glass windows.
Leicester Symphony included a performance of Geoff Tomlinson's
Sinfonietta No. 2 and the sound of the percussive final staccato crotchet
resounding around the heights of the building will be remembered for some time
to come.
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Town Hall, Loughborough, Leics
Greasepaint seem on a roll presenting shows a little off the beaten
track. In doing so they give the people of Loughborough a chance to enjoy some
of the rarer musicals of the 21st century. This show is wacky! The use of
puppets for most of the main characters allows it to confront the audience with
songs about racism, internet pornography and homosexuality - and that's only
the first half of the show!
All the characters were brought to life by their puppeteer masters,
especially the romantic couple of Princeton (Gareth Wynne) and Kate Monster
(Morven Harrison - attractive singing too). Director Shane Perry has pulled
together a good backstage team too; the show demands some well timed electronic
technical effects which all went exactly to plan on this first night
performance.
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18th May 2014 - 19:00 hrs - The
Bardi Orchestra - Claus Efland - Rita Cullis (sop)
de Montfort Hall, Leicester
Roger Swann = horn
A warm evening and a chance to enjoy the wonderful singing or Rita
Cullis and the luscious orchestration of Richard Strauss in his Four Last
Songs. Claus Efland is completely at ease with range of moods and colours that
Stauss calls for in his masterpiece. The orchestra responded well to the
conductor's demand for intensity of tone sustained at a low dynamic. As if
inspired by the playing and singing, there was also a beautifully drawn violin
solo (leader Adam Summerhayes) and sensitive horn solo (Mark Penny [who also
shone in the obligato horn part in Mahler's 5th Symphony in the second half of
the concert]).
Mahler 5 horn section (taking a bow at the end of the concert): Front
row, left to right, Roz Saunders, Roger Swann, Julian Haslam, Mark Penny
(principal). Back row, left to right, Nigel Moore, Balazs Hegedus
( Photograph: David Calow - CalowCraddock Ltd
david@calow2craddock.co.uk Tel: 07825 537647 )
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10th May 2014 - 19:30 hrs - Helix Ensemble - Clare Bhabra
(violin/musical director) - Jane Ford (piano)
St Mary's Church, Belper, Derbyshire
Roger Swann = horn
Part of the Belper Arts Festival, the Helix Ensemble had the great
pleasure of working with guest leader Clare Bhabra, a lady who is a definite
advocate of leading by example. With positive encouragement and intelligent
suggestions she coaxed some first class playing from all members of the
ensemble. The music making was well received by the good sized audience, as was
the piano playing of soloist Jane Ford. She had given lots of thought to her
interpretation and pacing of Mozart's Piano Concerto No. 16 (K453). This was a
performance without any fancy pretentious manipulations, allowing Mozart's
writing to speak for itself to great effect.
Also in this typically eclectic programme was the rarely performed
Martinu nonet (Op 374), another chance for the players to demonstrate their
ability to tackle challenging works using only ears and sight to maintain tight
ensemble.
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Fraser Noble Hall, Leicester
Roger Swann = horn
A concert of two halves: Firstly, music by Richard Strauss including a
tiny sample (four) of his output of songs with orchestral accompaniment sung by
Sara Humber with the perfect combination of ominous and joyful tone that the
music of Strauss always demands. Audience and performers alike were consistent
in their wonder at Strauss' orchestration. Leader Liz Murphey's immaculately
judged (and technically controlled) expansive yet intimate violin solo in
"Morgan" was definitely worthy of mention.
Michael Sackin's imaginative programme was completed by an all too rare
performance of Cesar Frank's D minor Symphony. This provided many technical
challenges to the orchestra which were by and large surmounted in the
concert.
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27th April 2014 - 18:30 hrs - COMA Joint Concert - COMA Leeds - Stuart
Hazelton - COMA East Midlands - Kieran O'Riordan
Millenium Hall, Polish Catholic Centre, Sheffield, S11 8PY
Roger Swann = horn (COMA East Midlands)
One of the striking things about the COMA East Midlands ensemble is how
seriously they take their performances even when faced with audiences as low as
eleven. It is great to be able to report that COMA Leeds who joined the
ensemble for this joint concert took exactly the same positive approach.
Having a different line up to their East Midlands colleagues provided
some variety the audience and enabled them to include Astor Piazolla's
"Oblivion" which capitalised on the excellent English Concertina playing of
Graham Hefferman.
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10th April 2014 - 19:45 hrs - The Crackle
A new opera from Mathew Herbert (composer, libretto and director) which
asked the audience to use the "chirp" app on their mobile phones for additional
feedback (your reviewer doesn't own a mobile phone but post event feedback
didn't seem to suggest this was a significant bonus) and the spinning tubes of
Andy Cavatorta's "Dervish" machine/instrument. The "trying hard" music teacher
selling out to the devil rang true with the twist at the end adding an
additional kick to the tale.
Stephanie Marshall (Susannah) and Andrew Dickinson (George)
communicated well to the audience but were almost upstaged by the almost
unbelievably high quality of the children from the Royal Opera House Youth
Opera Company. This organisation clearly draws young people from all sorts of
ethnic backgrounds and some how gets them to sing with outstanding ensemble and
intonation.
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7th April 2014 - 19:30 hrs - The Magic Flute -
English Touring Opera
English Touring Opera's first of two nights was Mozart's late
masterpiece (K620) here given in a way to emphasise the dark side of the Queen
of the Night (Laure Meloy) and her entourage. Clever use of trap doors kept the
audience guessing what was coming next. Sung in English, the three leads
(Tamino (Nicholas Sharratt), Papageno (Wyn Pencarreg) and Pamina (Anna
Patalong) all projected with clear diction such that very few words were lost.
The main theatre at the Curve does seem to suit opera rather well. The show
attracted a sell out audience. The orchestra conducted by James Southall played
very tidily throughout.
ETO are also presenting Paul Bunyan in Leicester (see review of 17th
Feb 2014, below). They are also touring Tippett's rarely performed King Priam
and it is such a shame that the Leicester audience were not given a chance to
enjoy this work.
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5th April 2014 - 19:30 hrs -
Leicestershire Chorale
and Leicester Cathedral Youth Choir - Tom Williams - (counter tenor) - Stephen
Jeffes (tenor) - Jonathan Saunders (baritone)
Leicester Cathedral, Leicester
This performance of Bach's Johannes Passion drew a large attentive
audience and their concentration was repaid by some vigorous singing by Stephen
Jeffes as the Evangelist and Jonathan Saunders. Your reviewer's experience of
this music performed on period instruments by the accompanying ensemble
Leicestershire Camerata Baroque is limited (but see also review of 14th Oct
2010) but the strange (to this ears) emerging from the baroque bowed strings
were fascinating. Vibrato free (except for Mark Hacking's viola da gamba
recitative passage which as a result seemed incongruously warm) this allowed
the singing to project through with a joyous ease.
Tom Williams characteristically drew powerful crisp singing from the
combined choirs.
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5th April 2014 - 14:00 hrs - Leicester-Shire (sic) Schools Music
Service - Afternoon Concert
Holy Trinity Church, Leicester
All three ensembles represented this afternoon offered a set of pieces
chosen to provide interest and variety. The Training Band followed an original
compostion by Brian Connery "The Champions" with some excellent playing of
tunes from Grease and many of the James Bond films. This was followed by the
first movement of Dvorak's New World Symphony (here given a less indulgent
tempo change in the flute solo passage than other recent hearings - well judged
by conductor Mike Shaw) and "The Great Locomotive Chase by Robert Smith (great
extended technique moments to create an atmospheric train mood). Good to have
programme notes written by a member of the orchestra, Sarah Parkin. This
performance by the Concert Orchestra contained much to enjoy; Splendid.
We also had a chance to hear some skillful musicianship by the Flute
Choir (conductor Jo Conquest). Some subtle changes of tempo and dynamics in
Samuel Wesley's Gavotte being only one of many such examples.
Here's a picture of Pippa Haslam (Training Band) demonstrating a first
class "non-smiling" embouchure.
( Photograph: Roger Swann)
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Christchurch Baptist & Methodist Church Hall, Clarendon Park,
Leicester
A very bold choice of opening: The first movement of Beethoven's
Symphony No.5, Op.67. Confident and well prepared conducting by Jo Conquest
meant all tricky corners (and in particular the notorious opening) were
negotiated with an impressive ensemble accuracy. The orchestra emphasised their
comfort with the technical challenges by taking the exposition repeat and
maintaining tightness across all sections.
After playing Elgar's lyrical Chanson de Matin they completed their
programme with an exciting rendering of Bizet's Farandole from
L'Arlésienne Suite No. 2. It was an imaginative touch to have the brass
stand up for the final statement of the main theme.
Both the orchestra and their audience have grown in size considerably
since their Christmas performance. The very high quality of the cake offered to
the audience after the concert remains consistently excellent.
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2nd April 2014 - 19:30 hrs - Philharmonia Orchestra - Edward Gardner -
Ruxandra Donose (mezzo-sop)
de Montfort Hall, Leicester
After the amazing quality of the playing of this orchestra under Lorin
Maazel (11th March 2014, below) Edward Gardner's interpretations sounded
distinctly heavy handed, with the all to common problem of the brass and horns
frequently over dominating. The audience did have the chance to enjoy Berlioz
rarely performed "La mort de Cleopatre, scene lyrique" and Elgar's wonderful
Symphony No. 1.
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31st March 2014 - 19:45 hrs -
Houghton
Music Club - Houghton Singers
Houghton on the Hill Primary School Hall, Houghton on the Hill.
Roger Swann = horn
Another example of the broad range of music to be heard at Houghton
Music Club events. Two sets of arrangements of music from the shows
enthusiastically directed by Helen Noble (who also elegantly sung a solo in one
of the arrangements, modestly not turning to face the audience) were separated
by the (very contrasting) second performance of your reviewer's own "Four
Corners". Trying to match up to Helen Noble's example it would seem
inappropriate to add anything further!
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29th March 2014 - 19:30 hrs - The Play That Went Wrong
Mischief Theatre's play
(written and performed by the group) had the audience laughing out loud from
before the start, to the very end (including the actors looking for the "lost
dog" in the bar during the interval). The play was all the more hilarious for
your reviewer who has certainly observed some of the "things going wrong"
happen exactly as on stage as genuine mistakes in other amateur dramatic
productions. We've all seen the characters presented in real life am-dram too!
(and they came complete with all too real fictitious CVs in the programme as
well).
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26th March 2014 - 19:30 hrs - Die Frau Ohne Schatten
Semyon Bychkov demonstrated his complete empathy with Strauss'
orchestration, allowing every inch of colour to come through from the vast
orchestra yet keeping the dynamic always under control allowing the cast of
singers to sing without having to fight to be heard. What a cast of singers!
This was singing out of the top drawer from all on the stage so your reviewer
will limit credits to the main characters: Michaela Schuster (Nurse), Johan
Botha (Emperor), Emily Magee (Empress), Elena Pankratova (Barak's wife) and
Johan Reuter (Barak).
A simple stage was used with unobtrusive video and some striking
costumes (the falcon and the gazelle for example) and the whole production was
simply glorious. One has to yet again recognise the quality of orchestral
playing on display here by all the musicians of the Royal Opera House
orchestra. Strauss has written a very challenging 1st horn part played here by
Simon Rayner with complete technical security and the utmost sensitivity.
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23rd March 2014 - 18:30 hrs - Loughborough Endowed School Gala Concert
- Richard West - Theodora Raftis (sop) - Christopher Griksaitis (tenor) -
Samuel Oram (baritone)
de Montfort Hall, Leicester
Roger Swann = horn (Carmina Burana - The Bardi Orchestra )
The first half of this spectacular comprised performances by a series
of different ensembles drawn from the Loughborough Endowed Schools and they all
sounded excellent back stage, where members of the Bardi Ochestra waited
patiently for the climax of the event, a performance of Carl Orff's Carmina
Burana. This piece is always a good choice for "show stopping" finale. Richard
West conducted his masssed choirs with authority and the three young soloists
proved that they will be names to watch out for.
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22nd March 2014 - 19:30 - Strictly Swinging Big Band Spectacular -
The Rutland Big Band
Victoria Hall, Oakham, Rutland
Tight playing from all sections under the expert direction of Marcus
Reynolds provided an impetus for some rather good ballroom dancing. The band
played a good selection of pieces of different styles; good entertainment!
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21st March 2014 - 19:30 - La Fanciulla del West -
Opera North
Theatre Royal, Nottingham
Usually translated as "The Girl of the Golden West" Puccini's opera of
1910 is set in a "wild west" bar in gold rush California but the music is
unmistakably Puccini romance. The stage action is ultra-romantic too and
(strangely for opera) has a happy ending and a zero dead body count. Each act
was preceded by a brief projection of almost cartoon like nature which set the
scene rather well for the slightly surreal experience of the contrast between
the language (both musical and libretto) and the actual stage plot (which bares
an uncanny resemblance to the plot of Bob Dylan's "Jack of Hearts" (Blood on
the Tracks)).
Orchestra (conducted by Richard Farnes) relished the luscious Puccini
orchestration (rarely has a wind machine been used so effectively) and the
three lead roles (Alwyn Mellor (Minnie), Rafael Rojas (Johnson/Ramerrez) and
Robert Hayward (Jack Rance)) all sang with good intonation and projection.
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19th March 2014 - 19:45 hrs - The Commission / Cafe Kafka
A double bill of new operas jointly commissioned by Aldburgh Music, The
Royal Opera and Opera North is always going to be an exciting hit & miss
event. The Commission (music Elspeth Brook, libretto Jack Underwood) was densly
packed with challenging ideas testing the audience comprehension to the limit!
Some colourful orchestration (with unusual instrumentation) worked well with
the singing.
Cafe Kafka (music Francisco Coll, libretto Meredith Oakes) used a late
night bar to explore the loneliness of individuals and the way this affects
their interaction. A clever set design drew admiration.
***********************************************************************
17th March 2014 - 19:30 hrs - Martin
Taylor
Martin Taylor's own words: "It's a bit weird coming out on a Monday
night just to hear some guy play a guitar". Weird? maybe. But the artistry of
the playing on display makes for a captivating yet curiously relaxing evening.
His complex variations on the "tunes" (again his word) he plays, whilst being
technically challenging always seem to roll through harmonic progressions with
a natural inevitably. Underneath all this his left and right hands move with a
synchronisation that seems even more certain than the presence of rain in the
Lake District.
***********************************************************************
16th March 2014 - 15:00 hrs - The
Bardi Orchestra - Claus Efland - Samantha Ward (piano)
de Montfort Hall, Leicester
Roger Swann = horn
An all american program gave the brass, horns and percussion a chance
to play Copland's Fanfare for the Common Man. There is some satisfaction in
feeling many audience members jump at the sound of the opening percussion
beat.
Another moment of excellent sound came in the opening chords of the
slow movement of Dvorak's New World symphony, here played with accuracy and
unanimity to give just the ominous sound Claus Efland was looking for.
***********************************************************************
15th March 2014 - 19:30 hrs -
Nottingham Symphony
Orchestra - Derek Williams - Bradley Creswick (violin) - Rachel Nicholls
(sop)
Albert Hall, Nottingham
Roger Swann = horn / wagner tuba
Able to enjoy the Brahms Violin Concerto from the audience perspective
turned out to be a real bonus. Bradley Creswick's lyrical playing showed
genuine empathy with the spirit of the two major movements in this concerto and
he communicated a jaunty joyful playfullness to the audience in the
finale.
It would have been bliss just to have a chance to play the Immolation
Scene from Wagner's Gotterdammurung, but this potential bliss was brought to a
much higher level thanks to the physical power of Rachel Nicholls singing. Ms
Nichols projected Brunhilde's dying words with intense passion and yet
technical ease that makes a true Wagnerian voice. The wonderful Albert Hall
provides a space more intimate than most opera houses and this only served to
intensify the experience for both the audience and performers.
What would you follow such an exciting pair of soloists in the first
half? The enterprising Nottingham Symphony Orchestra offered a vigorous
performance of Strauss' An Alpine Symphony. This took advantage of the
magnificent organ in the hall and demonstrated strength throughout all the
principal chairs in the wind and brass (not least including some wonderfully
sustained playing from 1st Horn Robert Parker). The full off-stage horns/brass
made their presence felt in their big moment and the whole panorama was matched
with some beautiful alphine scenes projected behind the orchestra throughout
the journey.
Horn and Wagner Tuba section, together with the offstage band and two
stray alpine horns.
Front Row: Wagner Tubas (l-r) Jo Chapman, Roger Swann, David Leeder,
Stuart Bower
Second row: On stage horns (l-r) Gill Colley, Edward Slater, Andrea
Hemmett, Richard Madin, Robert Parker (principal)
Third Row: Offstage horns (l-r) Lucy Salmon, Greg Place, Lynne
Bottomley, Jacob Hunt, Robert King, Mel Barrett
Fourth Row: Offstage horns (l-r) Sarah Wesker, Zoe Wardell, Elliott
Howley, Michael Kurlak, Tim Lee, Thomas Lark
Fifth Row: Offstage trombones (l-r) Nadine Leeder, Thea Bishop;
Offstage trumpets Morley Norris, Martin Cresswell
***********************************************************************
11th March 2014 - 19:30 hrs - Philharmonia Orchestra - Lorin Maazel -
Esther Yoo (violin)
de Montfort Hall, Leicester
An expanded Philharmonia demonstrated virtuosic playing in spades in
two orchestral show pieces by two masters of harmony and orchestration.
Strauss' Also Sprach Zarathurstra gave the back desks of the cellos and basses
a chance to show that they were the equal of their leaders and featured some
remarkably accurate but penetrating trumpet playing. Time and time again it is
the string playing that makes this symphony orchestra shine and Maazel
certainly allowed this strength to come through. The final piece was an equally
exhilarating set of excerpts from Prokofiev's Romeo and Juliet.
Lorin Maazel conducted the whole concert from memory and gave all
manner of helpful leads to the players with a curious almost throwing like
action. All remarkable given his year of birth being 1930. The admiration and
respect from the members of the Philharmonia was as obvious as it was well
deserved.
***********************************************************************
8th March 2014 - 11:30 hrs - Piano Recital - Gillian Butcher
The Chapel Cafe, Bishop St Methodist Church, Leicester
An inventive idea to offer a recital of music by female composers on
International Womens Day. Gillian Butcher introduced each work with a brief
(but frequently fascinating) biography. As well as obvious (but very worthy)
choices such as Amy Beach, Cecile Chaminade, Clara Schumann and Fanny
Mendelssohn we had a chance to be introduced to some new names, including
Dorothy Albery's (dates given only as "flourished in the 1920s"!) wistful and
melancholic Prelude in D flat and Teresa Carreno's very gently flowing Le
Sommeil de l'Enfant Op. 35.
The recital also included excellent, but contrasting, works by two
local composers, both played with appropriate sensitivity (Rosemary Duxbury's
In The Masters Love") and attention to detail (Sonja Grossner's Romeo and
Juliet Suite (sadly only six of the eight movements)).
It was a great shame that much of Gillian Butcher's carefully thought
out performance was at a level of subtlety that was lost under the background
noise from the cafe and it's patrons. The combination of a piano recital and a
coffee shop is one which benefits the cafe customers at the severe detriment of
the audience. Likewise much of the vocal introduction was also inaudible
against the background noise. This seems such a waste, given the obvious effort
Gillian Butcher had gone to in preparation for the performance.
***********************************************************************
The Little Theatre, Leicester.
One of Gilbert and Sullivan's gems, The Gondoliers here given a
colourful, if traditional, staging (complete with a gondola delivering members
of the cast to the stage) directed by Hannah Torrance. The happy (?) couple of
the Duke and Duchess of Plaza-Toro seemed especially characterful (Paul Nicolls
and Ethne Goode) and Olivia Deane, playing their daughter Casilda watched the
conductor like a hawk resulting in some of the tightest singing on show.
The orchestra, conducted by Harriet Veale, played a reduced scoring by
Mick Curtis which worked well, immediately riding the singers of the
difficulties of competing with trumpets and trombones, yet still getting a
variety of timbre and dynamic to suit the musical idiom.
***********************************************************************
2nd March 2014 - 19:30 hrs - St Martin's Sinfonia - Nan Ingrams
St. Peter's Church, Empingham, Rutland
Roger Swann = horn
Mozart's fifth symphony K22 was the first piece in this enjoyable
evening of music. Written when Mozart was only nine years of age and perhaps
not quite reaching the masterpiece level that his later symphonies achieved it
is still fascinating to get a chance to perform these early works.
Nan always gets a gentle "soft" feel to the sound from her musicians. A
good example of this working to excellent effect was the opening theme to the
first movement of Mozart's Symphony No. 29 K 201.
***********************************************************************
Fraser Noble Hall, Leicester
Roger Swann = horn
Michael Sackin always has an ear for interesting concert programming.
His solution to "what to programme with Schubert's Great C major Symphony no. 9
D944" was to pick the rarely heard Symphony in D major by Jan Vaclav Vorisek.
This is a delightful work; attractive tunes are freely distributed around the
orchestra in an assured manner by the far from prolific composer who is
believed to have been a good friend of Schubert. The opening sound of the
strings (leader Liz Murphy) showed what this orchestra is capable of when the
players concentrate and work together as a team.
The University of Leicester
Sinfonia trombones distinguished themselves in the Schubert: consistently
good intonation and chord balancing throughout and taking care not to overpower
the orchestra except at moments where there writing is really critical. Bravo
to John Gornall, Richard Siddons and Alan Griggs.
***********************************************************************
A rare chance to hear Britten's first venture into theatre with his
portrayal of the formation of America, Paul Bunyan. Coming complete with a
surprisingly clunky libretto by WH Auden the work includes several good songs.
Some clever production touches (the heron made from lumberjack's saws for
example) kept this fast moving piece alive. Wyn Pencarreg as Hel Helson made a
good impression.
***********************************************************************
St Andrews Church, Countesthorpe
Roger Swann = horn
The Helix Ensemble were invited back by the amazing local arts
organisation Active Arts (what a
varied programme of events they promote throughout the year) to play in this
attractive church (warm and comfortable seats for the audience). How
pleasurable it is to see faces in the audience coming back to hear the Ensemble
having enjoyed previous concerts. Tonight was the Helix Ensemble debut of
conductor Toby Purser, making a favourable impression with a varied concert
programme including early works by Ligeti and Kodaly and ending with
Beethoven's Eroica Symphony.
Ligeti's Concert Romanesc uses Hungarian dance tunes and is based on a
more conventional harmonic language than that more commonly associated with
this composer. But already his original thinking is present with horn chords of
augmented fifths and clever use of an offstage horn playing natural harmonics
to echo the slow movement themes.
***********************************************************************
3rd Feb 2014 - 19:00 hrs - Don Giovani - Nicola Luisotti
A clever revolving cube stage design with the ghosts of the Don's
misdemeanours ominously making their presence felt added to the nasty character
acting of Mauriusz Kweicien in the title role. The voices of all the cast were
to the Royal Opera House high standard. A wonderful evening of music making,
although it did seem to your reviewer that Don Giovani managed to get off
rather lightly in the end of this production directed by Kasper Holten.
***********************************************************************
1st Feb 2014 - 19:30 - The Snowman
Theatre Royal, Nottingham
An evening of Christmas magic (admittedly feeling slightly strange
watching Santa Claus on the first day of February) presented more as a ballet
than a musical. Completely without narration, the characters seemed lively and
distinctive (the pipe smoking of the father was an excellent touch) and one had
an immediate warmth for both the snowman and his pal, the little boy (an
amazing performance by young Joe Sheridan).
What was especially striking was that the show required no electronic
gimicks to achieve the beautiful result. Here was a demonstration that simple
can be best. Not a video in sight. It was enjoyed by a full house, with many
audience members being as young as the star on stage. Congratulations to all
parents who chose this evening to introduce their children to the world of
theatre.
***********************************************************************
25th Jan 2014 - 19:30 hrs -
Knighton Chamber
Orchestra - Paul Jenkins, Jo Conquest (flute) - Francois Salignat
(piano)
Richard Attenborough Centre, University of Leicester
Conductor Paul Jenkins continues to develop his informal approach to
the presentation of classical music; this evening persuading an audience member
to recite a Robert Burns poem (this evening being "Burns Night"). It is all
most enjoyable and a breath of fresh air compared with conventional stuffy
orchestral concerts.
Some technically accomplished flute playing (Jo Conquest) in Bach's
Orchestral Suite No. 2 BWV 1067 - the solo passages with Anne Mee ('cello)
providing sensitive continuo playing were attractively balanced.
It is not often you get a chance to hear Brahm's expansive Piano
Concerto No. 2 Op 83 twice in one week. Francois Salignat (perhaps with the
advantage of a smaller performance space) seemed to achieve a much more
effective range of dynamic and pianistic colour than Helen Grimaud's de
Montfort Hall presentation. He appeared completely unfazed by the odd
rhythmical inconistency in the orchestral playing. Again Anne Mee's 'cello
playing shone through, this time in the technically challenging solo passages
in the slow movement.
***********************************************************************
22nd Jan 2014 - 19:30 hrs - Philharmonia Orchestra - Andris Nelsons -
Helene Grimaud (piano)
de Montfort Hall, Leicester
This was a good old fashioned British orchestra romantic full on Brahms
4 - but none the less enjoyable for that. Andris Nelsons took full advantage of
the fact that the orchestra "know the piece backwards" and used every gesture
possible to shape the sound. He paid great attention to balance and achieved a
variety of string colour, using this effect to great musical ends.
***********************************************************************
It was so refreshing to listen to a band at The Musician that relied on
subtlety and musicianship to communicate with their audience rather than on the
mistaken (but all to common) concept that "loud is good and louder is better".
The ladies (Sally Oakland, Kate Easton and Anne Mee) kept the volume down and
kept a good track of the balance such that the contribution of the three
instruments and the three voices could be enjoyed to the full. There was a
great deal to enjoy! A well chosen set of songs where all the excellent lyrics
were clearly audible were sung with style. All the harmonies were balanced and
in tune.
The band were celebrating 25 years together yet they didn't sound at
all "tired". Rather they were very obviously having fun; the frequent costume
changes were slightly less than polished and the inconsequential on stage
banter was genuine rather than planned. The happiness on the stage was
infectious such that it was easy to overlook the thought that had gone into the
presentation of the set.
If you are looking for some sensitive but joyful music making just a
little out of the ordinary for your event then book this band!
***********************************************************************
21st Dec 2013 - 20:00 hrs - Chicago
Good dancing (particularly from the muscular males) but not enough to
hide the fact that Kander and Ebb's "Chicago" has a trivial and ludicrous plot
populated with cardboard characters and mediocre tunes. The amplified music
reduced the dynamic range and filtered out any musical colour that the band
might have added, further increasing the blandness of the evening.
***********************************************************************
Christchurch Baptist & Methodist Church Hall, Clarendon Park,
Leicester
Ending the concert with the orchestra accompanying the audience in two
well known carols and then an extensive range of Christmas nibbles meant
everyone left the hall in a festive mood. Earlier we were treated to some
excellent music making, including a complete performance of Mozart's 35th
Symphony (the Haffner). The ensemble playing in this challenging work was at
times absolutely spot on; full credit to Jo Conquest's conducting.
***********************************************************************
11th Dec 2013 - 19:30 hrs - Parsifal - Antonio Pappano
Wagner's sublime final opera, here in a new production (why the
clinical bed in the garden scene?) by Stephen Langridge performed by a superb
cast (a DVD is planned...) and broadcast live on BBC Radio 3.
Angela Denoke's Kundry was awe inspiring at every level; her acting
being equal to her singing and ensuring that the torment of this complicated
character was presented with frightening conviction. Robert Lloyd's voice as
the wheel chair bound Titurel was striking. Antonio Pappano was so obviously
relishing being at the helm of this magnificent score.
***********************************************************************
9th Dec 2013 - 19:30 hrs - Leicester-shire Schools Music Service
Christmas Chamber Concert
Leicester Cathedral, Leicester
The perfect start to the Christmas celebrations; two audience sung
carols accompanied by the Senior Brass Ensemble under the baton of Alan Holford
(certainly no dragging here!).
The Junior Choir won the prize for the best gyrating in "Hosannah Rock"
(director Gillian Ramshaw) and Jo Conquest's Flute Choir kept the mood festive
with an excellent performance of a very complicated arrangement of Rudolph the
Red Nosed Reindeer. The addition of Mathew Farrell's double bass playing in
this and also in their performance of an arrangement of Bach's Air from Suite
No. 3 acted as a welcome foundation to the soft flute ensemble timbre.
David Hartland's Senior Percussion Ensemble were impressively tight,
rhythmically speaking (no sign of rushing here!) and used dynamics to keep the
audience hooked on their performance. They also had the best post performance
curtain call and bowing routine. Ten out of ten!
***********************************************************************
8th Dec 2013 - 12:00 hrs to 19:00 hrs (no lunch break!) -
London Sinfonietta
- New Music Day
Queen Elizabeth Hall / Purcell Room, London
An intense days listening to the London Sinfonietta and guests brought
many rewards. Of the panelists given a chance to air a range of views George
Benjamin offered an inteligent and wise perspective on the current state of
western contemporary composition and the London Sinfonietta's own Andrew Burke
presented much well thought out comment on the practicalities of presenting
music that challenges audiences to open their minds.
There was much to enjoy in the concerts too: Samantha Fernando is a
composing voice to watch out for in the future judged on her "Positive/Negative
Space" for flute, clarinet, alto sax. and 'cello. The spatial atmosphere
created by Rebecca Saunders' "Stirrings" worked especially well in the large
space of the QEH.
***********************************************************************
Richard Attenborough Centre, Leicester University, Leicester
It is always enjoyable to hear quality string quartet performances in
Leicester. The hall of the Richard Attenborough Centre is a comfortable
environment to enjoy such music and in the hands of the talented Coul Quartet
the fact that the acoustic is far from forgiving is of little importance.
The contrast between the dark romantic feeling of the Borodin's second
string quartet and the oppulant scoring of Ravel's youthful quartet was an
imaginative and enjoyable example of concert programming.
***********************************************************************
30th Nov 2013 - 19:30 hrs - The
Bardi Orchestra - Claus Efland
de Montfort Hall, Leicester
Roger Swann = horn
Billed as "The Gathering Storm" this concert gave Claus Efland a chance
to revel in the power of both the Flying Dutchman Overture and The Storm
interlude from Britten's Peter Grimes. These mouthwatering tasters make you
wish the orchestra could take on a complete concert performance either (or
both!) of these great operas.
***********************************************************************
The Crumbling Cookie, Leicester
A downstairs "intimate" venue wih a low ceiling ideally suited to a
jazz quartet (desperately in need of some smoker's haze to dispell some of the
clinical atmosphere) saw an appreciative audience of around fifiteen people
enjoy the husky sound of Gary Reader's tenor sax playing. The quartet have a
good depth of original material.
***********************************************************************
26th Nov 2013 - 20:00 hrs -
The Rock Choir -
Sarah Stevens
de Montfort Hall, Leicester
Sarah Stevens achieved impressively tight singing and choreography from
her troops, the combined forces of the four Leicestershire rock choirs. She
also gave a respectable demonstration of vocal singing technique (projecting to
the large de Montfort Hall audience without a microphone) in Handels "Let the
bright Seraphim" (which also featured some tidy trumpet playing from Dan
Chinery).
( Photograph: Terry Pike)
***********************************************************************
20th Nov 2013 - 19:00 - Peter Grimes -
Opera North
Theatre Royal, Nottingham
Interesting to revisit a production your reviewer saw in 2006. Tonight,
sitting in the balcony, a lot of the words were lost and as a result the
development of the minor roles was sadly missed. Your reviewer felt that
surtitles would have been of great benefit here. The production seemed to
assure the audience that Peter Grimes was definitely guilty as charged, again
losing some of the magic in Britten's masterpiece.
***********************************************************************
King room, The Old Palace Hotel, Edward King House, Lincoln
An attractive venue for this concert presented by the enterprising
Lincoln Music Club did suffer from occasional external acoustic intrusions but
at times these seemed most appropriate (a police siren in the middle of the
bass clarinet cadenza like passage in William Sweeney's Sonata, for
example).
As always, Antony Clare's accompaniment was sensitive and tight but not
timid when required to come to the fore. The awe inspiring bass clarinet
technique of Sarah Watts captivated the audience.
***********************************************************************
16th Nov 2013 - 19:30 hrs -
University of
Leicester Sinfonia - Michael Sackin - Eleanor Wilkinson (violin) -
Christopher Johns (baritone)
Fraser Noble Hall, Leicester
Because of "impossible to resolve" rehearsal clashes your reviewer was
forced into the audience for this concert, missing the chance to play the
excellent horn obligato part that David Clark added to Bachs "verachtest du"
(from Cantata BWV 102). Nigel Moore stepped in to play the demanding role with
ease.
Yet another example of imaginative programming from director Michael
Sackin; a "All Mozart" first half included a very lyrical and smooth
performance of the G maj. violin concerto K216 by Eleanor Wilkinson.
The second half included the UK premier of Ausberg Elegy by David
Fisher. Basically tonal in style, David Fisher handles is forces with
knowledgeable expertise building up layers of melody to end up with some
substantially dense activity. It certainly was exciting.
***********************************************************************
5th Nov 2013 - 19:30 hrs - Great
Central Railway - Fireworks display
Quorn, Leics.
Is a fireworks display a "concert" - of course not - but it is a
performance and in this case it was an enjoyable event because you were allowed
close enough to the significant bonfire to enjoy the warmth and it was
preceeded and followed by an enjoyable train ride to/from Leicester on old
British Rail rolling stock pulled by a steam engine. It was good to enjoy a
pint of real ale (Nottingham
Brewery EPA) and some old fashioned fair ground stalls too.
The best news is that the fireworks were enjoyed without the presence
of background "musak" hindering the sounds of the explosions as the star-bursts
took place overhead. This absence of music is a vital part of the enjoyment of
a fireworks evening and is in stark contrast to a similar event your reviewer
attended on Sat. 2nd Nov 2013 and also a similar event in 2012 where the all
pervading unintersting music was a major detriment to the success of the
evening. Well done Great Central
Railway!
***********************************************************************
31st Oct 2013 - 19:30 hrs - Wozzeck - Mark Elder
Berg's portrayal of man's inhumanity to his fellow man presented in a
revival of Keith Warner's production (see also my review of 7th March 2006)
seems populated with 'mad' characters in all senses of the word. The opera does
build to an intense climax and this evening we saw Wozzeck (Simon Keenlyside)
drowning in the doctors experimental tank where he remained submerged and
static for the last ten minutes of the opera. How does the Royal Opera manage
to keep coming up with stunning effects that seem to contribute to the power of
the moment rather than appear as gimmicks?
***********************************************************************
30th Oct 2013 - 19:45 hrs -
Houghton
Music Club Performer's Evening
Front room of a HMC members house, Houghton on the Hill.
Roger Swann = horn
A wonderful evening of varied music making (with the odd poetry reading
too), the range of ages and standards of the performers being as broad as the
choices of pieces presented. Evenings such as these are really what Houghton
Music Club is all about. It was particularly pleasing to welcome some teenage
peformers to the event.
***********************************************************************
de Ferrers Acadamy, Burton on Trent, Derbyshire.
MD David Blackwell kept his orchestra well under control and the
singers were relatively sensitively miked up which ensured the lyrics were
audible but (as always with microphones) the beauty and distinctiveness of
individual voices got a little lost.
The most endearing acting came from young Joel Foster as the Artful
Dodger. Karen Hambleton's interpretation of Nancy emphasised the strong will of
the woman and her singing had all the good qualities of Miss Shirley Bassey.
The choreography of the boys (Fagin's gang) was outstanding and outstandingly
executed (Director Lee Smith).
***********************************************************************
26th Oct 2013 - 19:30 hrs - The Crucible - Fine Line Theatre
Your reviewer's first visit to the Sparkenhoe Arts Centre (a venue
associated with the local primary school of the same name) was a spontaneous
decision taken as a result of walking by and seeing the poster for Arthur
Miller's play. An attractive foyer leads to a small theatre space with raked
studio theatre benches providing acceptable sight lines to the stage area.
Within this space Fine Line Theatre presented their first ever
production (director Angela Goring). The Crucible is not short and is populated
with many complex characters but the performers rose to the challenges
magnificently. Jordan Handford and Karen Ayre as John and Elizabeth Proctor had
the audience really feeling for them in the final scenes and David Martin as
the Rev. John Hale finely captured his character's struggle to come to terms
with his puritanical doctrine's failure to provide the Christian values it
promised.
***********************************************************************
24th Oct 2013 - 19:45 hrs - The Killing Flower - Music Theatre Wales -
Conductor Michael Rafferty
It is difficult to imagine a greater contrast between Salvatore
Sciarrino's work presented here and the same organisation's offering of two
days ago (see below). Sciarrino's score seemed almost entirely composed of
"extended technique" notes for a surprisingly large orchestra. This was not for
show though; his music beautifully enhanced the staged action without any fear
of ever drowning it. One was left with the impression of a subtle sophisticated
work crafted with microscopic attention to detail.
Staged "in the round", much of the audience was very close to the
action (your reviewer was on the front row). With poor acting or singing this
can be a disadvantage but here both acting and singing were of the highest
possible quality and the intimacy of the staging only served to further draw
the audience into the characters. Sciarrino's writing for the voices was as
distinctive has his instrumental notation; being for the most part a series of
small snatches of melodic lines. It took a few minutes to get accustomed to
this format and one did marvel at how the four singers could learn the work but
such technical considerations were soon forgotten as the story developed.
Amanda Forbes (the Duchess) and George Humphreys (the Duke) were awesome.
This would be the perfect show for someone who felt they were stuggling
to "get" contemporary opera.
***********************************************************************
22nd Oct 2013 - 19:45 hrs - Greek - Music Theatre Wales - Conductor
Michael Rafferty
Music Theatre Wales touring production of Greek required the large
orchestra to be on the stage behind the singers/actors and this may have caused
parts of the work to be lost in the complex sound world of Mark Anthony
Turnage's score - but it certainly ensured that the visceral energy came
across.
Stephen Berkoff's libretto is perhaps not the most subtle of texts but
it seems well interpreted in this early work of the composer and you do get
drawn into the disaster that comes to the luckless (but not loveless)
Eddie.
***********************************************************************
19th Oct 2013 - 20:00 hrs - An Inspector Calls
An Inspector Calls (J. B. Priestley) is a play that seems to stand the
test of time in terms of it's humour and characters and in terms of the moral
behind the curious tale.
A sell out audience in this wonderfully welcoming venue enjoyed this
sensible and at times rather subtle ptoduction.
***********************************************************************
16th Oct 2013 - 19:30 hrs - Philharmonia Orchestra - Vladimir Ashkenazy
- Patricia Kopatchinskaja (violin)
de Montfort Hall, Leicester
Once we got past the speeches this concert had all the excellent hall
marks that Leicester audiences have come to associate with Ashkenazy conducting
the Philharmonia. Why on earth we had Leicester's Lord Mayor attempting to
speak to us prior to the music is a complete mystery. Mustafa Kamal proceeded
to break all the common sense rules about public speaking and audience members
adjacent to your reviewer were laughing at him. Firstly he had no microphone
technique, holding the instrument away from his lips so that his volume level
was too low. Secondly he read from several sheets of A4 paper rather than
speaking. Thirdly he seemed completely ill at ease with what he was reading
almost as if he hadn't read the notes before appearing on the stage. Fourthly
his pages didn't break at ends of paragraphs but rather they required page
changes in the middle of sentences. Since he was incapable of changing the
pages without the help of the nearby double bass player this meant very long
gaps at completely inopportune points in the text. One of the main roles of the
Lord Mayor is to represent Leicester on the national (and at times
international) stage. How one earth Leicester has got such a completely
inadequate speaker as Lord Mayor is a complete mystery. If the Philharmonia
want to keep getting good audiences (such as they had this evening) they need
to cut out these unwelcome speeches.
The aforementioned enthusiastic and voluminous audience were eventually
treated to two rarely heard works. the bare footed (except for taking her bows)
Patricia Kopatchiskaja made light work of the technical challenges presented by
Stravinsky's violin concerto. This included some exquisite playing from the
heavy brass in the final movement, "heavy" being completely the wrong word for
their feather like touch.
Tchaikovsky's Manfred Symphony gave the chance for the string section
to show their world class status. In this work there are definite moments that
are a precursor to the sound world of Sibelius.
***********************************************************************
12th Oct 2013 - 19:30 hrs -
Knighton Chamber
Orchestra - Paul Jenkins, Christine Taylor (clarinet) - Jo Wood (bassoon) -
Anne Mee ('cello)
Fraser Noble Hall, University of Leicester
A very informally presented concert with some interesting vocal
diversions from the conductor and two invited speakers and the orchestra and
conductor making no attempt to adhere to conventional protocol in terms of
acknowledging the audience's applause. It's a real pleasure to get away from
the stuffy dinner jacket approach to classical music; the players all looked
cheerfully dressed in different colours.
A welcome exception to the relaxed atmosphere was the approach adopted
by soloist Anne Mee. From the moment she walked on you felt this was a lady
determined to deliver and she went on to do so in a most impressive manner. The
Elgar 'Cello Concerto is a big work to take on, not only in terms of the
technical challenges it presents but also because of the emotional intensity in
the score. Anne Mee's performance was top class on both accounts. Within the
first few notes the audience was assured that there were going to be no worries
over intonation or projection. As the piece progressed the thought that had
gone into the interpretation (deliberately gutsy at the right moments, lyrical
and flexible elsewhere, without ever becoming tacky or sentimental) became
obvious to all. Hugely enjoyable solistic playing also encouraged the best
orchestral playing of the evening.
***********************************************************************
8th Oct 2013 - 19:45 hrs - Derby Music Club Meeting: Derby Music Club
Consort & East Midlands Horn Sound
The Voice Box, Derby.
Roger Swann = horn (in East Midlands Horn Sound)
A return visit to Derby Music Club by Nigel Moore's East Midlands Horn
Sound (the first visit being in October 2012) and an ambitious programme was
held together by maestro David Blackwell conducting with assurance. His
presence allowed the group to include an excellent arrangement of excerpts from
Der Freischutz (Weber) made by Wallendorf. Every member of the octet had a
chance to shine in this techcnically challenging but effective piece.
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5th Oct 2013 - 20:00 hrs - She Stoops To Conquer
Oliver Goldsmith's play presented as part of the Summer Season by the
resident company at Keswicks wonderful center of culture. A wonderful evenings
entertainment. This theatre is a marvel for the amount they achieve with
limited resources. The cast work incredibly hard (and effectively) through the
summer months bringing much pleasure to all who get to visit this attractive
and welcoming venue.
This theatre still allows the purchase of tickets without a booking
fee! Bravo ! Other venues please take note.
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28th Sept 2013 - 19:30 hrs - The
Bardi Orchestra - Claus Efland
de Montfort Hall, Leicester
Roger Swann = horn
One of the strengths of the Bardi Orchestra is the quality of the range
of players who regularly take on the role of orchestral leader. Tonight it was
the turn of Mihkel Kerem, sounding light and frisky in the violin solo in the
"scene" movement from Tchaikovsky's Swann Lake suite.
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26th Sept 2013 - 20:00 hrs - Elektra - Andris Nelsons
Richard Strauss' fantastic score played by a fantastic orchestra under
the baton of a fantastic conductor. Could things be any better? answer: yes,
the audience were treated to a display of stunning power and technique by
Christine Goerke taking the demanding role of Elektra completely in her stride.
Adrianne Pieczonka (Chrysothemis) and Michaela Schuster (Kylamnestra) were also
superb in these key roles.
Richard Strauss' orchestration has to be heard to be believed (your
reviewer heard it and is still not sure he believes it!). The density of ideas
that run through every phrase of this two hour orgy of opulence is simply
staggering.
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Leicester Cathedral, Leicester
An unusual start time (although a more usual end time of around 21:20
hrs) in a venue where performances are punctuated every 15 mins by the clanking
of the bells above didn't stop the LIMF Finale Concert from being a fitting
close to a series of excellent concerts. This annual event is now providing
virtually the only opportunity to hear high quality chamber music in the city
of Leicester at evening concerts. As well as the incredibly hard working team
behind the festival its survival depends on significant funding from both
Leicester City Council and Tarratt Jewellers as well as several very generous individual
sponsors.
Unintentionally, but rather appropriately, the playing of Nicholas
Daniel shone above the assembled array of very talented musicians. Joined by
Diana Quick the combination of narration and solo oboe in Britten's Six
Metamorphoses after Ovid, Op 49 was as enjoyable as it was unusual. This was
followed by two further Metamorphoses for the same scoring based on / inspired
by the poems of Ted Hughes for which Nicholas Daniel had been responsible for
commissioning. Arachne by Helen Grime and Venus and Adonis by Mark
Simpson.
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Holy Trinity Church, Leicester
One might have thought it tough to follow the two previous evening's
excellent concerts but somehow this one seemed even better! Mybe this was down
to your reviewer not having spent all day slaving at a work computer but the
obvious rapport between Pria Mitchell (violin) and Katya Apekisheva (piano) in
Britten's Reveille and with Charles Owen (piano) in Debussy's Violin Sonata was
something to marvel at.
The UK Premiere of Snow on Snow by Helen Grime (Joy Farrall (clarinet)
and Lars Anders Tomter (viola) joining Charles Owen) was a highlight of the
first half. The music gave each performer space to be heard without "fighting"
and included some very attractive "conversation" moments where melodic
fragments "dropped off" at different times, very reminiscent of the way a snow
crystal melts when viewed under a microscope. There was some good writing too
where the instruments flowed in gentle rushes (the first streams of water as a
snow field melts?) together.
Tchaikovsky's A minor Piano Trio Op 50 was an oppulantly luscious
second half. The programme note warned us that Tchaikovsky struggled with
balance issues in this work but it didn't sound like it in this flowing very
colourful performance with vast dynamic range given by Pria Mitchell , David
Cohen and Katya Apekisheva.
Page turner Marguerite Beatson deserves a special mention. The two
pianists shared the heavy work load of the last three days but Marguerite
Beatson was there for every note and didn't put a foot wrong.
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Holy Trinity Church, Leicester
Lars Anders Tomter (viola) and Charles Owen (piano) repeated last
night's pairing to play Britten's Lachrymae Op 48. Strangely the balance was
significantly more effective this evening with the viola to the fore. One
suspects this was largely due to Britten's sensitive "orchestration".
Effective use of the piano was also noticeable in Huw Watkins' 2
Romances for oboe and piano, where Nicholas Daniel's deliberately strident
playing in one passage was made even more robust by some perceptible doubling
in a low octave in the piano left hand, somewhat in the way Shostakovich might
have done. It is always fascinating to hear a work where one of the performers
is the composer.
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Holy Trinity Church, Leicester
The first concert of this year's Leicester International Music Festival
(held in Holy Trinity Church because the Leicester Museum Art Gallery is still
closed because its refurbishment is well behind schedule) definitely had
something for everyone. Lars Anders Tomter's distinctive viola sound was
slightly lost in the church acoustic which seemed to favour the piano sound
(Charles Owen) as they played Schumann's Marchenbilder Op 113. Perhaps a
lowering of the piano lid would be an experiment to try?
Definitely no problems with balance other than this though. Artistic
Director Nicholas Daniel sounded as fluid and assured as ever: Huw Watkins
short piece for unaccompanied oboe "Callisto" based on two different motifs
alternated between attractively virtuosic and peacefully melodic. David Cohen
and Huw Watkins together revelled in the power of Brittens Cello Sonato in C op
65. They captured the darkness particularly well in the Elegia and the finale
was bursting with energy.
After these stimulating audio challenges it was sheer joy to listen to
Dmitry Sitkovesky's arrangement of Bach's Goldberg Variations for string trio
(Lars Anders Tomter and David Cohen being joined by violinist Priya Mitchell).
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The Midas Bar, Leicester
A very relaxed style of improvisation from Gary Reader on tenor sax,
with excellent walking bass (bass player using a seven string bass guitar) made
for an enjoyable Sunday evening wind down after a heavy weekend's playing.
"Japanese" lager (almost certainly brewed in the UK) at over £4-00 a pint
didn't stop this being a happy occasion !
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15th Sept 2013 - 19:30 hrs -
Market Harborough Choral
Society - The Bardi Symphony
Orchestra - Anselm Kersten - Elizabeth Ryder (sop), Rosie Thickett
(contralto), Stephen Mills (tenor), Michael Dewis (baritone)
The Robert Smyth Academy, Market Harborough, Leics
Roger Swann = horn
A great way to start the 2013/2014 season; an enjoyable if at times
slightly eccentric interpretation of Handel's Messiah directed by the well
prepared Anselm Kersten with good soloists (soprano Elizabeth Ryder perhaps
impressing the most) and the Bardi orchestra being more than ably led (as
always) by Adam Summerhayes. Always looking for unusual perspectives on the
music he presents, Anselm Kersten used the rarely heard Mozart arrangement of
the work.
This concert was originally scheduled for 23rd March 2013 but had to be
postponed because of the unseasonable heavy snow conditions. The concert
programme printed for the 23rd March 2013 was available to the audience
including publicity for the Market Harborough Choral Societies concert on 29th
June 2013 which of course was now out of date. It also contained a fascinating
and amusing programme note (uncredited but having the unmistakeable stamp of
Anselm Kersten) on the variation in performance practice associated with music
in general and the Messiah in particular.
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Have you tried the new wind / brass
BreveEasy long note practice
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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