** Positive Points about Interesting Concerts**
Season - 2016/2017
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2nd Sept 2017 - 19:30 hrs - "Cloudburst" -
Countesthorpe Festival
Chorus - Lee Dunleavey
Leicester Grammar School, Leicestershire
An interesting programme of music from the United States of America
presented some serious challenges to the Countesthorpe Festival Chorus to which
they responded magnificently. The concert hall at Leicester Grammar School is
not the kindest acoustic for music making, being distinctly lacking in
resonance but the choir sounded secure and had good dynamic range throughout.
It was a clever idea to start the concert with Eric Whitacre's "Water
Night" without the conductor being visible to the audience although this did
have the disadvantage that audience members were still talking (in anticipation
of the conductor arriving to take a bow) whilst the first chord(s) were
sounding. Some very complicated harmonies in this piece and in Whitacre's
"Cloudburst" sounded great.
The concert ended with another rarely performed work: Morten
Lauridsen's "Lux Aterna". Between the choral works there was a chance to enjoy
Copland's Appalachian Spring" (the original 13 instrument version) conducted
with great rhythmic precision by Lee Dunleavey and Ives' "The Unanswered
Question" (first class playing by Kush Patel taking the deceptively tricky solo
trumpet part).
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19th Aug 2017 - 19:30 hrs -
BBC Prom 46 - London
Symphony Orchestra - London Symphony Chorus - The CBSO Chorus - Orfeo Catala -
Sir Simon Rattle
Royal Albert Hall, London
The prospect of Sir Simon Rattle with his London Symphony Orchestra
anda cast of six outstanding soloists doing Schoenberg's Gurrelieder drew a
sellout audience to witness what was always going to be a special event. Sir
Simondid not disappoint. Once the tranquility of the opening was past this was
aspectacular, driven, performance holding the listener through all the
differentemotional sections through to the glorious (and very loud) final
chorus andfinal chord. What a strange, but gloriously oppulent piece this is
and that'swithout taking into account it's curious genesis. The huge forces
involved makeit the kind of work that only major festivals such as the BBC
Proms are likely to take on.
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18th Aug 2017 - 19:30 hrs -
BBC Prom 45 - BBC Symphony
Orchestra - BBC Symphony Chorus - The Bach Choir - Sakari Oramo
Royal Albert Hall, London
Mahler's Symphony No. 2 "Ressurection" is a work that perfectly
suitsthe Royal Albert Hall's space. Sakari Oramo took minute care of dynamics
andbalancing of the Mahler's intricate orchestration. In the second movement,
forexample, he ensured that each section of the strings enjoyed every
"moment"they had without it ever sounding crudely forced. Mezzo Elisabeth
Kulman'sopening entry in the fourth movement was SO quiet! It must have real
tested the BBC sound engineers.
Helen Vollam lead her fine trombone and tuba section using finess
andpersuasion to match Sakari Oramo's feel for the score. The trombones were
neversitting on top of the orchestra sound but always adding the solidarity
andpower to the colour. Like a good viola section only louder! This was
theperfect example of how an orchestral trombone section should be. Bravo to
both conductor and the musicians.
Here's a picture of your reviewer in his infamous blue and white
pullover ready to enjoy Mahler 2......
( Photograph: Bethanne Raja)
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30th July 2017 - 19:00 hrs -
BBC Prom 21 - BBC
NationalOrchestra of Wales - BBC National Chorus of Wales - CBSO Chorus - Xian
Xhang
Royal Albert Hall, London
The European premier of James MacMillan's A European Requiem was
alwaysgoing to be an exciting affair and the juxtaposition of this with
Beethoven's9th Symphony ensured a packed Royal Albert Hall. MacMillan's complex
work wasfull of contrasts, some very disturbing brass interjections (a
littlereminiscent of Bartok's Miraculous Mandarin), some fearfully
powerfulpercussion (played with force but impressive accuracy by the BBC NOW
percussionsection (led by Chris Stock)) and some complex interwoven passages
written forthree individual violins. The orchestration skill of the composer
meant thatthe two excellent soloists, Iestyn Davies (counter-tenor) and Jacques
Imbrailo (baritone) could be heard throughout.
The orchestra and chorus sounded equally exciting in Beethoven's
9thSymphony helped by high calibre singing from the front, Erin Wall (sop),
Sonia Prina (alto), Simon O'Neill (tenor) and Alexander Vinogradov (bass).
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19th July 2017 - 19:30 hrs - The Merchant of Venice - Welsh National
Opera - Musical Director: Lionel Friend
Welsh National Opera brought their production of Andre
Tchaikovsky's"The Merchant of Venice" to the most prestigious opera house in
England. Indoing so they received what can only be described as a lukewarm
reception fromthe audience, who are perhaps used to something a little more
exceptional intheir productions. This was an evening where nothing was really
weak butnothing really stepped beyond routine. Linonel Friend's conducting was
accurateand full of good leads for the singers but did it stir any passion? The
actingon stage never really brought the action to life, not helped by a
rathermonotonous set design and much black costume colour. The singing was
notexceptional by Covent Garden standards and the music of Andre Tchaikovsky
(b.1935) seemed riveted in conventional tonality but avoided attempting a
goodtune, choosing instead to meander around often without much sense of
direction.
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15th July 2017 - 19:30 hrs - Helix Ensemble - Clare Bhabra
(conductor and violin)
St Mary's Church, Clifton, Nottinghamshire
Primarily directing from the leaders chair, fiddle in hand, ClareBhabra
inspired the strings to play well together with intonation issues veryrare.
Much credit should go to the solid pitch and rhythm from the doublebasses
(Mathew Barks and Naomi Turner) which provided a firm foundation for the whole
ensemble to build upon.
Clare Bhabra did conduct the Sinfonietta Op. 188 by Raff, a
veryaudience friendly piece scored for double woodwind and two horns. Full
ofmelody, is particularly demanding for the two flute players who delivered
allthat was asked of them with lightness and precision (Jo Conquest and Alison
Madin).
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8th July 2017 - 19:30 hrs -
University of
Leicester Sinfonia - Michael Sackin - Abigail Johnson (piano)
Fraser Noble Hall, Leicester
Roger Swann = horn
Maestro Sackin's choice of programme's drawn from the classical
periodinvariably takes into account the principle key's of the pieces such that
theaudience is not exposed to any unrelated key juxtapositions. Here, all
threeworks performed were in C major, with Beethoven's first piano concert (op
15)being framed by Schubert's Overture "In the Italian Style" (D 591) and
Mozart's Symphony No. 34.
The highlight of the event was most definitely the Piano Concerto.
Theorchestra's playing seemed inspired by the quality of the soloist at the
front.The consistency of the piano pitch helped the orchestral intonation
noticeably.Above all, Abigail Johnson does possess a very attractive free
flowing sense ofphrasing which she combines with a beguiling lightness of touch
that particularly suits Beethoven's writing.
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1st July 2017 - 19:30 hrs -
The Charnwood Orchestra - Nic Fallowfield -
Tim Gill ('cello)
Saint James The Greater Church, Leicester
Roger Swann = horn
A complete programme of Dvorak included two of his greatest works: The
Seventh Symphony and the 'Cello Concerto. .
In the concerto, Tim Gill really made his instrument sing to
theaudience and his inspirational and lyrical playing lifted the playing of
theorchestra. Jon Barwell (Charnwood Orchestra leader) matched the phrasing
wellin his significant solos and there was equally good playing from
firstclarinet, Suzanne Thompson. The tuba part underpins some of the woodwind
andbrass chords and there were moments where the perfect intonation
andunobtrusive dynamic from John Lock made a significant contribution to
theevent. It was a real privilege to perform this work with a soloist of such
quality.
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30th June 2017 - 19:30 hrs - Hesperides Quartet
Markfield Methodist Church, Markfield, Leics
Although they formed in 2016 this was the first public concert by
theHesperides Quartet. In their performance of Dvorak's G major quartet Op 106
theplayer's displayed technical security with (more importantly) some
goodenergetic passion that Dvorak's music so demands. A very promising debut
that was rewarded by deservedly strong applause from the good sized audience.
There was some very refreshing (home made ?) elderflower cordial served
in the interval.
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17th June 2017 - 19:00 hrs - "Summer Fantastique" -
COMA (East Midlands) - Kieran O'Riordan
West Bridgeford Methodist Church, West Bridgeford, NG2 7QE
Roger Swann = horn
A notable event in that it was the last appearance with COMA ofmusical
director Kieran O'Riordan. His leadership over the last seventeen yearshas been
a remarkable demonstration of inspiration, patience and musicianshipand the
whole ensemble has been shaped and nutured under Kieran's
persuasiveencouragement to become the cohesive group that it currently is. He
will be a tough act to follow.
Kieran's resignation prompted two members of the group to createpieces
in recognition of his dedication to the esemble. David Machell's "KORBusiness"
was a heroic (literally) arrangement of "For he's a jolly goodfellow". Your
reviewer composed "Fantastic" specifically for the twelve playerscurrently
comprising East Midlands COMA. His most ambitious composition to date, perhaps
inevitably some moments worked better than others.....
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29th May 2017 - 19:30 hrs -
The Charnwood Orchestra - Nic Fallowfield -
Chris Swann (clarinet) - Philip Heyman (viola)
The Gate Arts Centre, Rowth, Cardiff, Wales
Roger Swann = horn
A repeat of yesterday's concert but this time in an acoustic
whichallowed the orchestral players to listen to each other and the soloists.
As aresult the performance had significantly better rhythmic integrity.
NicFallowfield loves Brahms and his sensitivity to the style required for
Dvorak'sorchestrations of Brahms' Hungarian dances gave them just the
melancholy lilt they demand.
For this concert the orchestra was privileged to have Richard Lewis
asthe guest 3rd horn. A talented musician and a very easy going playing
colleague, he fitted into the section sound effortlessly.
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28th May 2017 - 19:30 hrs -
The Charnwood Orchestra - Nic Fallowfield -
Chris Swann (clarinet) - Philip Heyman (viola)
All Saints Church, Porthcawl, Wales
Roger Swann = horn
An attractive church but with a very generous acoustic meant
thatachieving a sensible balance between the two soloists in Bruch's
rarelyperformed Concerto for Clarinet and Viola was particularly challenging to
achieve.
It was a pleasure to welcome Dai Williams (a regular with the
CardiffPhilharmonic) as a guest 3rd horn. His consistant intonation made
playing the fourth horn part a pleasure.
Horn section photo: Front Row L to R: Roger Swann, Dai Williams, Jo
Chapman, Simon Marshall (principal)
( Photograph: Julie)
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13th May 2012 - 19:30 hrs -
The Rutland Sinfonia - Paul
Hilliam - Freya Goldmark (violin)
St Peter's Church, Oundle, Northants.
Roger Swann = horn
Still at College, violin soloist Freya Goldmark made a very
positiveimpression with her performance of Mendelssonhn's Violin Concerto. She
usedexpressive and sustained legato playing where appropriate but was
notfrightened to bring both power and weight in some strong marcatto sections
aswell as some strikingly jagged staccato passages. This was not a dull
straightforward reading of this very frequently performed work.
The full house were then treated to a performance of Mahler's
firstsymphony, with the opening solo of the slow movement giving Geoff Downes a
chance to demonstrate his prowess on the double bass.
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7th May 2017 - 15:00 hrs - Firebird! a Russian Spectacular -
The Bardi Orchestra - Dance Activate
-Claus Efland (conductor) - Graham Fletcher (choregrapher) - Katya Apekisheva
(piano)
de Montfort Hall, Leicester
The Bardi Orchestra took the role of (high class) pit orchestra
topresent ex-Royal Ballet principal, Graham Fletcher's setting of
Stravinsky'sfirst great ballet score, The Firebird. It's an exotically coloured
score andwas conducted with great skill, sensitivity and inspiration by Claus
Efland.The young dancers were equally colourful and equally assured in their
performance. It was an enthralling experience to watch.
With such a rich second half, Katya Apekisheva's performance
ofRachmaninov's 2nd piano concerto (not helped at all by being presented
frombelow the level of the audience) did feel a little overshadowed. But
theopening two excerpts from Tchaikovsky's Eugene Onegin captured the
swirlingpositive energy of the music and were the perfect appetiser for what
was to come.
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St Mary's Church, Lutterworth, Leics
The Kingfisher Chorale sung with technical security
throughout(particularly impressive holding of pitch) but you never felt they
were"holding back" in this concert comprised mostly of 21st centuary
compositions.It must have been a pleasure for composer Rowan Maurice to hear
his work "Between Going and Staying" peformed with such conviction.
"In the Shining Blackness" by Benjamin Rimmer was perhaps the
mostpowerfully intense of the choral works, pushing the top soprano (almost) to
the limit in its atmospheric climax.
The rapt attention to the subtle playing of Eleanor Turner was a
directresult of her refined musicianship. She persuades the audience to listen
byusing the smallest of musical gestures throughout her performances, for
examplethe ending of Marianelli's "Liz on Top of the World" just seemed to
float away....
This excellent evening was made all the more pleasurable by
aninformative complimentary concert programme and a pleasing glass of cabernet
sauvignon (also complimentary!).
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24th April 2017 - 19:30 hrs - The Exterminating Angel - Thomas Ades
(Musical Director & Composer)
The UK premier of Thomas Ades opera with the composer conducting
wasalways going to be an exciting affair, especially given a cast full of
starnames. Acting, singing and orchestral playing all right out of the top draw
matched by the set (and a real live sheep).
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8th April 2017 - 19:30 hrs - Hinckley Choral Union -
University of
Leicester Sinfonia - Richard Archer - Michael Sackin - Katy Dent (sop) -
Michael Dewis (baritone)
United Reformed Church, Hinckley, Leics
Roger Swann = horn
The Hinckley Choral Union's bi-annual link up with the University
ofLeicester Sinfonia featured a performance of Brahm's German Requiem.
Thehappiness of musical director Richard Archer with the performance was
evidencedby the length of some of the pauses at the ends of the movements. Ten
out of ten for intonation by Katy Dent in the soprano solo.
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8th April 2017 - 19:30 hrs - Boreas Bassoon Quartet
The Village Hall, Countesthorpe
Promoted by the ever enterprising
Active Arts organisation,
thisconcert was the idea of local basoonist Becca Oughton (currently studying
atthe RNCM). She was really saying a big "thank you" to the Stuart Cosby
MemorialFund for helping her purchase her bassoon and thus giving her a small
step upthe long steep and dangerous ladder that is the route to a professional
bassoon career.
The four ladies (the other three quartet members are Beth Davis,
HollyRedshaw and Nadia Plummer) played with impressive ensemble and good
intonation.Each had a chance to show their qualities as individual players but
the groupplaying was the most fun! Pump, a piece specially composed for the
group by John Webb was especially effective.
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Ingeniously coping with a shortage of male chorus members and
arestricted amount of set, the strength of the evenings performance lay
squarelywith the two leading ladies: Yvette Healey playing Sarah Brown and
bringing outthe complexities of the character beautifully (her facial
expressions duringher first meeting with Sky Masterson (Martin Green) were a
joy) and Alexandra Elliott playing Adelaide with a just believable naivety).
The director was Steve Elliott and the musical director was Simon
Ackroyd.
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28th Mar 2017 - 16:30 hrs - Die Meistersinger von Nurnberg - Musical
Director: Antonio Pappano
Perhaps Wagner most complex opera measured in terms of deciphering
whatthe composer's is really trying to express was given a full on production
byKasper Holten (his final work before leaving the role of the ROH Director
ofOpera). The riot scene at the end of the second act emphasised Hans Sachs
(Bryn Terfel) realisation that the old order was under threat in a starting
way.
The orchestra were [as always] superb (off stage trumpets created
greatpagentry). Wagner writes a particularly significant viola part which
wasenjoyed by full bodied, full blooded viola section. Equally, principal
violaAndriy Viytovych did a great job with the good number of solos in the
score.
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26th Mar 2017 - 14:00 hrs - Experimental Frontiers - Kieran O'Riordan
The Venue, De Montfort University, Leicester
Roger Swann = Horn
The fourth and final concert of the EMC2 festival celebrating
theExperimental Music Catalogue: Past, Present and Future was a joint effort by
COMA (East Midlands) and "all comers" whohad
signed up to the weekend as performers. It opened with Chris Hobbs'atmospheric
"The Castle Keep" and continued it a similar vein with Michael Nyman's Bell Set
no. 1.
Two pieces composed especially for the weekend caught your
reviewer'sattention: John White's 10 Minutes in Leicester was based on a simple
idea ofphase shifting long notes by having the performers use digital
metronomes withspecified varying tempos. Hugh Shrapnel's Something in the Air
was skillfully crafted and had an undeniable charm.
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25th Mar 2017 - 19:30 hrs - Continuing Experiments
PACE 1, De Montfort University, Leicester
The third concert of the EMC2 festival celebrating the
ExperimentalMusic Catalogue: Past, Present and Future continued from the
earlier pianoconcert with Gavin Bryars' Out of Zaleski's Gazebo (eight hands,
two pianos,Mick Peake, Antony Clare, John White and Christopher Hobbs) before
hitting moreexperimental improvisation pieces played by Lee Allatson, Bruce
Coates, RickNance, Chris Hobbs, Virginia Anderson, John Richards and John White
(on a wonderfully old Helicon in F sounding great with its forward facing
bell).
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25th Mar 2017 - 14:30 hrs - Keyboard Experiments
PACE 1, De Montfort University, Leicester
The second concert of the EMC2 festival celebrating the
ExperimentalMusic Catalogue: Past, Present and Future focused on the piano.
Hugh Shrapnel's"....and mouse" and "Asleep" (two contrantasting preludes from
six Cat Preludesfrom 1994) were played with a happy rhythmic agility and a
gentle relaxed elegance by Sarah Walker, who clearly enjoyed the opportunity to
perfom.
The EMC2 festival gives audiences a chance to hear original worksplayed
by the composers (in this case Chris Hobbs, Hugh Shrapnel and John White) which
is always a fascinating process.
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24th Mar 2017 - 19:30 hrs - MTI goes EMC2
PACE 1, De Montfort University, Leicester
The first concert of the EMC2 festival celebrating the
ExperimentalMusic Catalogue: Past, Present and Future proved a very appropriate
startingpoint, including as it did, Chris Hobbs: Song 2 (performed at long
distancewith bamboo sticks) along with seven pieces written and performed by
studentsand staff of the De Montfort University Music, Technology and
Innovationresearch centre. The audience were not told if these were all written
speciallyfor the event but the impression was that many might have been.
Ratherfrustratingly the audience were not given a chance to acknowledge the
individual composers represented (and all deserved acknowledgment).
James Andean's Wind Piece #1 was especially enjoyable, featuring
somevery subtle effects quietly interacting with each other and also having a
clear musical form.
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19th Mar 2017 - 19:30 hrs -
The Charnwood Orchestra - Nic Fallowfield -
Chris Swann (clarinet) - Richard Muncey (viola).
All Saints Church, Loughborough, Leics
Roger Swann = Horn
A positive audience endured a less than ideal room temperature
andharder than ideal pews to hear an account of Schumann's Spring Symphony
(No.1). An indication of the conductor's well judged rehearsal focusing was the
tricky end of the scherzo which was executed very well in the concert.
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The Old Fire Station, Carlisle
Your reviewer's first trip to this welcoming small theatre in the
heartof Carlisle. The touring (three person) Northumberland Theatre Company had
agreat show with lots of imaginative ways of involving the audience.
PerfectSunday night entertainment and a production well suited for it's
intendedaudience in small towns around the north of England that don't normally
have any form of theatre.
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The Little Theatre, Leicester
Working under their newly appointed musical director, Rosie Curtis,
theband sounded tight and well balanced; most of the time the fact that it was
aseverely reduced orchestration didn't particularly show. The chorus
andsoloists on stage were given plenty of good leads; and example of how the
job of musical director should be done!
The use of microphones for all the lead roles did mean that all of
Oscar Hammerstein's wonderful lyrics could be enjoyed.
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St Andrews Church, Countesthorpe, Leicestershire
Roger Swann = horn
A great concert full of Helix Ensemble characteristics: rarely
heardcompositions of many different genres. Adam Sumerhayes curated this
programmeand was completely at ease with all the different styles of music
represented.His conducting of the Sinfonietta by Raff (Op 188) for ten wind
instrumentsallowed all of the many melodies to flow and his playing of the solo
part inVaughan William's Concerto Accademico was masterly (and the strings of
the Helix Ensemble "nailed" the pastoral Vaughan Williams sound.
The concert ended with two of Adam Summerhayes' "Gypsy" pieces which he
had rearranged specifically for the Helix Ensemble.
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18th Feb 2017 - 18:30 hrs - Guys and Dolls -
Belper Musical Theatre
Belper Community Theatre, Belper
A good cast (with strength in depth) brought Frank Loesser's
excellentshow to life. Director Jen Lewis and her team had created a colourful
set and musical director Dave Adey's small band (no horn!) kept lively and
tight.
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7th Feb 2017 - 19:30 hrs - Houghton Music Club performance for Houghton
on the Hill Women's Institute
Houghton Village Hall, Leics
Roger Swann = Horn (in last movement of Mozart K495)
An evening presented to Houghton WI where guests were invited saw
theHoughton Singers and the Ladybirds String quartet on fine form. Both
groupsgave strong confident performances and both had a very varied range of
items.
A wide choice of cakes helped round off the evening in excellent
fashion!
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5th Feb 2017 - 15:00 hrs - Charlie Chaplin's City Lights -
The Bardi Orchestra - Claus Efland
de Montfort Hall, Leicester
The Bardi Orchestra played Charlie Chaplin's score to a screening
ofCity Lights. The quality of the composition was striking and remember
thatChaplin also took the lead role, directed, produced and edited the film.
There are many very funny moments....
Claus Efland had the measure of the film achieving tightsynchronisation
throughout. The whole enjoyable afternoon had a very professional slick feel to
it.
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24th Jan 2017 - 18:00 hrs - Der Rosenkavalier - Musical Director:
Andris Nelsons
Strauss' evocative score was relished by the orchestra under
AndrisNelsons. He certainly encourages long phrases and the string section
playing (as well as the exposed high violin solos) was thrilling.
The acting was equal to the high standard of the singing. By the end
ofthe second act you really wanted to see the downfall of Baron Ochs. All
threesopranos have great vocal parts; Sophie Bevan (as Sophie) lightly hits her
highnotes with a wonderful delicacy exactly in the character of the fifteen
year old she is playing.
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21st Jan 2017 - 19:30 hrs - "Sounds of Home" - Elio Andrade
The Core at the Cube, Corby, Northants
Roger Swann = Horn
Paula Bolten's grand project coming to fruition. She has composed
herSounds of Home Suite to reflect and celebrate the diverse range of people
thatreside in Corby. A specially convened orchestra performed this. Great
trumpet solo from Corby prodigy Tom Arthurs who now resides in Berlin.
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The Elgar Concert Hall, Bramall Music Building, University of
Birmingham
A very wide range of music represented from Chinese traditional
throughto compositions by both Julian and Andrew Llyod Webber. Two of the
performersalso included their own works. Di Xiao's "Twilight" had a lightness
(chineseRavel?) that suited the subject matter and concluded with an unexpected
but delightful "throw away" coda passage.
Eleanor Turner's "The Wood and the Water" was played on a harp
withinteractive computer, utilising software developed by
Balandino di Donato and usingan
arm band to allow the composer/performer to alter the sounds with armmovements.
The movements included poetry expressed using British Sign Languageas well as
more dance like gestures. Vocal additions (singing and rap likepatter) made
this almost a performance installation rather than a simple composition. It was
all very captivating.
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15th Jan 2017 - 19:00 hrs - La Grand Macabre -
The London
Symphony Orchestra - Sir Simon Rattle
A "semi-staged" production of Ligeti's opera (directed by PeterSellars)
which at times was overpowering with the way everthing kept coming atyou from
different angles. With lots of imaginative use of the audience spaceand
sometimes rather heavy handed use of video the audience certainly got much to
think about !
With the orchestra on stage you got all the colour in Ligeti's
livelyscore with full clarity. The opening car horn fanfare was loud, rhythmic
and played with ultra-precision: Great!
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14th Jan 2017 - 19:00 hrs - "Vienna and Beyond" -
The Charnwood Orchestra - Nic Fallowfield
(conductor, compere and violin solist).
Humphrey Perkins Community Centre, Barrow upon Soar, Leics
Roger Swann = Horn
The title "Vienna and Beyond" gave the orchestra a chance to
programmesome great orchestral lollypops alongside the exquisite music of
JohanneStrauss. The sell out audience certainly seemed to enjoy the concert.
ConductorNic Fallowfield took up the violin to play Beethoven's Romanze. Not
only can heplay the fiddle, he has a very instinctive approach to the music of
the Straussfamily, not dull but, equally important, not contrived or
pretentious. He alsopitches his introductions to the audience perfectly;
similarly not dull, not contrived or prentious and also not too long!
Special guest harpist,
Lisa Wright
,"made" the Waltz from Tchaikovsky's Nutcracker Suite with her beautiful
introduction solo.
The Charnwood Orchestra are very lucky to continue to
receivesponsorship from the philanthropic
Castle Rock Brewery .
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21st Dec 2016 - 19:30 hrs -
Leicester
Community Concert Band - Christmas Concert - Brian Humpherson
Fraser Noble Hall, Leicester
What a happy festive feel this event had. Plenty of sing-along (oftenin
exceedingly high keys) and an amusing misprint in the programme, describingthe
negro spiritual as "My Lord, What a Mourning". The concert featured a special
guest appearance by the band's president, Don Blakeson
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16th Dec 2016 - 19:30 hrs - Helen Winter (soprano) -
Eleanor Turner (harp) - Christmas
Concert
All Saint's Church, Laxton
Laxton Church looked immaculate with plentiful flower displays (loadsof
Poinsettias) each containing lit candles. The sophisticated festiveatmosphere
was perfectly matched by the subtle refined yet relaxed performances of a
series of songs drawn from a wide range of the repertoire.
The true (?) love story "Taylor, The Latte Boy" (by Heisler
andGoldrich) was particularly touchingly presented. Surprisingly (at least to
yourreviewer) some of the jazzier numbers worked well on the harp with the bass
strings sounding pleasingly like a good thwacked string bass.
The bonus of a mince pie (or three) and a glass of mulled wine during
the interval rounded the event off perfectly.
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12th Dec 2016 - 19:30 hrs - Grease
A very colourful fast moving production with Jessica Paul taking on the
role of Sandy and making a fine job of it.
What really made the evening were the ensemble dance routines, tight,
energetic and vigorous, they were a true spectacle.
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30th Nov 2016 - 19:30 hrs - The
Philharmonia Orchestra - Nicholas Collon - Francesco Piemontesi (piano)
de Montfort Hall, Leicester
Nigel Black well and truely nailed the notorious 1st horn solo in
thefirst movement of Ravel's Piano Concerto in G. Played with no fuss at
asensible dynamic and with absolute security such that the moment would pass by
all members of the audience who were not horn players. Bravo !
Like his colleague Juraj Valcuha six days earlier (see below)
NicholasCollon couldn't get the trombones to avoid drowning out the rest of
theorchestra in many passages (see also the credit to the Bardi Orchestra heavy
brass in the review immediately below).
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26th Nov 2016 - 19:30 hrs - The
Bardi Orchestra - Claus Efland - Nikolai Demidenko (piano)
de Montfort Hall, Leicester
The Bardi Orchestra celebrated it's 30th anniversary by invitingregular
guest soloist Nikolai Demidenko back to perform Beethoven's PianoConcerto No. 4
in G maj. Op 58. Beethoven writes virtuosic runs throughout theconcerto and
what always impresses is Nikolai Demidenko's ability to achieveperfect rhythmic
evenness with a distinctive clarity and yet never soundingmechanised; there is
a always a controlled sense of direction in his phrasing.At times using
dramatic dynamic power he is always ready to contrast this with a polished
lightness of touch.
The concert ended with Rachmaninov's Symphony No. 2. Some very
tightbrass and horn playing and Claus Efland's ability to get a powerful
stringsection tone made this an exciting performance. In stark contrast to
theperformance on Thursday (24th Nov, immediately below) here the balance was
suchthat the orchestral colour in the score was demonstrated throughout. There
weremany moments where the heavy brass were underpinning, sweeping string
themesrather than dominating. Both the trombones and tuba and Claus Efland are
to be congratulated on this.
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24th Nov 2016 - 19:30 hrs - The
Philharmonia Orchestra - Juraj Valcuha - Frank Peter Zimmermann (violin)
Royal Festival Hall, London
Playing Bartok's Violin Concerto No 2 with complete technical
securityand impressive dynamic range, Frank Peter Zimmermann was able to
emphasise therapid mood and stylistic changes that Bartok uses to tease the
listener. Insome ways the work feels structurally disjointed yet it does retain
your attention from start to finish which is always the sign of a good work!
Juraj Valcuha allowed the forces of the Philharmonia to show
theirvirtuosity in Shostakovich's 8th Symphony. The mournfully lyrical
cor-anglaissolo in the first movement (Jill Crowther) set the standard that all
other keyinstrumentalists lived up to. What a powerful emotional and colourful
scorethis is. It sounded great in London's Royal Festival Hall, which seems to
get a lot of undeserved negative press these days.
Two observations:
Juraj Valcuha couldn't quite get the trombones to play quietly enoughin
several passages which resulted in their distorting the balance in some ofthe
key string passages. This is so often a problem with the London orchestras.For
a postive take on this on going issue refer to the review of
29th Nov 2000 - 8:00 pm, Moscow Radio Symphony Orchestra
- Vladimir Fedoseyev. .
It's such a shame that your reviewer has to travel to London to hearthe
Philharmonia play a programme such as this. Poor old Leicester's DeMontfortHall
gets stuck with The Philharmonia playing a never ending series of repeats of
Holst's Plantets.....
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19th Nov 2016 - 19:30 hrs, The
Derby Bach Choir - Richard Roddis - Yvonne Howard (soprano) -
KateSymonds-Joy (alto) - Dominic Natoli (tenor) - Peter Savidge (bass) -
Rachael Calverley ('cello)
Derby Cathedral, Derby
Roger Swann = Horn
Derby Bach Choir chose to start their autumn concert with the
firstmovement of Dvorak's Cello Concerto Op. 104 with the orchestra's lead
'cellist,Rachael Calverley as soloist. What a fine sound she makes; it was such
a shame that the whole of the concerto was not performed.
Dvorak's Stabat Mater Op. 58 is a sombre, moving, work containing
muchmusic characteristic of the composer; many flowing minor key melodies with
warmsolid harmony etc. Richard Roddis kept the work moving forward, choosing
brisk tempos. All four soloists were outstanding.
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11th Nov 2016 - 19:30 hrs - Oreste - James Hendry (conductor)
Presented by members of the Royal opera house Jette Parker YoungArtists
Scheme and with (equally young) members of the Southbank Sinfoniamaking up the
orchestra this was in many ways a show case of operatic talent.Conductor James
Hendry looked as if he was really enjoying his command of Handel's tuneful
score.
The title role was planned to be sung by a mezzo-soprano but, due
toillness, we were treated to the counter tenor voice (and very
believableacting) of Australian Russell Harcourt. He showed absolutely no signs
of being an understudy.
Wilton's music hall is an excellent venue for small scale opera.
Anattractive warm acoustic and the tastefully restored decor almost
literallyoozing with history create a very enjoyable ambience in which to enjoy
the performance.
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29th Oct 2016 - 19:30 hrs -
University of
Leicester Sinfonia - Michael Sackin - Sara Humber (mezzo) - Roger Swann
(natural horn)
Fraser Noble Hall, Leicester
Roger Swann = natural horn in E flat
An all Mozart programme gave the orchestra another chance to work
withSara Humber, who has appeared several times with the ULS and has
alwaysimpressed. Her performance of three Mozart Arias K583, K582 and
K505demonstrated her ability to maintain purity of tone over a wide dynamic
rangeand throughout the register as well as her perfect intonation
(especiallyenjoyable given the occasional discrepancy in this category from the
orchestra).
Michael Sackin was kind enough to invite your reviewer to play
Mozart'sHorn Concerto No. 3 (K447) on a natural horn. This proved to be a
seriouschallenge but one which was most rewarding, at least for the performer.
Maestro Michael Sackin and your reviewer (minus natural horn) sharing a
moment after the concert.
( Photograph: Julie)
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19th Oct 2016 - 20:00hrs - Houghton Music Club Performers Evening
Member's Front Room, Hougthon on the Hill, Leics
Roger Swann = natural horn
A classic Houghton Music Club performer's evening, with singing
groupsenjoying covering for unexpected missing members, demonstrations of
pianisticskill and some wonderful solo unaccompanied traditional singing. Your
reviewerwas delighted to join the LadyBirds string quartet in a cut down
performance of Mozart's Horn Concerto No. 3 K447, playing on a natural horn.
Roger Swann (natural horn) with members of the LadyBirds Quartet
( Photograph: Malcolm Lomax)
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Town Hall, Loughborough, Leics
A very colourful show, one person to watch out for in futureproductions
will be Holly Easter, singing the high soprano role of Jenny Lind with
technical assurity combined with believable character.
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29th (Sept), 30th (Sept) and 2nd Oct 2016 - 19:30 hrs, 19:30hrs and
15:00 hrs - La Boheme - Knighton Opera - Paul Jenkins (conductor)
Fraser Noble Hall, Leicester
Roger Swann = horn
Puccini's classic given the Knighton Opera treatment and, as usual, the
audience were treated to some excellent singing from all the lead singers.
Standing (Left to Right) Nicky Bingham (Musetta), Andrew Radford
(Schaunard), Stephen Foster (Colline)
Front (Left to Right) Chris Marlow (Marcello), Michelle Carlin (Mimi),
Alex Anderson-Hall (Rodolfo)
( Photograph: Sergey Grishanova)
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1st Oct 2016 - 19:30 hrs - The Battle of the Somme (1916) -
The Leicester Symphony
Orchestra - John Andrews
Leicester Cathedral, Leicester
The ever enterprising Leicester Symphony Orchestra performed
LauraRossi's 2006 score commissioned to accompany the 1916 film "The Battle of
theSomme" to a screening of the film, in this year, the centenary of the
battle.Very cleverly synchronised percussion <very tight playing from the
LSO>with the firing of the big guns and howitzers Laura Rossi's music also
capturessome of the more tanquil parts of the film very well. The orchestra
played wellthroughout. There was a serene (and very high) violin solo played by
leader Catherine Cole.
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24th Sept 2016 - 19:30 hrs - The Cantus Choir - The Tudor Choir
ofLeicester - The Cantus Orchestra - Alwyn Pollard - Judy Dodd (soprano) -
Robert Gildon (baritone)
Roger Swann = horn
A chance to enjoy Brahm's German Requiem in the spacious accoustic
ofHoly Cross Church. Alwyn Pollard rightly insisting on good piano and
pianissimoplaying to allow choir and soloists to carry which also means the
grand climaxes sound their grandest.
The concert also included the rarely performed Five Mystical Songs
byVaughan Williams, Robert Gildon capturing the whimsical English feel of the
music rather well.
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17th Sept 2016 - 19:30 hrs - Helix Ensemble - Jonathan Williams
(musical director and horn)
Bingham Parish Church, Bingham, Nottinghamshire
Roger Swann = horn
The internationally renowned horn player Jonathan Williams'
firstappearance with the Helix Ensemble included many moments of joy and
beauty.Here is a musican who clearly enjoys the process of making music to the
fulland communicates his infectuous enthusiasm to both the ensemble members and
the audience.
The program was a characteristic Helix Ensemble selection, varied
incontent and including three rarely performed works by Saint-Saens, Enescu
andStravinsky as well as Mozart's second horn concerto K417, here given
apolished, contained performance (just a hint of tasteful ornamentation and
some perfectly controlled trills) by Jonathan Willams.
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Museum & Art Gallery, Leicester
This year's festival theme is "Landscapes, A Celebration of
BritishChamber Music" and this gave Festival Director Nicholas Daniel the
chance toprogram music by both Lennox and Michael Berkley (String Trio and
"Snake"respectively) as well as Kenneth Leighton's Fantasy on an American Hymn
TuneOp. 70, a very solid long piece played with weight and power by Chen Halevi
(Clarinet), Guy Johnston ('Cello) and Charles Owen (piano).
The concert ended with Carducci Quartet giving an excellent
performance(including a very moving slow movement) of Elgar's String Quartet in
E minor, Op 83.
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BreveEasy long note practicesoftware?
You can download a free version of this product developed by Roger Swann from
here.
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