Handel: Aminta e Fillide
Opera Settecento, Leo Duarte
The Handel Friends
St George’s, Hanover Square, 28 November 2019
It was entirely appropriate that this concert, given under the auspices of The Handel Friends, should take place in Handel’s own church of St George’s, Hanover Square, just round the corner from his surviving home. After 30-minutes of instrumental music and sumptuous interval refreshments (all part of the deal) came an inspirational performance of Handel’s pastoral cantata Aminta e Fillide, performed with the soprano duo Fair Oriana (Angela Hicks & Penelope Appleyard).
Penelope Appleyard & Angela Hicks (Fair Oriana) Continue reading
Philip Glass: Orphée
English National Opera, Geoffrey Paterson
The Coliseum, 15 November 2019
The last of English National Opera’s quartet of operas based on the Orpheus myth was Philip Glass’s 1991 Orphée. As was apparent with the three earlier operas, the story of Orpheus, like all such myths, are open to many different interpretations. Glass used Jean Cocteau’s 1950 film Orphée as the basis for his opera, setting the text of the film to music. Both Cocteau and Glass approached their pieces after the death of close friends/partners, and their telling of the myth hovers between the world of the living and the dead, revealing the perils of artistic self-obsession and immortality. Continue reading
London International Festival of Early Music
Society of Recorder Players/Moeck Solo Recorder Competition Finals
Blackheath, 7-8 November 2019
London International Festival of Early Music now seems to be firmly ensconced in Blackheath after some years in Greenwich under a variety of earlier names. Hosted by the Early Music Shop, an exhibition of instruments and music (in the Blackheath Halls) forms the centre of the three-day festival. The three-day programme of concerts and events around the exhibition includes makers demonstration recitals, performer platforms for younger musicians, workshops and more formal concerts by professionals. Every other year, the festival hosts the finals of Society of Recorder Players/Moeck Solo Recorder Competition, the winner getting a recital during the following year’s festival. Last year they introduced the first of their Early Music Young Ensemble Competition Finals. Last year’s review can be seen here. Continue reading
Haydn: La Fedeltà Premiata
Guildhall School of Music &Drama
Silk Street Theatre, 4 November2019
Haydn’s La Fedeltà Premiata (Fidelity Rewarded) was premiered in 1781 at the reopening of the Esterháza court theatre after its destruction in a fire. His Lo speziale had been the first opera in the previous theatre in 1768. The plot is bizarre, even by the standards of 18th-century opera. The Roman city of Cumae worships the goddess Diana, but have managed to upset her, resulting in the curse that “Every year two faithful lovers will be sacrificed to the sea monster until a heroic soul offers his own life. Only then will peace return to the land of Cumae“. In this production, Cumae is Arcadia, its underground station sign prominently displayed on the curtains before the start.
Gluck: Orpheus and Eurydice
English National Opera, Harry Bicket
The Coliseum, 31 October 2019
Gluck’s Orpheus and Eurydice was the third of the current English National Opera (ENO) series of four operas based on the Orpheus myth that I saw, although it was the first to be performed in the series. It was also the earliest of the series, the most telling omission being Monteverdi’s 1607 L’Orfeo. In a nod to the Berlioz anniversary year, Orpheus and Eurydice was performed from the 1859 edition by Berlioz rather than Gluck’s own 1762 Vienna score or his 1774 Paris revision.
Purcell: King Arthur (1691)
Gabrieli Consort & Players, Paul McCreesh
Concert: St John’s Smith Square, 30 October 2019
CD: Signum/Winged Lion SIGCD589. 2CD. 97’38
The new recording by the Gabrieli Consort & Players of Purcell’s King Arthur was launched at an impressive concert performance at St John’s, Smith Square. Lacking the two biggest-name singers from the recording (Carolyn Sampson and Roderick Williams), the concert was otherwise the same as the CD apart from the late replacement bass Robert Davies, standing in for Marcus Farnsworth and a smaller orchestra. Omitting all the spoken text of the original play, the music of King Arthur makes for a musically excellent, but texturally confusing, listen. None of the main characters of the King Arthur story appears. The music occurred at intervals during the play, generally as little masques, only occasionally as one-off songs responding to moments in the play. Continue reading
Harrison Birtwistle: The Mask of Orpheus
English National Opera
The Coliseum, 29 October 2019
The world of ancient myths is a complex one, with many of the stories coming down to us in several different, and frequently conflicting, versions. One such is the Orpheus myth, the subject of four operas currently playing at the English National Opera’s Coliseum. After the sheer silliness of Emma Rice’s reconstruction of Offenbach’s Orpheus in the Underworld (reviewed here) we had Sir Harrison Birtwistle’s monumental The Mask of Orpheus (with electronic music by Barry Anderson), the premier at the Coliseum in 1986 being its only full staging until now. Birtwistle’s approach is to tell several versions of the myth all at the same time in one of the most complex operas of modern time. As the ENO publicity explains, “Harrison Birtwistle’s iconic masterpiece retells the Orpheus myth in a non-linear narrative, as the opera’s leading characters appear in three distinct guises”. It “explores the contradictions in the various versions of the famous Greek tragedy, building a three-dimensional picture that leads us from inconsolable grief to acceptance and transformation”.
Offenbach: Orpheus in the Underworld
English National Opera
Coliseum, 23 October 2019
Act II – Mount Olympus
The classical legend of Orpheus, dating back to the 6th century BCE, has been an inspiration for artists and musicians for more than 2,000 years. The related story of the death of his wife Eurydice has a more complex background. It has been the focus of musical commentaries from Monteverdi’s sublime 1607 opera L’Orfeo (one of the first known operas) to present-day pop songs and video games. Following Monteverdi, we have Gluck’s 1762 Orfeo ed Euridice, and Jacques Offenbach’s 1858/1874 comic operetta Orpheus in the Underworld (Orphée aux enfers), a satirical parody of Gluck, which formed the basis for this ENO production. Continue reading
Prom 71: Bach Night
Dunedin Consort, John Butt
Royal Albert Hall. 11 September
As part of this year’s Proms’ recognition of Henry Wood’s influence, this concert reflected his 1920s Wednesday Bach Night. The Dunedin Consort and John Butt performed Bach’s four Orchestral Suites, each paired with a short newly commissioned piece (all given world premieres) inspired by the dance movements that follow the opening Overture of each Suite. The first two Suites (4 &1) were followed by the new pieces while, after the interval, Suites (2&3) were preceded by the new commissions.
Korkyra Baroque Festival
31 August – 14 September 2019
The Korkyra Baroque Festival (Korculanski Barokni Festival) was founded in 2012 on the delightful Adriatic island of Korčula (aka Korkyra, Korcula) on the Dalmatian archipelago between Split and Dubrovnik in the southern part of Croatia. Drawing attention both to music and the cultural and artistic heritage of Korčula, the festival runs annually for about two weeks at the beginning of September. Concerts (of just over an hour in length) are generally first performed in the historic fortified town of Korčula and are then repeated in other towns on the island, on nearby islands,, and on the Peljesac peninsula.
La Morte della Ragione
Il Giardino Armonico, Giovanni Antonini
Outhere Music: Alpha ALPHA450. 73’07
La Morte della Ragione (The Death of Reason) is a concept album (CD and a 98-page illustrated book) based around Petrarch’s comment that The senses reign, and Reason now is dead’. It is also a clearly intended as a showcase for the virtuoso recorder playing of Giovanni Antonini, founder of Il Giardino Armonico. After an opening recorder flourish we hear the anonymous 16th-century pavane, La Morte della Ragione. This is seen as a reference to to Erasmus‘s In Praise of Folly, and his suggestion of two forms of madness – a sweet illusion of the spirit and the opposite, ‘one that the vengeful Furies conjure up from hell.
A wide-ranging set of scenarios are offered, ranging in date from John Dunstable (1390-c1453), via the likes of Alexander Agricola (1446-c1506), to Samuel Scheidt (1587-1654), whose Galliard Battaglia concludes the CD. a battle piece involving a great many diminutions or ‘divisions’, a common technique of improvisation in the Renaissance… This grand instrumental musical fresco of time and space is a kind of self-portrait of Giovanni Antonini and his longstanding musical colleagues. To accompany this disc, a richly-illustrated booklet presents a free-ranging iconographical tour combining pictures and contemporary photos.
Prom 55: Handel’s Jephtha
Scottish Chamber Orchestra & Chorus, Richard Egarr
Royal Albert Hall, 30 August 2019
Following on from last year’s Theodora, the BBC Proms Handel cycle continued with Jephtha, Handel’s last oratorio. It was composed in 1751 as his sight was failing. At one point in the autograph score he wrote “unable to go on owing to weakening of the sight of my left eye.” It is rather telling that note occurs at the chorus that concludes Act 2, How dark, O Lord, are thy decrees, All hid from mortal sight. Despite Handel’s personal difficulties at the time, and the frankly bizarre Biblical story upon which it is based, it is one of his finest oratorios, full of the most glorious music for six solo singers and chorus with a succession of attractive and dramatic arias linked by relatively short recitatives.
Laus Polyphoniae 2019
Mary of Burgundy & The Burgundian Court
Antwerp, Flanders. 16-20 August
The 26th annual Laus Polyphoniae explored the flourishing cultural scene in the time of Mary of Burgundy (1457-1482), one of the most powerful women in Western Europe during the late Middle Ages. She came to power in the Netherlands in 1477, aged 20, but found that her father, Charles the Bold, had left an empty state treasury, hostile neighbouring countries and domestic revolts. Thanks to her diplomatic skills, the young Duchess managed to calm the situation, notably in Flanders. She was the most sought-after bride in Europe with many suitors, eventually marrying Maximilian of Austria, thereby linking the House of Burgundy to that of the powerful Habsburgs. She died in 1482, at just 25 years old after a fall from her horse. The week-long Laus Polyphoniae festival featured secular and religious music relating to Mary of Burgundy and her time, performed by ensembles from Belgium and abroad, including Stile Antico, Ensemble Leones, Comet Musicke, Utopia and Huelgas Ensemble. I was able to attend for most of the first five days, including the International Young Artist’s Presentation (IYAP) events on the first weekend. Continue reading
Prom 47: Bach & Bruckner
Gewandhausorchester Leipzig, Andris Nelsons
Michael Schönheit, organ
Royal Albert Hall, 23 August 2019
J S Bach
Fantasia in G minor, BWV 542, Jesus bleibet meine Freude (arr: Schmidt-Mannheim),
Prelude in E flat major, BWV 552i, Wachet auf, ruft uns die Stimme, BWV 645,
Fugue in E flat major, BWV 552ii
Symphony No 8 in C Minor (1890 Novak version)
The idea of pairing Bruckner with organ music at the Proms is not new and makes sense, not least because Bruckner gave several organ recitals in the Royal Albert Hall. Bearing in mind that most people would have come to this Prom to hear Bruckner 8 rather than a short sequence of well-known organ works, there seems to have been a misjudgement in both the choice of organ pieces and the performance. The Royal Albert Hall organ is capable of the most enormous sounds, with power that will easily out-blast the largest symphony orchestra, as evidenced during the Glagolitic Mass in Prom 1 (reviewed here). It is also capable of producing a vague impression of the sort of sound that Bach might have known, albeit at considerable loss of power and aural presence. Michael Schönheit, the organist of the Leipzig Gewandhaus, fell into the uncomfortable gap between these two possibilities, choosing registrations that muddied the music but made no real aural presence in the hall. Continue reading
International Young Artist’s Presentation
Laus Polyphoniae 2019
Cultural Centre ‘De Kern’, Wilrijk
Antwerp, 18 August 2019
The International Young Artist’s Presentation (IYAP) is an annual coaching and presentation scheme given in Antwerp for young ensembles playing historical instruments. Ensembles are invited to present innovative and original programmes and to experiment with aspects of presentation and performance. The groups selected for the annual scheme are given three days of coaching sessions (led by Peter Van Heyghen and Raquel Andueza) which are followed by two days of public concerts over the first weekend of the Laus Polyphoniae festival. Each group repeats their concert twice on each day to an audience who move from venue to venue. On the first day, various concert organisers from around Europe attend and give feedback to the ensembles. Following these concerts, further advice is offered to the ensembles about their future careers. they are given the title of “IYAP Selected Promising Ensemble 2019”. The scheme is an initiative of Musica: Impulse Centre for Music and the AMUZ Antwerp. The weekend public concerts take place in a variety of settings, this year focused on the district of Wilrijk and the Cultural Centre De Kern.
Prom 38: Bach Cantatas
Royal Albert Hall, 14 August 2019
Cantata 130 ‘Herr Gott, dich loben alle wir‘
Cantata 19 ‘Es erhub sich ein Streit‘
Cantata 149, ‘Man singet mit Freuden vom Sieg‘
Cantata 50, ‘Nun ist das Heil und die Kraft‘
I have reviewed the Solomon’s Knot collective many times since their early days and have always been very impressed by their distinctive style of musical presentation. Although they perform a wide repertoire of early and contemporary music, it is in the music of Bach that their style seems to be particularly appropriate. This was their Proms debut – a late-night concert of four Bach cantatas all composed for the Feast of St Michael, his dragon-slaying antics making for some dramatic music. The 8 singers perform from memoty, with an attractively informal stage manner, directly addressing the audience and drawing us into the world that they are depicting. As times it is almost like listening in to a conversation between a group of friends. They move centre-stage for choruses individually, like a discussion group slowly forming, and then stand in a tight-knit shallow arc, When one of them is singing a solo, others will often stand nearby, as if listening to and encouraging a friend. Continue reading
Prom 37. Berlioz: L’Enfance du Christ
Halle Orchestra, Maxime Pascal
Britten Sinfonia Voices, Genesis Sixteen
Royal Albert Hall, 14 August 2019
L’Enfance du Christ is a curious work to programme in the vast space of the Royal Albert Hall for a Berlioz anniversary Prom. The gently reflective nature of the unfolding story seems to demand a sense of intimacy, whereas works such as the Te Deum cry out for such a setting. The genesis of L’Enfance du Christ is a fascinating one. Berlioz wrote a tiny organ piece into an architect’s album during a card-playing party in 1850. Realising the nature of his creation, he immediately added some words and gave birth to the famous ‘Shepherds’ Farewell’ (L’adieu des bergers). He added it to his next concert with a hoax billing as by a forgotten 17th-century composer, named after the architect who asked for the little musical momento. Four years later, it would later form the centre-point of what he termed a ‘sacred trilogy’ – L’Enfance du Christ, a three-section oratorio. Continue reading
Rameau: Hippolyte et Aricie
Grimborn Opera Festival
Arcola Theatre, Dalston, London
13 August 2019
As the name of suggests, Grimeborn is not Glyndebourne. Its mid-summer season is based at the Arcola Theatre, a converted textile factory in Dalston, East London, and focuses on new operas and experimental productions of more established repertoire. The cramped space forces directors, singers and instrumentalists to rethink opera presentation. There is only space for very few instrumentalists in a tiny gallery which is only accessible by ladder. The singers are performing within a few feet of the audience, which sits on three sides of the small central stage area, creating directorial issues in how the singers relate to the audience. It is about as far as you can get from the ideal space to perform French Baroque opera, with its enormous casts of singers and dancers, large orchestral forces and elaborate stage settings, but that is exactly what Ensemble OrQuesta are doing in their production of Rameau’s tragédie en musique: Hippolyte et Aricie. Continue reading
Mozart: Die Zauberflöte
Orchestra of the Age of Enlightenment, Ryan Wigglesworth
Glyndebourne Festival, 6 August 2019
This is the 7th production of Die Zauberflöte at Glyndebourne, and the popularity of Mozart’s singspiel seems undiminished, judging by the sell-out of the entire run. This time it was directed by the Canadian partnership of André Barbe and Renaud Doucet, the former providing the designs, the latter the direction. If you are the sort of opera-goer who struggles with even the simplest plots and prefers to just let the music and the visual spectacle wash over you, this may be the Magic Flute for you. Musically, it was outstanding, with fine singing from a strong cast and excellent playing from the Orchestra of the Age of Enlightenment, directed by Ryan Wigglesworth. André Barbe’s scenery was inventive, based on enlarged versions of his pen and ink sketches and clever use of perspective. That said, there are many questions about Renaud Doucet’s overall direction, not least in the liberties taken with the plot to fit with his own ideas about what he sees as the ‘problems’ with the original concept and libretto.
Prom 22: Rachmaninov, Shostakovich & Outi Tarkiainen
BBC Philharmonic, John Storgårds
Royal Albert Hall, 5 August 2019
Rachmaninov: Isle of the Dead
Outi Tarkiainen: Midnight Sun Variations BBC commission: world premiere
Shostakovich: Symphony No 11 ‘The Year 1905’
Pairing Rachmaninov’s Isle of the Dead with Shostakovich’s 1tth Symphony foretold an evening that wasn’t going to be a bundle of fun. The opening gloomy 5:8 rhythms of the boatman rowing a corpse to the Isle of the Dead, as memorably depicted in Arnold Böcklin’s painting Die Toteninsel, set the mood. This photo shows a much better and clearer version to that printed in the programme – there are at least six versions.
Arnold Böcklin: Die Toteninsel
Prom 21: The Art of Transcription
Olivier Latry, organ
Royal Albert Hall, 4 August 2019
In what must be the most inept bit of programming in musical history, the BBC Proms has seen fit, for yet another year, to programme the only organ recital of the Proms at 11am on a Sunday, when most organists will be earning a pittance playing for church services. I cannot think of another instrument where the choice of a specific day and time could exclude a key part of the potential audience. That said, there was a pretty impressive audience for this concert, far more than at the previous Sunday’s evening Prom of Messiaen’s Des canyons aux étoiles. And what a treat they had. Olivier Latry is one of the organists at Notre Dame who when not on his week’s turn of duty there has built an enviable reputation at a touring recitalist and teacher. His programme focused on the art of transcription, an aspect of organ performance that dates back to early Renaissance times but reached its peak in England in the 19th century when W T Best became Liverpool Corporation Organists (in 1855) and, over a period spanning around 40 years, gave three organ recitals a week in St George’s Hall. He was the first organist to give a recital in the Royal Albert Hall, in 1871.
Olivier Messiaen: Des canyons aux étoiles
BBC Symphony Orchestra, Sakari Oramo
Nicolas Hodges, Martin Owen, David Hockings, Alex Neal
Royal Albert Hall, 28 July 2019
Olivier Messiaen wrote Des canyons aux étoiles (From the Canyons to the Stars) between 1971/4 as a commission celebrating the bicentenary of the US Declaration of Independence. He was strongly influenced by a visit to Utah, finding inspiration in the birds and the extraordinary landscapes. Each of the three parts of the 12-movement work concludes with a powerful movement dedicated to the dramatic geological sites of Utah, Bryce Canyon and the nearby Cedar Breaks and Zion Park. Messiaen had sound-colour synaesthesia and the “red, orange, violet” of the sandstone hoodoos of Bryce Canyon led to his focussing the extended 7th movement Bryce Canyon et les rochers rouge-orange” (Bryce Canyon and the red-orange rocks) in his own key of third-mode E major, a mode that he saw as a bright red-orange colour. He contrasts this image with the blue of the Steller’s Jay, one of many birds that feature throughout the piece from places as far afield as Australia, Hawaii. and the Sahara. The monumental final few bars of this movement are the aural climax of the entire piece.
Bryce Canyon © ABW Continue reading
Music-at-Hill Golden Jubilee
24th St. Anne’s International Bach Festival
St. Mary-at-Hill, Lovat Lane, City of London
19 & 26 July 2019
The Music-at-Hill Concert Society was founded 50 years ago as the St Anne’s Music Society based in the church of St Anne & Agnes Church in Gresham Street, then the home of London’s Lutheran congregation. The church and the music society moved to St Mary-at-Hill in 2013. Music-at-Hill arranges weekly Friday lunchtime concerts, often of early music. During the four weeks in July leading up to the date of Bach’s death, they present the annual St. Anne’s International Bach Festival now in its 24th year, run in conjunction with its partner organisation, the City Bach Collective, who run regular Bach Cantatas for the St Anne’s Lutheran congregation in St Mary-at-Hill. The final two Fridays of the four-week festival featured two lunchtime recitals and a Gala Bach Concerto Finale from the City Bach Collective.
Prom 6. Igor Stravinsky: The Rite of Spring
Orchestra of the Royal Academy of Music and the Juilliard School
James Ehnes, Edward Gardner
Royal Albert Hall, 19 July 2019
Anna Thorvaldsdottir: Metacosmos
Benjamin Britten: Violin Concerto
Igor Stravinsky: The Rite of Spring
As a companion to the First Night’s offering of Janáček’s 1927 Glagolitic Mass (revied here), the BBC Prom 6 moved back 15 years to Stravinsky’s Rite of Spring, both monuments to the development of 20th-century classical music. It was performed by the joint orchestras of the Orchestra of the Royal Academy of Music and New York’s Juilliard School a partnership that I first heard playing Bach in the 2015 Leipzig Bachfest. The violin soloist James Ehnes was a Julliard student, and conductor Edward Gardner was a student at the RAM.
The opened with the UK premiere of Metacosmos by the Icelandic composer, Anna Thorvaldsdottir. After studies in America, she is now resident in London and is composer-in-residence with the Royal Academy of Musi and the Iceland Symphony Orchestra. Metacosmos was commissioned by the New York Philharmonic Society. The composers’ programme note describes the piece as “constructed around the natural balance between beauty and chaos – how elements can come together in (seemingly) utter chaos to create a unified, structured whole. The idea and inspiration behind the piece, which is connected as much to the human experience as to the universe, is the speculative metaphor of falling into a black hole – the unknown – with endless constellations and layers of opposing forces connecting and communicating with each other, expanding and contracting, projecting a struggle for power as the different sources pull on you and you realize that you are being drawn into a force that is beyond your control”. Continue reading
Prom 1. Janáček: Glagolitic Mass
BBC Symphony Orchestra & Chorus, BBC Singers
Royal Albert Hall, 19 July 2019
The 125th season of the BBC Proms celebrates the 150th anniversary of the birth of their founder-conductor, Sir Henry Wood, whose bust looks down on the orchestras and Prommers throughout the season. One of the threads through the Proms are the ‘Novelties’, Wood’s own description of various UK and world premieres that he conducted. Another theme is the 50th anniversary of the Apollo 11 moon landing. This opening concert (from the BBC Symphony Orchestra & Chorus and the BBC Singers, directed by Karina Canellakis) acknowledged both with a world premiere and one of Wood’s novelties together with a focus on Czech composers. As well as featuring a female composer, this was also the first time that a female conductor had opened the Proms, one of the seven women conductors this season. It was broadcast live on BBC Radio 3, and on BBC2 and BBC4, and is available on BBC iPlayer for thirty days afterwards. Continue reading
Lute music by Jean Paul Paladin (c1500-1565)
Alex McCartney, lute
Veterum Musica VM022. 53’19
Alex McCartney came across the music of Jean-Paul Paladin by chance, courtesy of an internet search. Paladin was born Giovanni Paolo Paladino and was an Italian composer and lutenist born in Milan. He was lutenist to Francois I between 1516-22, Charles III of Lorraine from 1544 and, from 1548-53, to Queen Mary of Scotland. He published books of lute music in Lyons: the Tablatura de lutz 1549, and the Livre de tablature de luth in 1553, reprinted in 1560. He also seems to have been a successful merchant who maintained a large house and vineyard in Lyons. Continue reading
York Early Music International Young Artists Competition 2019
National Centre for Early Music
York, 11-13 July 2019
Founded in 1985, the York Early Music International Young Artists Competition (until 2009 under the auspices of the Early Music Network) is firmly ensconced in the National Centre for Early Music in the splendidly restored former medieval church of St Margaret’s Church, Walmgate, York. This year was the 18th incarnation of the biennial event, which for some years has formed part of the annual York Early Music Festival and is supported by the National Centre for Early Music, BBC Radio 3, Arts Council England and Linn Records. The full list of competition rules can be seen here but, briefly, there must be a minimum of two members aged 36 years or under with an average age of 32 or under. The repertory must be from the middle ages to the nineteenth century, using historically informed playing techniques, instruments and stylistic conventions. The ten finalists were chosen from 58 applications to provide a balance sequence of concerts in the final, covering the whole ‘early music’ period. The BBC Radio broadcast of selections of pieces from the final can be heard here.
York Early Music Festival
Innovation: the Shock of the New!
My principal reason for going to York was to review the biennial York Early Music International Young Artists Competition which took place over the last three days of the annual York Early Music Festival. The Festival lasted from 5 to 13 July and was given under the banner of Innovation: the Shock of the New! taking inspiration from the 500th anniversary of Leonardo da Vinci. Alongside talks and community events were a range of concerts, mostly from York-connected and UK ensembles, but with welcome continental visitors including Concerto de Margherita, one of the EEEmerging groups, fortepianist Andreas Staier, the Italian/Jewish Ensemble Lucidarium, and the distinguished Belgian consort Vox Luminis. I was able to attend the last four of the Festival concerts, together with the three days of the Competition.
Claire M Singer: gleann ciùin
New Music Biennial
London Contemporary Orchestra, Clare M Singer, organ
Queen Elizabeth Hall, 5 July 2019
The New Music Biennial festival weekend in Londons’ Southbank Centre (and the following weekend in Hull) features 20 new commissions, together with other pieces composed within the last 15 years. The new works are each around 15 minutes long and are repeated after an on-stage chat with one of the BBC Radio 3 presenters. All the pieces will be broadcast on Radio 3 on their New Music Show or during the weekday 2pm Afternoon Concert slot. It is presented in conjunction with the PRS for Music Foundation and the BBC. The first of the new compositions to be performed was gleann ciùin by Claire M Singer, a composer who has used her time in charge of the magnificent 1877 Henry Willis organ in Islington’s Union Chapel to set up the annual Organ Reframed festival and to explore the more unusual sound possibilities of a mechanical action pipe organ. The occasion was also a rare outing for the Queen Elizabeth Hall’s recently restored 1966 Flentrop organ. It generally lives in a basement below the stage with a lift to hoist it up to the stage when needed – many people do not even know it is there.
The Sixteen Choir & Orchestra, Harry Christophers
The Grange Festival
The Grange, Northington, Hampshire. 28 June 2019
I think that few opera-goers would argue that Handel oratorios should not be staged as operas, despite the risk of letting opera directors loose on them. They are generally full of operatic images and action and usually lack the textural and plot bafflement and cross-dressing of many of Handel’s proper operas, although their Biblical stories come with their own element of bafflement. Their English language text can be rather clunky, as it certainly is in Belshazzar, but the momentum of the music and the large role for a choir makes them a particularly effective musical and theatrical show.
Following on from their recent partnership with the Academy of Ancient Music for Figaro The Grange Festival partnered with the choir and orchestra of The Sixteen (celebrating their 40th birthday) for a fully staged version of Handel’s Belshazzar. the story is taken from the Book of Daniel, and recounts the fall of Babylon at the hands of Cyrus the Great and the freeing of the Jewish nation from captivity. Directed by Daniel Slater with Robert Innes Hopkins as the designer, the setting, staging and direction was, with a few exceptions, excellent. A wall of Pink Floyd proportions was initially spread across the stage front, with the tip of a Breughelesque Tower of Babel peeking above the ramparts. Said tower swivelled through 180 degrees to reveal the internal settings. Continue reading