LHF: Lauren Lodge-Campbell

London Handel Festival
Lauren Lodge-Campbell
St George’s, Hanover Square, 4 April 2019

The second of the major prize-winners from last year’s Handel Singing Competition, was Lauren Lodge-Campbellwinner of both the second and audience prizes. I heard in last year’s semi-finals rather than the final, and was very impressed with her, commenting that “She had a compelling stage presence and an impressively powerful voice, helped no doubt by being a rarity amongst singers in actually opening her mouth properly. Intonation, articulation and control of vibrato were all excellent“.  The result of the final was a rare occasion when I agreed with the LHF judges as to the top two places! Lauren Lodge-Campbell is a British/Australian soprano. She studied in Australia and London’s Guildhall School of Music and Drama. She was a member of the 2018 Iford Arts New Generation Artists Programme and, in 2019, will join William Christie’s Le Jardin des Voix, the young artist programme of Les Arts Florissants.

Lauren Lodge-Campbell.jpg

For this lunchtime recital, she included the two pieces from her 2018 semi-final and at least one from the final. She opened with Ho perduto il caro sposo, the opening aria of Rodalinda, a nice link to the theme of the 2019 Festival with its focus on Handel’s Divas as it was originally sung by Francesca Cuzzoni. Lauren Lodge-Campbell caught the mood of the mourning well, revealing the strength of Rodelinda’s character. I liked the way all four performers timed the silences in the opening phrases. One of Handel’s Nine German Arias followed, Die ihr aus dunklen Grüften composed in the style of a trio sonata with its elegant cello line that moves from repeated note harmonic support to melody.

With plaintive notes and am’rous moan (from Samson) followed, with some lovely playing from violinist Sophie Simpson. Lauren Lodge-Campbell’s agile voice and excellent articulation were evident here, as were as some well-executed ornaments. She has a fast, but slight vibrato which fortunately did not interfere with articulation or pitch, but I hope she manages to avoid it getting any stronger over time, as happens with so many talented young singers of the earlier repertoire. Wind was something of theme for the recital, with the dramatic Combattuta da due venti (Faramondo) being one of the examples. Handel’s Violin Sonata in A (HWV 361), was followed by the autumnal winds of Bach’s Angenehmer Zephryrus (BWV 205).

O though bright sun . . . With darkness deep’ featured the gorgeous little seven-note accompaniment motif that casts some soothing balm on Theodora’s prison cell depression. Bach’s famous Laudamus te from the B minor Mass was beautifully sung, Lauren Lodge-Campbell’s air of youthful innocence reminiscent of some of the soprano arias in the Passions. The final piece was Scoglio d’immota fronte with its depiction of a storm-tossed sea. You can watch part of Lauren’s prize-winning performance of the same piece during last years competition here, Here use of da capo elaborations was impressive, as was her control and articulation of the virtuoso passages.

As well as her singing and excellent contact with the audience, I was also very impressed at the way that Lauren introduced the three instrumentalists, made sure they were acknowledged in applause and gave them a solo spot to themselves in her showcase concert: a courtesy that all singers should consider. Along with Sophie Simpson, violin, were Jacob Garside, cello, and Satoko Doi-Luck, harpsichord, with some excellent playing from all three.

Although last year I agreed with the judges in their choice of the top two prizes, this was yet another occasion when a singer that really impressed me didn’t even get into the final – one of the reasons I usually review the semi-final. That was soprano Charlotte La Thrope who I first heard when she was part of the Iford Arts New Generation Artists Scheme. I had described then her as “a young singer to watch out for” and also praised her acting ability. In her semi-final, she fully engaged with the audience, demonstrated excellent intonation over wide-ranging melodic lines, sang with clearly articulated runs, ornamented the da capos well, and controlled her minimal vibrato well. She is currently one of the Monteverdi Choir Apprentices.

Photo: Bertie Watson 

 

Iford Arts: Jephtha

Iford Arts: Jephtha
Contraband, Christopher Bucknall
Iford Manor, 25 July 2017 

Jephtha was Handel’s last oratorio, composed in 1751 as his sight was failing to the extent that 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.

This Iford Arts production, in the delightfully intimate surroundings of the Italianate cloister at Iford Manor, was directed by Timothy Nelson, with Christopher Bucknall directing the 14 instrumentalists of JEPH17_198.jpgContraband. It was set in recent times in a fundamentalist (and militaristic) Christian community of cult-like weirdness, led by the controlling Zebel (Frederick Long), with behaviours frequently bordering on what might have been found in a lunatic asylum of Handel’s day. As it happened, on my drive down to Iford, I listened to a Radio 4 broadcast of an account of the 1993 siege of a fundamentalist sect at Waco in Texas. The comparisons were chilling. Continue reading