Look, no Bass! Orchestra of the Age of Enlightenment OAE Player from Thursday 25 November
The Orchestra of the Age of Enlightenment is a self-managed and democratic orchestra and gives its players considerable freedom to choose programmes and music. In their latest video offering on their OAE Player, Look, No Bass!, the OAE’s violinists present a programme of music for violins alone, highlighting the various textures and colours of their ubiquitous instrument. Their programme includes Telemann’s two Concerti for Four Violins, his programmatic Gulliver Suite Duo (from Der getreue Musikmeister), and arrangements by the OAE violinists of a Gabrieli Canzon and pieces by the English composers Matthew Locke and John Adson.
Sea Voyages and Salvation Orchestra of the Age of Enlightenment Roderick Williams, Kati Debretzeni Recorded at New St Lawrence Church, Ayot St Lawrence First broadcast on OAE Player 8 June 2021
Graupner Fahre auf in die Höhe Telemann Concerto for 3 oboes & 3 violins in Bb BruhnsMein Herz ist bereit JS Bach Cantata BWV 56 Ich will den Kreuzstab gerne tragen
The Orchestra of the Age of Enlightenment continue with their Covid series of on-line OAE Player concerts with Sea Voyages and Salvation, with music by Grauper, Telemann and Bruhns, culminating in Bach’s cantata Ich will den Kreuzstab gerne tragen. Whether by design or default, two of the composers were the first and second choices for the post of Thomaskantor in Leipzig which Bach was eventually offered after Graupner and Telemann turned it down.
Rameau: Danse des Sauvages from Les Indes Galantes Orchestra of the Age of Enlightenment & Acland Burghley School, Camden Video released 9 March 2021
The Orchestra of the Age of Enlightenment is now based at the Acland Burghley School in Camden. In this video, a group of talented year 10 Acland Burghley students perform an original dance they choreographed for their GCSE exam, with the OAE performing Rameau’s Danse des Sauvages from Les Indes Galantes. The collaboration is an important first step in demonstrating how working together can enrich an appreciation of the arts and reinforce the positives when joining forces creatively. More information here.
Embers of Romanticism Orchestra of the Age of Enlightenment, Geoffrey Paterson OAE Player, Available online from 10 February 2020
Webern (1883-1945): Passacaglia Wagner (1813-1883): Prelude & Liebestod from Tristan und Isolde Pfitzner (1869-1949): Act 2 Vorspiel from Palestrina Richard Strauss (1864-1949): ‘Interlude’ from Salome Wagner: Act 3 Vorspiel from Die Meistersinger von Nürnberg
In this 45-minute long on-line concert (originally intended as a cancelled live concert in March 2020) the Orchestra of the Age of Enlightenment has come up with a striking departure from their usual repertoire. Although they have ventured well away from the historical Age of Enlightenment before, this concert, curated and arranged by OAE principal horn, Roger Montgomery, is a particularly inventive bit of programme planning. Playing instruments from the late Romantic era, they present a programme of music by Richard Wagner, Richard Strauss, Anton Webern and Hans Pfitzner composed during the dying embers of the Romantic era. Through direct references and thematic inferences, the music is based on Thomas Mann’s 1947 novel Doctor Faustus. In the novel (which has the sub-title of The Life of the German Composer Adrian Leverkuhn, Told by a Friend), the composer enters into a pact with the devil in which he trades his soul for artistic and musical genius. The concert is available, for a moderate fee, via the OAE Player.
Handel: Messiah Orchetstra & Choir of the Age of Enlightenment, Christian Curnyn recorded in St Paul’s, Knightsbridge, released 27 December 2020
This recording of Messiah was made over a couple of days in the lead up to Christmas under London’s just-applied Tier 4 Covid-19 regulations. It was rehearsed and recorded in the sumptuous mid-to-late 19th century Anglo-Catholic church of St Paul’s, Knightsbridge. One of the first of the Oxford Movement churches, it’s 1843 galleried preaching-box design gained some Victorian bling with the addition of Bodley’s 1892 chancel with its rood screen and reredos which, along with the 1870/1920 wall painting and panels, form the visual background to the performance.
‘Seeing Double’ Orchestra of the Age of Enlightenment, Jonathan Cohen Kati Debretzeni,Nicola Benedetti, Rudolfo Richter Katharina Spreckelsen,Sarah Humphrys OAE Player. 19 November 2020
Avision Concerto Grosso no.5 in D minor Vivaldi Concerto in D for two violins RV 513 Vivaldi Concerto in D for two violins RV 514 Vivaldi Concerto in A minor for two oboes RV 536 Bach Concerto in D minor for two violins BWV 1043 Purcell Rondeau from Abdelazer
The second of the Orchestra of the Age of Enlightenment’s premieres on their digital platform OAE Player was a concert of Vivaldi and Bach double concertos recorded at the Snape Maltings in front of a socially-distanced audience. Many people will have already heard or seen an expanded version of the programme as one of the live concerts of the much reduced 2020 BBC Proms season. The principal violin soloist for both concerts should have been Alina Ibragimova, but the death of her father (the distinguished double bass player Rinat Ibragimov) the day before the Prom resulted in Nicola Benedetti stepping in for the Proms and this concert, which seems to have been recorded the following day in the far more suitable acousics of the Snape Maltings.
Apollo e Dafne Orchestra of the Age of Enlightenment, Roderick Williams Rowan Pierce, Katharina Spreckelsen OAE Player. 9 November 2020
Telemann Der am Ölberg zagende Jesus TWV 1: 364 JS Bach Cantata, Ich habe Genug BWV 82 Handel Concerto Grosso Op. 3 No. 2/1 HandelApollo e Dafne HWV 122
The Orchestra of the Age of Enlightenment (OAE) has responded to the Covid crisis by opening a new digital platform, OAE Player. For this Premiere Night concert, they were billed as returning to their resident home at the Southbank Centre for the first time since the first lockdown although, as you will read, that turned out to be not quite the reality. Each of the filmed concerts (there are currently twenty available on the OAE Player) are available to watch individually for a great deal less than a concert ticket (and without the costs of travel) or there is an option of accessing all the concerts with an annual pass.
2001: New Century, New Sounds
London Philharmonic Orchestra, Vladimir Jurowski
Royal Festival Hall, 8 February 2020
Beethoven: Symphony No. 1 in C major
Péter Eötvös: Snatches of a Conversation for trumpet, speaker and ensemble
Scriabin: Symphony No. 2 in g minor
The first concert of London Philharmonic Orchestra’s fascinating 2020 Vision project celebrated Beethoven’s 250th birthday with “a conversation between the past, the present and the future of music”. Their opening programme contrasted pieces from 1801, Subsequent programmes over the next few months will cover successive years in each of the three centuries. They opened with an adventurous programme of Beethoven, Scriabin and Péter Eötvös. Although Beethoven’s 1st Symphony was published in 1801, compositional sketches go back to 1795, and it was first performed the year earlier in April 1800 in the Hoftheater nächst der Burg in Vienna. It was something of a calling-card for Beethoven who had only recently arrived in Vienna. But it made an excellent start to the LPO’s New Century, New Sounds series of concerts. Continue reading →
Bach: Christmas Oratorio (Parts 1, 2, 3, 6)
The Choir of Trinity College, Cambridge, Stephen Layton Orchestra of the Age of Enlightenment
St John’s, Smith Square, 22 December 2019
For many years now, the highlights of the London Christmas and Easter concert season has been the final two concerts of the St John’s, Smith Square Christmas/Easter festivals. One is usually Bach, the other Messiah, both directed by Stephen Layton, the first with his student Trinity College choir, the second with his professional vocal group Polyphony. In recent years both have been accompanied by the period instruments of the Orchestra of the Age of Enlightenment. Both pairs of concerts sell out way in advance, the student choirs helping with audience numbers by rallying parents and friends. 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.
Sibelius: States of Independence
Elgar, R Straus, Sibelius Orchestra of the Age of Enlightenment, Thierry Fischer, Alina Ibragimova
Royal Festival Hall, 31 May 2029
Elgar: Serenade for strings
R Strauss: Violin Concerto in D minor, Op.8
Sibelius: Symphony No.2
We are used to period instrument performances of music of the Baroque and Classical era but not yet, perhaps, so familiar with 19th and 20th-century repertoire played on instruments that the composer would have known. Prominent amongst the promoters of this manner of performance is theOrchestra of the Age ofEnlightenment, most notably in their more recent foray into the 19th-century repertoire, including recent performances of Mahler and Liszt. They have now moved the explorations forward into the early 20th-century with this focus on Sibelius’s 2nd Symphony, composed in 1902. It was contrasted with Elgar’s 1892 Serenade for strings and Richard Strauss’s rarely performed 1882 Violin Concerto. The whole concert spanned just 20 years of a period of rising European nationalism and raised issues of the contrast between national and international music. It closed the OAE’s 2018/19 season under the banner of ‘Life, Liberty and the Pursuit of Happiness which, in turn, is part of their six-year ‘Chapters of Enlightenment’ season that started in 2017. Continue reading →
Bach: Christmas Oratorio
Choir of Trinity College Cambridge, Stephen Layton Orchestra of the Age of Enlightenment
St John’s, Smith Square, 22 December 2018
Whatever joys the St John’s Smith Square Christmas Festival comes up with year after year (this is the 33rd), the climax comes with the final two (always sold-out) concerts conducted by the festival director, Stephen Layton, firstly with his own Trinity College Cambridge choir, and then with his professional choir, Polyphony. In recent years both concerts have been accompanied by the Orchestra of the Age of Enlightenment (OAE). The first of the two concerts is usually Bach’s Christmas Oratorio (Parts 1, 2, 3 & 6), sung by the student choir of Trinity College, the second, Messiah, sung by Polyphony.
Orchestra of the Age of Enlightenment, Laurence Cummings
Glyndebourne Festival Opera. 22 July 2018
Glyndebourne’s new production of Handel’s Saul was one of the highlights of the 2015 season, gaining rave reviews from, amongst others, me – see here, which also gives more background to the oratorio and the production. Glyndebourne has a long tradition of staging Handel oratorios, and I have no problem at all with that, subject to my normal reservations about what some some opera directors get up to with their productions. This was not entirely devoid of some concern on those grounds, but the sheer spectacle of Barrie Kosky’s direction and the musical integrity of Ivor Bolton’s direction allayed most of my concerns. The same applies to this revival, at least musically, on this occasion conducted by the equally distinguished Laurence Cummings, directing the same Orchestra of the Age of Enlightenment, Glyndebourne’s resident period instrument orchestra.
Handel: Giulio Cesare
Orchestra of the Age of Enlightenment, William Christie
Glyndebourne Festival Opera, 10 June 2018
It is no surprise that David McVicar’s 2005 production of Handel’s glorious Giulio Cesare proved to be so popular. Revived twice in the years just after its first performance, it now, after a gap of a few years, reaches its third revival. The first night on 10 June was the 38th performance at Glyndebourne, and the remaining performances are already sold out. Handel’s opera, and McVicar’s interpretation, really do tick all the boxes, added to which is the outstanding cast of the current run (three of whom survive from the original cast) and the return of the original conductor, William Christie. Continue reading →
Bach: St Matthew Passion
Orchestra & Choir of the Age of Enlightenment, Mark Padmore
The Anvil, Basingstoke. 31 March 2018
During Easter Saturday, I watched a broadcast from Berlin of the powerful Simon Rattle/Peter Sellars staging of the St Matthew Passion that I had reviewed back in 2014 at the Proms. And in the evening, an unstaged, but equally powerful Orchestra of the Age of Enlightenment performance in Basingstoke’s Anvil. The common factor was Mark Padmore, appearing as the Evangelist and, in the case of the OAE, as director. I don’t object in principle to stagings of the Bach Passions. Sellar’s use of the space in and around the orchestras was very effective, and I also liked Jonathan Miller’s inspiringly human reading in the mid-1990s, and Deborah Warner’s 2000 ENO staging of the St John Passion, which drew the audience directly into the unfolding drama. But sometimes just being presented with the music itself, without additional layering, is the way to focus on the complex human emotions that Bach portrays. Continue reading →
Bach and Handel: Great Balls of Fire
Orchestra of the Age of Enlightenment, Steven Devine
Kings Place. 1 March 2018
Handel: Organ Concerto Op. 4 no. 1
Handel: Organ Concerto Op. 7 no. 5
Bach:Brandenburg Concerto no. 5
Under the banner of the Kings Place ‘Turning Points’ series (which aims to explore the hidden secrets of the great composers) and a very silly concert title (‘Great Balls of Fire’), the OAE presented three examples of the 18th-century keyboard concerto, contrasting two of Handel’s Organ Concertos with Bach’s 5th Brandenburg Concerto. Composed for entirely different audiences and occasions, the Bach and Handel pieces reflect key moments in the development of music. A pre-concert talk by the chief executive of the OAE, given in the rather booming style of a schoolmaster (I use the gender-specific term deliberately) lecturing a lower-sixth general studies course, gave some background to the concert and the three pieces were to hear. The concert itself lasted just one hour, without interval. It was followed by a Q&A session with the performers and an encore, voted for by the audience from a list of three. Continue reading →
Bach, the Universe & Everything
Orchestra of the Age of Enlightenment
Kings Place. 14 January 2018
The Orchestra of the Age of Enlightenment’s regular Kings Place Sunday morning ‘Bach, the Universe & Everything‘ series is billed as a “Sunday service for inquiring and curious minds; a place to bond with music lovers and revel in the wonders of science.”. In conjunction with The Institute of Physics, each event includes a Bach cantata and a talk from a distinguished scientist. This first event of 2018 reflected the Kings Place theme for 2018, ‘Timed unwrapped‘, with a talk by Professor Helen F Gleeson on Time and Perception. These are very popular events, but it was my first visit. Although not in the style of the many totally secular Sunday ‘services’ that have sprung up around the country in these post-religious days, there were elements of a church service in the organ pieces played before the start (of non-conformist, rather than C of E length), a reading, a choir ‘anthem’, notices, a hymn (in this case, of course, a Lutheran chorale) and a ‘collection’ at the bar in return for coffee and cake.
Handel: Semele Orchestra of the Age of Enlightenment, Christophe Rousset
Royal Festival Hall, 18 October 2017
Handel’s Semele is a curious work. Described at the time as a “musical drama . . . after the manner of an oratorio”, it is positioned rather awkwardly between opera and oratorio. It was first performed in concert format during the 1744 Lenten oratorio season, the decidedly secular story causing an inevitable shock to those expecting a piously biblical seasonal oratorio. Nowadays it is usually performed as a fully staged opera, but this dramatically performed concert performance gave us a chance to absorb the music, without interference from a director. Despite fairly obviously moralistic undertones, the story is about as far from the biblical oratorio as you can get. Continue reading →
Sally Beamish: The Judas Passion
Orchestra & Choir of the Age of Enlightenment, Nicholas McGegan
St John’s, Smith Square, 25 September 2017
One of many puzzles that leap from the pages of the Bible is the curious position of Judas Iscariot in the wider scheme of things. The synoptic gospels do not agree on his role or the story of his apparent ‘betrayal’ of Jesus: actually, a literal ‘handing-over’ or ‘delivery’ of Jesus if the word paradidomi is more correctly translated. Two of the gospels suggest that the ‘devil’ entered him, something that Jesus had already proved adept at dealing with by a bit of casting out. Why didn’t he do so on this occasion? And if, as seems likely, Jesus foresaw, and may have actively encouraged Judas’s paradidomi, then it was not an act of free will and should not be punishable, let alone seen as the ultimate betrayal for which the ‘loving and forgiving God’ has left the hapless Judas to be almost alone among the irrevocably damned, notwithstanding his clear remorse. And if preordained, why the personal condemnation of the man who fulfils the prophecy – “It would be better for that man if he had never been born”? It was one of many New Testament events that were, apparently, preordained in the Old Testament, the juggling of which has caused many problems of Christian interpretation.
Edward Armitage: The Remorse of Judas, 1866. Tate Britain
Mozart: La Clemenza di Tito Glyndebourne Festival Opera, Orchestra of the Age of Enlightenment BBC Prom 59. Royal Albert Hall. 28 August 2017
The tradition of bringing one of the season’s Glyndebourne Festival Opera productions to the Proms continued this year with their version of Mozart’s often overlooked opera La Clemenza di Tito. Although I didn’t see the fully staged version at Glyndebourne, I did see the live webcast of the performance, and my feelings about the much-reduced staging in the Albert Hall is influenced by that.
Director Claus Guth and designer Christian Schmidt’s Glyndebourne staging divided the world of Tito into two, a clean modernist upper floor executive office positioned above a reed-clogged swamp where much of the action took place. A video played during the overture (or didn’t, depending on which performance you saw) which explained, apparently, the director’s interpretation of why Tito relationship with his boyhood chum Sextus went sour. The transfer to the Proms retained the dual levels, but with Tito’s domain behind the orchestra on the upper steps of the stage, the swamp rather pathetically alluded to by about half a dozen clumps of reeds and a rock on the stage in front of the orchestra. But, as is so often the case with semi-staged or concert performances of opera, this rather helpfully pulled the opera away from being the inspiration of the director towards being that of Mozart. Continue reading →
Schoenberg: Verklärte Nacht / Brahms: Andante from SextetOp18/1 Orchestra of the Age of Enlightenment: Night Shift
Baroquestock Summer BBQ weekend special
Heath St Baptist Church, Hampstead. 17 August 2017
This turned out to be a Tale of Two Churches. On my way to Hampstead for the first event of the Baroquestock Summer BBQ weekend at Heath Street Baptist Church in Hamstead, I stopped off at the church of St Sepulchre-without-Newgate in Holborn, known for many years as the Musicians’ Church, and an important venue for rehearsals and concerts for many musicians and choir. There I joined a flashmob drawing attention to the recent decision by the church (now run as a ‘plant’ of the evangelical Holy Trinity Brompton) to stop all rehearsal and concert bookings – an extraordinary decision that has caused a justifiable uproar.
In sharp contrast to the situation in, of all places, the Musicians’ Church, Heath Street Baptist Church in Hamstead is one of many London churches that have actively embraced music and musicians, running a regular series of lunchtime concerts as well as occasional musical festivals, the latter recently under the title of Baroquestock in food-related weekend festivals. Their latest Baroquestock weekend includes concerts by Spiritato and Istante Classical, the latter including Haydn’s La Poule Symphony to the accompaniment of BBQ chicken. Their opening event was a performance of Schoenberg’s Verklärte Nacht, to the culinary accompaniment of, you’ve guessed – Schoenbergers! Continue reading →
Francesco Cavalli: Hipermestra Orchestra of the Age of Enlightenment, William Christie
Glyndebourne Festival Opera. 21 May 2017
For somebody who believes an oracle that he will be murdered by one of his nephews, it was particularly unfortunate that Danao, King of Argos, had 50 of them, the sons of his brother Egitto, King of Egypt. As it happened, Danao had 50 daughters, so married them all off to his nephews with the instruction that they must all murder their husbands on their wedding night. With one exception, Danao’s plan worked, the exception being his daughter Hipermestra and her new husband Linceo, who had fallen for each other. The subsequent plot of Cavalli’s 1658 opera is based on the complex series of events that occurred after the 50 potential murderous nephews were now reduced to a more manageable one. Continue reading →
Bach: Brandenburg Concertos Orchestra of the Age of Enlightenment
St John’s, Smith Square. 2 May 2017
It is not that often that all six Brandenburg Concertos are performed in one concert. One issue is the logistics of gathering so many instrumentalists together, several for just one piece. Another is the length, in this case overrunning an ambitious estimate by some 20 minutes. On this occasions, the Orchestra of the Age of Enlightenment performed the six concertos in the sensible order of 1, 3, 5 interval 4, 6, 2, providing some key contrast, and saving the most powerful concerto to the end. There had been some shifting of personal before the start of the concert, with the former second violinist Huw Daniel stepping up to concertmaster to replace the indisposed Pavlo Beznosiuk, and Naomi Burrell stepping in to take his place in the line up. Continue reading →
Bach: B Minor Mass
The Choir of Trinity College Cambridge
Orchestra of the Age of Enlightenment, Stephen Layton
St John’s, Smith Square, 22 December 2016
The annual St John’s, Smith Square Christmas Festival is now in its 31st year, the last 20 of which have been curated by Stephen Layton, conductor of Polyphony, who traditionally give the final concert, and Director of Music at Trinity College Cambridge whose choir gives the penultimate concert of the series. This year’s penultimate concert was a re-run of last year’s, reviewed here. I will not repeat the comments I made about last year’s concert, so it is worth reading that review before this one.
This year the Trinity College choir was 46-strong, two up from last year, with 16 additional alumni singers bought in to reinforce the 30-strong current student choir. Several of the alumni singers have been making their way in the post-university musical world, with at least two receiving honorable mentions on this website. This year a mezzo-soprano was added to the line up, alongside the countertenor Iestyn Davies. Mezzo Helen Charlston is one of the alumni I have already spotted as a singer of real promise and, although she only had a brief moment front stage (at the start, in the duet Christe), she again demonstrated a excellent voice.
Bach: Christmas Oratorio 1-3, Singet dem Herrn
Choir & Orchestra of the Age of Enlightenment, Masaaki Suzuki
Cadogan Hall. 9 December 2016
Bach’s Christmas Oratorio was originally performed as six separate cantatas on the major feast days of the Christmas Day, starting on 25 December. Unlike present day marketing operations and shops, Christmas in Lutheran Leipzig started on Christmas Day, not sometime in late-October. The first three cantatas were performed on the successive days, 25, 26, and 27 December 1734, with performances in both the Thomaskirche and Nicolaikirche. The last three cantatas were performed on 1, 2, and 6 January 1735, again with performances in both churches (with the exception of Part 3 and 5, which were only performed at the Nicolaikirche).
Notwithstanding the separate nature of the six cantatas, Bach clearly saw them as a unified whole, grouping them together under the single title of Weihnachts-Oratorium, and giving the whole set a logical key structure and theme development. As in many of his major works, Bach borrowed from his previous compositions (including three entirely secular cantatas), making for fascinating thoughts about the creation of a religious masterpiece balanced against the practical considerations of coming up with so many cantatas in such a short space of time and Bach’s allocating of religious texts to music composed for secular purposes. It is a shock to realise that, despite the importance that this work apparently meant to Bach, the Christmas Oratorio was not performed again until 1857.
Shorn of the setting of a Lutheran service in wintry Leipzig, present day performances are inevitably compromises. The Orchestra of the Age of Enlightenment came up with the sensible plan of splitting the piece over two successive evenings, Continue reading →
Handel: Alcina Ryedale Festival Opera, Orchestra of the Age of Enlightenment ‘Experience Scheme’
Oriental Club London, 29 July 2016
After two performances during the Ryedale Festival (16 and 18 July), Ryedale Festival Opera brought their production of Handel’s Alcina to the courtyard of the Oriental Club in London. In collaboration with eight young instrumentalists from the Orchestra of the Age of Enlightenment’s ‘Experience Scheme’, conducted from the harpsichord by Ian Tindale, this was a staged and impressively costumed production, but with minimal props and no sets or scenery, and given an impressively light directorial touch from Nina Brazier.
Like Handel’s operas Orlando and Ariodante, the story is based on a tale from Ariosto’s Orlando furioso, the epic early 16th century poem of knightly chivalry and fantasy set amidst the wars between Christians and Saracens in the time of Charlemagne. Continue reading →
Glyndebourne: Le nozze di Figaro Orchestra of the Age of Enlightenment,Jonathan Cohen Glyndebourne Festival Opera. 15 July 2016
Le nozze di Figaro was the first opera to be performed at Glyndebourne at its opening festival in May 1934, and it has been a regular ever since. This performance was a return of the 2012 production, directed by Michael Grandage, with Ian Rutherford as the revival director. I didn’t see the 2012 version, so am not able to compare or note any differences, but the sumptuous sets, and costumes are the same. Those who wanted more of the story of Figaro could also have seen Rossini’s Il barbiere di Siviglia at Glyndebourne a few weeks earlier, for the back-story to Mozart’s Le nozze di Figaro, with Figaro relieved of his interim job as a barber and returned as the servant of Count Almaviva and his Countess.
The setting was clearly Seville, although the dating takes a little while to reveal itself. Glorious architectural depictions of Moorish architecture Continue reading →
Weber: Der Freischütz
Orchestra of the Age of Enlightenment, London Philharmonic Choir, Sir Mark Elder
Royal Festival Hall. 7 June 2016
The Orchestra of the Age of Enlightenment have been celebrating their 30th anniversary year with a remarkably wide range of music, culminating with this Birthday Concert performance of Weber’s Der Freischütz. Perhaps most noted for their exploration of Baroque and Classical music, it can be forgotten that the OAE have also performed many pieces from the Romantic era, with remarkable success – indeed, their second concert, 30 years ago, under Roger Norrington, was devoted entirely to Weber. And so it was with this powerful semi-dramatised performance.
‘Not all orchestras are the same’ is one of the OAE’s mottos, and they do seem to relish pushing boundaries. That was also the case with Weber and Der Freischütz, one of the opening salvos of the German Romantic movement. Set in a forest Continue reading →
Mahler: Resurrection Symphony
Orchestra of the Age of Enlightenment, Philharmonia Chorus, Vladimir Jurowski
Royal Festival Hall. 12 April 2016
The Orchestra of the Age of Enlightenment is a remarkable institution. They are equally at home as a tiny Baroque trio sonata format, a string quartet in a crowded pub or, as they were on this occasion, with nearly 120 players fronting a choir of more than 130 singers in one of the major works of the late Romantic repertoire. They bring an extraordinary wealth of knowledge and expertise of period instruments and performing styles, and nurture, support and influence the conductors that they invite to direct their concerts. With Sir Simon Rattle soon to lead them in Bruckner, this was Vladimir Jurowski’s chance to put them through their paces with Mahler’s 2nd Symphony, the so-called ‘Resurrection’.
This often performed giant of the repertoire is very rarely, if ever, heard with the instrumental sound of Mahler’s time. And although that is only just over 100 years ago, the sound difference to the modern orchestra is almost as great as that between Mahler’s time and Mozart’s, 100 years before. The most Continue reading →
“To make divine things humans and human things divine – such is Bach, the greatest and purist moment in music of all time”. This quote on the ‘miracle of Bach’ from Pablo Casals was mentioned in the programme note setting the concert in context. Built around two of Bach lesser known Lutheran Masses (Missa Brevis), the evening opening with Bach bustling Sinfonia from the cantata Am Adend aber desselbigen Sabbats, composed in 1725, the lengthy instrumental opening (pictured) was apparently intended to give the singers a bit of a break after a busy week. It has a jovial, extended and rather convoluted initial theme which bubbles along until a concluding, and very clever, skipped beat. A conversation between strings and two oboes and bassoon, this is the type of piece that Bach probably scribbled down before breakfast but, 300 years later, stands as an extraordinary example of his genius and skill at turning a string of notes into something inspired and divine.
The other instrumental work was Brandenburg 2, with its notorious discussion between the unlikely combination of clarino trumpet, recorder, oboe, and violin. Continue reading →