Claire M Singer: gleann ciùin

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.

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Gluck: Bauci e Filemone & Orfeo

Christoph Willibald Gluck
Bauci e Filemone & Orfeo (from Le feste d’Apollo)
Classical Opera/The Mozartists. Ian Page
Queen Elizabeth Hall. 29 May 2019

As a continuation of their Mozart 250 project, Classical Opera travelled back 250 years to explore the year 1769 with extracts from Gluck’s Le feste d’Apollo, composed for the wedding celebrations of 15-year-old Ferdinand, Duke of Parma and the 23-year-old Austrian Archduchess Maria Amalia, youngest daughter of Empress Maria Theresa and Emperor Francis I. She was against the idea of this dynastic match from the start, not least because she was in love with a Bavarian Prince, who was deemed socially beneath her. Given that background, it must have been a bit of a strain for her to sit through the three short operas that make up Gluck’s Le feste d’Apollo, two of which were performed in this concert. The opening extract Bauci e Filemone is a rather soppy story of the power of love, whilst the well-known story of Orfeo tells a similar, but rather darker tale of love and relationships. Continue reading

Mozart: La finta semplice

Mozart: La finta semplice
Classical Opera & The Mozartists, Ian Page
Queen Elizabeth Hall, 2 June 2018

The Classical Opera & The Mozartists’ ambitious Mozart 250 project started in 2015, the anniversary of Mozart’s childhood London visit, aged 8, and the composition of his first symphony. Each year they are programming concerts reflecting Mozart’s, and his contemporaries, compositions dating from 250 years ago. So 2018 is centred on music from 1768. Their two concerts earlier this year explored the music surrounding the 12 year-old  Mozart in Vienna in 1768 (reviewed here), with pieces by Haydn, Jommelli, JC Bach, Hasse, Vanhal, and an extract from Mozart’s La finta semplice; followed by a rare performance of Haydn’s Applausus Cantata: Jubilaeum Virtutis Palatium (reviewed here)But tonight it was Mozart’s turn, with a semi-staged performance of his first opera buffa, La finta semplice. It is all too easy to denigrate Mozart’s early works, to the extent that the chronological sequence of the Mozart 250 project could have been a risk, at least for the first few years. But it has turned out to be very much not the case. Part of the responsibility for that is the excellent performances of Classical Opera & The Mozartists, lifting what can be rather less than outstanding music into memorable performances. Continue reading