Monthly Archives: January 2020

Brighton Dome and Strings Attached Coffee Concert

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Attenborough Centre, University of Sussex, Sunday 26 January 2020

You can rely on Beethoven and Brahms to fill a venue. On this occasion there was scarcely a spare seat in the Attenborough Centre – quite a fillip for the ten year old Strings Attached, whose chair, Mary McQueen, told the audience before the concert that she had never seen the hall so full.

And so to the ever approachable Beethoven Op 18 no 3 with which the Heath Quartet opened their interestingly programmed concert – Brahms sandwiched between early and mature Beethoven. They play standing up (apart from Christopher Murray on cello who sits on a podium which puts him almost at eye level with the other three) which means that their playing is unusually free – leaning into each other with lots of whole body, expressive communication.  They have an intensely sensitive rapport playing like a folk band, as if their instruments are dancing together, and they barely look at the music. Their do-what-you-like dress code is a bit odd – one suit, one fairly formal female outfit, one black shirt and one green – but of course it doesn’t matter.

The andante, built on a four note descending scale came with striking richness of tone and I admired the elegant and witty delivery – like an insouciant chat. The crystalline clarity of articulation in the presto (which has a lot of notes) was impressive too.

Then we moved forward more than seven decades to 1873 into the warm, romantic, lush territory of Brahms Op 51 no 2, leaving the (relative) crisp classicism of 1799 Beethoven far behind. There’s something about A minor for string quartets (Schubert No 13 D 804 is another example) and the Heath Quartet really brought out the lyrical beauty especially in the andante which they played with intelligent dynamic emphasis and lots of contrast. I loved the elegant musical baton passing of themes too which was particularly noticeable in the finale.

Beethoven’s Razumovsky quartets were written only four years after Op 18 but this is post-Eroica symphony and suddenly we are in a completely different “sound world” and new technical challenges such as the ethereal harmony and potential problematic timing of the extraordinary slow introduction. The Heath Quartet played it arrestingly. Also outstanding was the glorious andante with its percussive cello pizzicato underpinning the tightly woven minor key melody and its variations. The control with which the Heath Quartet played the end which dies away to nothing was another high spot. So was the frenzied allegro molto – tiring even to listen too but the Heath Quartet made it sound effortless as well as intense.

All in all this was a very enjoyable concert and I’m glad so many people were there to hear it.

Susan Elkin

 

 

 

 

EXPERIENCED SINGERS WANTED!

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TO PERFORM GROUND-BREAKING NEW WORK WITH THE DISTINGUISHED LONDON MOZART PLAYERS
Celebrated composer Polo Piatti is looking for 20 committed singers to join the distinguished London Mozart Players performing the world-premiere of his deeply powerful and emotional multi-faith oratorio Libera Nos.  The new Choir will also be joined by members of the Hastings Sinfonia, five Soloists and a Children’s Choir.
Interested singers are required to attend all rehearsals taking place forth-nightly from Saturday 29th February onwards (1-3pm) at the Opus Theatre in Hastings (details below). The composer will be conducting the rehearsals while London maestro Derek Carden will conduct the premiere.
The composer is also looking for a confident 8-11 years old girl to sing the solo part of God in the oratorio. She should be able to perform on stage and under pressure. The organisers will be auditioning suitable candidates on Saturday 8th February at 2pm at the Opus Theatre.
If you are interested in being part of this very special project or require more details, please send an email to: opushastings@gmail.com or call 07725-163929.
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Background: ‘Libera Nos’ is believed to be the first ever multi-faith oratorio to be performed in the world. A truly monumental work that took over three years to be researched and finally completed was commissioned by the Musica Sacra organisation in Hastings and is based on the musical traditions and narrations of all major world religions: Buddhism, Hinduism, Christianity, Judaism and Islam. Composer Polo Piatti said about the work: “The oratorio’s main objective is to convey a simple message: as long as people remain segregated from each other, the world will continue to be an unjust and unhappy place. Only by looking for common ground and universal similarities can we find understanding and contribute to a better life for all of us on this planet.”. As in all of Piatti’s works, the music is highly evocative, accessible and melodic. You can watch some video clips of the work’s 2015 soft-premiere online by searching Libera Nos Oratorio.
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Rehearsals will take place on Saturdays (1-3pm) on the following dates: 29th Feb, 14th and 28th March, 11th and 25th April, 9th and 23rd May. Full rehearsal is on Sat 6th June (2-5pm) and Dress Rehearsal and Premiere are both on Sat 13th June at 3pm and 7pm respectively.  The Opus Theatre’s address is: 24 Cambridge Road, Hastings TN34 1DJ.
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ENO: Luisa Miller

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Luisa Miller

Giuseppe Verdi (1813-1901)
Libretto by Salvadore Cammarano (1801-1852) after Friedrich Schiller’s Intrigue and Love (Kabale und Liebe)
Director, Barbora Horáková Joly
Conductor, Alexander Joel

English National Opera stages Verdi’s Luisa Miller for the first time in company history

Opens Wednesday 12 February at the London Coliseum (6 performances)

Winner of the Newcomer Award at the International Opera Awards in 2018, Barbora Horáková Joly brings her contemporary staging of Luisa Miller to the London Coliseum.

Luisa Miller is a complex web of love and intrigue. The opera follows the lovers Luisa and Rodolfo, who, from opposing sides of the class divide, are united in their search for happiness. But oppressive familial relationships and societal expectations threaten to tear the doomed pair apart, shattering their lives and turning romance to tragedy.

This new production is a modern psychological family drama, with themes around light and dark. Making her UK directorial debut, Barbora comments: ‘It’s a perfect and impactful drama created by two geniuses – Verdi and Schiller. Both impress us with the way they use strong psychological views of the characters and the inevitability with which the story reaches its tragic end.’

Recognised as a key transitional work in the refining of Verdi’s style in the 1850s, Luisa Miller reveals the composer’s innate gift for beautiful lyrical lines and sensitive orchestration. His fifteenth opera, this marks the beginning of Verdi’s ‘middle period’, which produced some of the composer’s most famous works: La traviata and Rigoletto.

One of opera’s favourite voices, Elizabeth Llewellyn, returns to ENO for the role of Luisa. Her soprano, ‘uncorks passages of glorious timbre’ (The Times). An expert in Italian repertoire, her ‘vocal blend is ideal: pure, supple and perfectly balanced’ (the Independent).

Baritone Olafur Sigurdarson takes the role of Miller in his ENO debut. Olafur has an established international career, having sung on stages across Europe, Japan, Australia, Mexico and the US. Praised for his performance as Scarpia in Tosca, he was recognised as Iceland’s Classical Singer of the Year in 2018.

David Junghoon Kim ‘an outstanding tenor’ (British Theatre Guide) sings Rodolfo, also making his ENO debut. David is a Royal Opera House Jette Parker alumnus and has previously won the Francisco Viñas, Voci Verdiane and Toulouse singing competitions.

The ‘formidably voiced’ (Evening Standard) James Creswell returns to the Coliseum as Count Walter. His bass is ‘magnificently rich, dark and wholly secure, with flawless emission’ (Opera Britannia).

Leading mezzo-soprano is Christine Rice in the role of Federica. Christine returns in her first role since Elvira in Don Giovanni (2016) – ‘Donna Elvira is all the more potent for the control Christine Rice exerts in one astonishing aria after another’ (the Observer).

Bass Soloman Howard is Wurm in his ENO debut. Soloman made his role debut recently at the Lyric Opera of Chicago, where he delivered ‘an intimidating performance of Wurm. His tremendous voice was matched by his towering stature’ (Schmopera).

 

Completing the cast, soprano and ENO Harewood Artist Nadine Benjamin returns to ENO as Laura after stellar performances in Porgy and Bess (2018) ‘gloriously sung’ (Evening Standard) and La bohème (2018).

Alexander Joel returns to take the conductor’s baton after success with ENO’s La bohème (2018) – ‘Altogether a wonderful evening under the baton of Alexander Joel’ (Mark Ronan).

The modern set is designed by Andrew Lieberman, with costumes by Eva-Maria Van Acker and choreography by James Rosental. Lighting design is by Michael Bauer and Martin Fitzpatrick, ENO’s Head of Music, has translated the libretto.

Luisa Miller opens on Wednesday 12 February 19:30 at the London Coliseum for 6 performances: Feb 12, 19, 21, 28 & Mar 6 at 19:30. Feb 15 at 18:30.

CDs/DVDs January 2020 (2)

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Bach: Well-tempered Clavier Book 1
Andras Schiff, piano
UNITEL 2.110653

Andras Schiff gave this concert as part of the BBC Proms in 2017. It is magnificent. His approach is reserved and precise, but never detached. He also sees the work as a whole, as if it has a logical structure throughout its nearly two hours of playing time. As such the concentration needed both from the performer and the audience is very demanding but worth the effort. Don’t dip in – listen to it straight through.

The Young Beethoven: Piano Quartets of 1785
Meret Luthi, violin; Sonoko Asabuki, viola; Alexandre Foster, cello; Leonardo Miucci, piano
DYNAMIC CDS 7854

It is difficult to accept that Beethoven was only 15 when he wrote these splendid works. While they lean on earlier models they constantly surprise by a new idea, a new unexpected twist. As such they are more than a match for later compositions and a delight to have here. The third quartet produces a melodic line which would eventually reappear in the Eroica!

 

Philip Glass: Violin Concerto No2; Violin Sonata
Piotr Plawner, violin, Gerardo Vila, piano, Berner Kammerorchester, Philippe Bach
NAXOS 8.559865

The second violin concerto is based loosely on Vivaldi’s Four Seasons though the composer refuses to label the movements so it is left to us to guess. The work is structured around four orchestrally based movements and four solo songs for violin. It is highly effective and unusually emotional for Glass. The sonata is more conventional but happily extrovert.

 

Brahms: Five Sonatas for Violin and Piano Vol2
Ulf Wallin, violin; Roland Pontinen, piano
BIS BIS 2419

This second volume includes the Sonata in E flat major Op 120 No2, Sonata No 2 in A major Op100 and Sonata No3 in D minor Op108. All are attractive works, sensitively played and recorded, of which I found Op100 the most immediate though this is very much a matter of personal taste as all three works have a gentle intimacy which is very winning.

 

Auber: Le Cheval de Bronze
Vienna Radio Orchestra, Kurt Richter
ORFEO C 986 192

This is an Austrian radio recording from 1953 which holds up remarkably well. The comic opera is best known (possibly only known these days) for its overture which does turn up in concert programmes. However the work itself is unlikely to be revived as it falls into the category of early 19th century Chinese fairy tale, with all the potential cultural problems attached. As a fantasy, the music is often charming if light-weight. Only Stella’s aria in the third act comes anywhere near Rossini for character and musical interest. A rarity and good to have available if its appeal may be limited.

CDs/DVDs January 2020 (1)

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Verdi: Rigoletto
Bregenzer Festspiele, Vienna Philharmonic Orchestra, Enrique Mazzola
UNITEL 751608

This is a distinctly marmite experience. Set on the lakeside at Bregenz, the set is a huge clown’s head (big enough that the jaw is used as a balcony) and two huge articulated hands on either side. The cast are mainly dressed as circus characters and behave as such. The music itself is splendid but I found that the action constantly failed to live up to the intensity of the narrative or of Verdi’s magnificent score. Stephen Costello is a fine Duke and Vladimir Stoyanov a strongly focussed Rigoletto though he lacks sympathy. As a one off it was interesting but I’m not sure I would be drawn back to it.

 

The Romantic Piano Concerto: 80
Howard Shelley, piano, Sinfonieorchester St Gallen.
HYPERION CDA 68264

Hyperion seems to have a bottomless barrel of splendid yet totally unknown works. Here is another pair which are instantly appealing. August Dupont’s Piano Concerto No3 in F minor is a richly impressive work, not as dark toned as one might imagine from the minor key and one I will certainly return to. Peter Benoit’s Symphonic poem for piano and orchestra may not have quite the impact but is a substantial work in its own right and certainly maintained my attention throughout. Howard Shelley is a totally committed soloist and conductor throughout.

 

Vaughan Williams; Symphonies 3 & 4; Saraband Helen
BBC Symphony Orchestra, Martyn Brabbins
HYPERION CDA 68280

New recordings of familiar, but none the less welcome, symphonies in exemplary versions. But the real gem is the new realisation of the Saraband Helen which dates from 1913-14 but remained unpublished. For those of us who regard the Serenade to Music as one of the finest things Vaughan Williams ever wrote, Helen comes as something of a revelation as it easily sits alongside the more familiar choral work. Helen is set for tenor solo – David Butt Philip – based on a short verse, which is lovingly supported and orchestrated. The cd is more than worth it just of this final piece.

 

Litolff: Piano Trios; Serenade for violin and piano
Leonore Piano Trio
HYPERION CDA 68305

Surprisingly this is the first recording of the second piano trio and the serenade. Though they may not be masterpieces when judged against the finest, they are striking and most approachable works, ideal I would have thought for a chamber music series where you want to slip in something just a little different but one you know is sure to please your audience. The Leonore Piano Trio bring vitality and commitment to their playing which is a pleasure throughout.

 

Del Signor Graun
Ludovice Ensemble
VM021

The two cds bring us six sonatas for flute and harpsichord by Carl Heinrich and Johann Gottlieb Graun writing in the mid eighteenth century. I wish I could be a little more enthusiastic but the pieces come across as worthy rather than exciting. There is certainly nothing wrong with the playing but the scores themselves lack the excitement one might need for a live performance.

HASTINGS INTERNATIONAL PIANO FESTIVAL ANNOUNCES PARTNERSHIP WITH THE NATIONAL YOUTH JAZZ ORCHESTRA

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The Inaugural Hastings International Piano Festival has announced an exciting partnership with the National Youth Jazz Orchestra (NYJO) to launch their ambitious 2020 educational offer. In the lead up to the 2020 Piano Festival, Hastings Piano will host a series of inspirational workshops with NYJO Associates in three local secondary schools: Hastings Academy, Ark Alexandra and St Richards. This work has been made possible by the generous support of the Isabel Blackman Foundation. Each school will receive 3 visits from a group of NYJO practitioners who will work with children of varied musical ability, developing young musicians’ skills and musical confidence. At the end of the project the children from all three schools will join together for a massed rehearsal ahead of a concert/sharing session for other students. These workshops will address the fundamentals of jazz performance practise such as; feel, ensemble skills and improvisation. All young musicians will learn melodies by ear, explore harmonic possibilities and gain confidence improvising. This partnership marks the launch of an extensive range of Youth Engagement Opportunities that Hastings International Piano is offering alongside the inaugural Piano Festival. This includes free tickets to many of the festival concerts as well as a wide range of workshops, school visits and inspirational talks from the international artists. The 2020 Hastings International Piano Festival will take place from February 26th – 8th March 2020 at the White Rock Theatre and St Mary in the Castle, featuring some of the most celebrated artists including headliner Rufus Wainwright with The Royal Philharmonic Orchestra, Jazz Queen Claire Martin with guest artist Liane Carroll, Oscar winning film composer Rachel Porter, Sam Smith’s song-writer and collaborator Reuben James with his 10 piece band, songwriter Guy Chambers, The Puppini Sisters with The Pasadena Roof Orchestra, Actors Patricia Hodge and Alex Jennings with pianist Lucy Parham, BBC Young Musician of The Year Martin James Bartlett and film critic Mark Kermode and his band The Dodge Brothers. The Hastings International Piano Concerto Competition returns in 2021.

Hastings Philharmonic

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St Mary in the Castle, Friday 10 January 2020

After the excitements of Christmas the second half of Hastings Philharmonic’s Season got off to a richly romantic start before an exceptionally large and enthusiastic audience at St Mary in the Castle.

The evening opened in the depths of the Wolf’s Glen with the dark tones and opulent horn calls of Weber’s Overture to Der Freischutz. This set a tone for the whole performance with its almost brash and extrovert sense of engagement coupled with exemplary playing.

The orchestra was crowded very tightly onto the platform, making it difficult for Marcio da Silva to approach the rostrum, but this seemed to help the sense of ensemble and balance. This was particularly evident in the main work of the first half – Rachmaninov’s Second Piano Concerto. Roman Kosyakov made a welcome return as soloist, following his success in the 2018 HIPCC. He seemed both more engaged and fluent in his approach, willing to take the tiny risks which add to the frisson of his playing as well as captivating us with the wide range of tone he was able to produce. The opening Moderato had plenty of power and passion, with many sections hard driven but never at the expense of the overall musical development and balance. The central Adagio sostenuto  was gently convincing without ever lapsing into sentimentality. If for very many of us the concerto has indelible links with the bitter-sweet Brief Encounter this is not necessarily a problem as the sensitive use of the score in the film brought the work to the attention of millions who would otherwise never have encountered it. The final Allegro scherzando was attacked with a flourish and many outbursts of florid fireworks. Magnificent.  A whimsical encore followed – just the sorbet we needed. Let us hope he returns soon.

The second half brought us Dvorak’s New World Symphony. Though the piano had been moved there was still a sense of crush on the platform but this added to the excitement with a vibrancy of attack and colour throughout. Though Dvorak is picking up themes from his time in America it is fascinating how often his homeland creeps through – none more so than in the delightful central section of the third movement when we are right back in Bohemia.

Marcio da Silva’s control of his forces never flags and the immediacy of the results is always engaging and utterly convincing. Thankfully, there are still a lot of evenings to look forward to between now and the summer.

ENO: Carmen

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Georges Bizet (1838-1875)
Libretto by Henri Meilhac and Ludovic Halévy after Prosper Mérimée
Director, Calixto Bieito
Revival Director, Jamie Manton
Conductor, Valentina Peleggi

Calixto Bieito’s acclaimed Carmen returns to English National Opera

Opens Wednesday 29 January at 7.30pm (10 performances)

Calixto Bieito’s critically praised production of Carmen returns to the London Coliseum this January.

A tale of love, obsession and jealousy, soldier Don José finds himself unable to resist cigarette worker Carmen’s charm, even when he is supposed to be guarding her prison cell. The tumultuous affair that begins between the pair comes to an abrupt halt when Carmen turns her attention to bullfighter Escamillo. Don José’s love for the femme fatale soon turns to jealousy and violence.

Appraised as ’a cogent, gripping piece of work’ (the Guardian), Calixto Bieito’s production transports the story from eighteenth century Seville to the dying days of Franco’s Spain.

Calixto Bieito remains one of the most sought after opera and theatre directors of his generation and is particularly well known for his radical reinterpretations of classic operas and plays. He has previously directed ENO productions of Don Giovanni (2001), A Masked Ball (2002), Fidelio (2013), and The Force of Destiny (2015). His production of Carmen was first staged at ENO in 2012.

One of the most popular operas ever written, Bizet’s Spanish-inflected score bursts with recognisable melodies like Carmen’s seductive ‘Habanera’ and Escamillo’s rousing ‘Toreador Song’. With music inspired by folksongs and Flamenco music, its original premier in 1875 received a lukewarm reception and Bizet died only a few months later, never seeing the success his work would garner.

Justina Gringyté reprises her role as the strong and spirited Carmen. In the role that has become her speciality, the Lithuanian mezzo-soprano ‘commands the stage’ (Evening Standard) in this production. Justina was a Royal Opera House Jette Parker Young Artist from 2011-13, and made her ENO debut as an ‘exceptionally fine’ (The Independent) Maddalena in Christopher Alden’s Rigoletto (2014).

ENO Mackerras Fellow and Guest Music Director of the Teatro São Pedro, Valentina Peleggi conducts. The ENO Mackerras Conducting Fellowship offers the opportunity for exceptional emerging conductors to develop their skills through a two year programme of mentoring. So far at ENO, Valentina has conducted Dido (18/19) and assisted on La bohème (18/19), Akhnaten (18/19) and Orpheus in the Underworld (19/20), conducting several performances of La bohème and Orpheus in the Underworld.

The role of Don José is sung by Sean Panikkar. An American tenor with Sri Lankan heritage, this is Sean’s ENO debut. In his first of two roles at ENO this season, opera-lover favourite and Olivier Award nominee, David Butt Philip will sing the role of Don José for the final two performances.

Exciting British singer Nardus Williams makes her role and house debut as Micaëla. Praised for her ‘superbly controlled, sensuous soprano’ (Opera Today), she is a current ENO Harewood Artist. Nardus was a member of Houston Opera Studio from 2018-2019 and a former Jerwood Young Artist at Glyndebourne. ENO audiences will also see her sing the Countess on the 18 April in Joe Hill-Gibbins’s new production of The Marriage of Figaro.

British baritone Ashley Riches returns to the London Coliseum to sing bullfighter Escamillo. Ashley previously sang the Count in The Marriage of Figaro (2018), and the Pirate King in The Pirates of Penzance (2017).

Keel Watson sings Zuniga, whilst Ellie Laugharne is Frasquita. The remaining roles are sung by ENO Harewood Artists; John Findon, Matthew Durkan and Samantha Price are Remendado, Dancairo and Mercédès respectively. Harwood Artist Alex Otterburn completes this talented cast as Moralès.

Regular ENO staff director Jamie Manton is the revival director. Jamie previously directed ENO Studio Live’s Olivier-nominated production of Paul Bunyan (2018 and 2019). Alfons Flores is the set designer whilst long-time Calixto collaborator Mercè Paloma is the costume designer. Bruno Poet is the lighting designer and the libretto has been translated by Christopher Cowell.

Co-production with Den Norske Opera and Ballet.

Carmen opens Wednesday 29 January 2020 at 19.30 at the London Coliseum for 10 performances: 29 January & 1, 6, 11, 14, 20, 25, 27 February at 19.30. 22 February at 18.15. 8 February at 14.00.

Tickets start from £10 (plus booking fee)*

A personal message to solo recital pianists with special 2020 plans from Richard Amey

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We all know whose 250th birthday anniversary is coming up!

Pianists who don’t perform Beethoven aren’t sure if they’re on a winner or a loser. Their concerts will be a welcome contrast or antidote to his music during a year when the mass exposure and examination of his work will teeter on overkill. But if these pianists are perceived as being in denial, or spurning the piano’s most inspirational classical composer, will that affect their audience rating?

Because this year the concert halls, recital rooms and mass media will be creating even more new audience for Beethoven and his exponents than happened feverishly 50 years ago in 1970, his 200th anniversary. The past 250 years have shown that humankind responds in the greatest numbers to this composer above all other, because he has the most to say and tell.

With his revolutionary power, beauty and humanity, he grabs by the throat and heart the idealistic young – who then discover and constantly rediscover Beethoven’s creative and expressive wealth through their lifetime, repeatedly energised and ever deeper enriched.

That’s me and millions of others. We all think we knew Beethoven, then find we didn’t. To our renewed admiration. Beethoven gets you for life. You cannot dismiss him or conscientiously reject him. You, the Beethovenian pianist, have the power to initiate that process.

Let us wish the non-Beethoven pianists an enjoyable ‘exile’ in 2020 – but let those programming Beethoven answer this . . . What is your purpose? To piggyback just the familiar, or be a messenger with ‘new’ Beethoven for your ticket-buyers? And I don’t mean just rarely-played ‘new’ Sonatas. This is a year in which you have no excuse if you are caught playing safe.

He will be disappointed if he sees solo recital pianists seizing their chance to dump on their audiences a heap of his Sonatas and nothing else. The composer wrote those for himself and for those buying his music to tackle at home or in court. I will be taking seriously few of those pianists because 2020 is the year each true Beethovenian pianist must stand up to be counted.

He was a performer, like you. But for deafness he’d have been doing so all his life and he’d probably have lived longer than his 56 years. I say, ignore his sets of variations this year in your programmes and you will slip down the rankings. Moreover, you will not be presenting the full Beethoven. Not for nothing did he perform these works, often improvised, off the top of his head, to amaze, excite and stun his audience, but wrote them for publication as another dimension and sharing of his gift.

They are of huge importance this year if audiences are to be given a complete picture. Take your pick. There are plenty. With them it will be your turn to do the stunning. And for most of those audiences, you will be giving music new to them.

To pick two obvious examples: the significant Eroica Variations & Fugue will come to them as a revelation because they’ll already know the tune. Play the C minor Variations (ignore Beethoven’s ambiguously jokey/pompous reported dismissal of them) and you will be connecting with Schubert late Sonata fans and in some cases educating them.

These two are no-brainers but of course there are the smaller sets to draw on, plus the miniaturist Bagatelles and Fantasies also, to check out and either learn, or re-visit and properly dust down. You already know that insight-wise the Bagatelles are very important Beethoven. Lots of this non-Sonata material is genuinely entertaining while you use it to paint that wider picture and draw people in to this one-off genius.

I wish you the thrill of creating your own contributions to this crazy upcoming year. And hope you succeed in making them memorable among the milieu.

Richard Amey

December 2019