LONDON MOZART PLAYERS
M&G Concert at the Civic Theatre
02.11.08
For the opening concert of the season, a popular programme, a big-name soloist and an encouraging sprinkling of young people in the near-capacity crowd.
Chloe Hanslip, child prodigy and still not long out of her teens, directed the London Mozart Players from her violin for Vivaldi's Four Seasons. Pivotal, in the centre of the semi-circle, she maintained an intimate contact with the players, painting the pictures with energy and verve. The positive opening of the Primavera, the wonderful blend of tones in the Autumn Adagio, the unusually jaunty Winter Largo, all made for a very enjoyable ride. For an encore, she joined LMP director David Juritz for the Allegro from the JS Bach Concerto for Two Violins.
Two housekeeping issues. The programme, informative as ever, had two lines of type missing, and, not for the first time, the clinking of glassware from the bar was an irritating distraction after the interval.
The concert began with two Serenades for Strings. Dvorak's – introduced with trainspotting pointers by Juritz – had an alert, conversational feel; the lively Scherzo had its tender moments too, with beautiful playing from cellist Sebastian Comberti. And to begin, the Elgar, another young man's work,
with a superb Larghetto central movement, sonorous and elegant, but also spun-silk filigree in the quieter moments.
A great start to the season, which continues in February with our very own Britten Sinfonia.
Tuesday, November 04, 2008
ROMEO AND JULIET
Independent Ballet Wales at the Civic
31.10.08
Like Tchaikovsky, Berlioz never intended his Romeo and Juliet music for the dance.
So while this wonderful score has the advantage of being both appropriate and unfamiliar, it does mean that the structures of traditional ballet music – themes, big numbers – are often missing.
But Darius James's choreography told the story clearly and engagingly, and his young dancers brought freshness and energy to the well-worn story.
The Berlioz, and occasional medieval French hurdy-gurdy music, were used precisely, in the dramatic final moments, for example, or the Act II pas de deux against the mezzo soloist.
The tender balcony scene was effectively lit, though Romeo was often left in the dappled shade of the orchard.
Romeo was danced with a youthful passion, sometimes gauche, always honest, and Juliet's candid, open movements were absolutely right for her character. In the smaller roles, we admired the lithe Benvolio, and the neat little nurse, whose every gesture spoke volumes.
The setting was simple but striking – hangings, ladders and, later, some telling back-projection to situate the action.
An imaginative, innovative production from a very impressive company, who are also touring Under Milk Wood this year.
Independent Ballet Wales at the Civic
31.10.08
Peter Teigen; Photographer
Like Tchaikovsky, Berlioz never intended his Romeo and Juliet music for the dance.
So while this wonderful score has the advantage of being both appropriate and unfamiliar, it does mean that the structures of traditional ballet music – themes, big numbers – are often missing.
But Darius James's choreography told the story clearly and engagingly, and his young dancers brought freshness and energy to the well-worn story.
The Berlioz, and occasional medieval French hurdy-gurdy music, were used precisely, in the dramatic final moments, for example, or the Act II pas de deux against the mezzo soloist.
The tender balcony scene was effectively lit, though Romeo was often left in the dappled shade of the orchard.
Romeo was danced with a youthful passion, sometimes gauche, always honest, and Juliet's candid, open movements were absolutely right for her character. In the smaller roles, we admired the lithe Benvolio, and the neat little nurse, whose every gesture spoke volumes.
The setting was simple but striking – hangings, ladders and, later, some telling back-projection to situate the action.
An imaginative, innovative production from a very impressive company, who are also touring Under Milk Wood this year.
"AT THE MOVIES"
Essex Concert Orchestra at Chelmsford County High School
01.11.08
The excellent Essex Concert Orchestra took us to the pictures this time, with an upbeat selection of Music from the Movies.
We got off to a cracking, not to say bone-crunching, start with Zimmer's Gladiator; the second half began with his equally stirring Dead Man's Chest, with great work from the three trombones and cellist Tim Handel.
John Williams was the most played composer, with Indiana Jones, Harry Potter – a lovely cartoonish, jazzy ride on the Night Bus – and the heart-rending theme from Schindler's List, sensitively played by the orchestra's leader, Jeanine Thorpe.
Brass to the fore again for Ron Goodwin, the complex Where Eagles Dare, with its precise percussion, and the pastiche Luftwaffe march – Aces High – from Battle of Britain, which won the audience vote for a well-deserved encore.
The only composer with a well-known corpus of work outside the cinema was Malcolm Arnold, whose well-known arrangement of Colonel Bogey had us whistling into the interval.
The orchestra, conducted by consummate showman Malcolm Hiscock, will be back in late April with a St George's Day concert including Holst, Vaughan Williams, and a few patriotic crowd-pleasers. Worth keeping an ear open for.
Essex Concert Orchestra at Chelmsford County High School
01.11.08
The excellent Essex Concert Orchestra took us to the pictures this time, with an upbeat selection of Music from the Movies.
We got off to a cracking, not to say bone-crunching, start with Zimmer's Gladiator; the second half began with his equally stirring Dead Man's Chest, with great work from the three trombones and cellist Tim Handel.
John Williams was the most played composer, with Indiana Jones, Harry Potter – a lovely cartoonish, jazzy ride on the Night Bus – and the heart-rending theme from Schindler's List, sensitively played by the orchestra's leader, Jeanine Thorpe.
Brass to the fore again for Ron Goodwin, the complex Where Eagles Dare, with its precise percussion, and the pastiche Luftwaffe march – Aces High – from Battle of Britain, which won the audience vote for a well-deserved encore.
The only composer with a well-known corpus of work outside the cinema was Malcolm Arnold, whose well-known arrangement of Colonel Bogey had us whistling into the interval.
The orchestra, conducted by consummate showman Malcolm Hiscock, will be back in late April with a St George's Day concert including Holst, Vaughan Williams, and a few patriotic crowd-pleasers. Worth keeping an ear open for.
THE MIKADO
Opera della Luna at the Civic
30.10.08
What would Gilbert have thought ? Not only was Koko's little list updated to include aromatherapy and offensive radio, but the Mikado's fitting punishments were extended to financiers and graffiti artists.
Opera della Luna bring their musical magic to the Mikado this season, with a packed Civic attracted by the prospect of a bright, breezy staging of a favourite G&S.
A fine, experienced cast ensured we were not disappointed. Simon Butteriss, the finest Koko of his generation and a natural successor to Grossmith and Green, relished the freedom afforded him by his bondage trousers and his Gaultier kilt, giving an entrancing performance that was spot-on musically.
David Woloszko made a mighty Pooh-Bah, and Luna favourite Tim Walton was a likeable lover. The Three Little Maids included newcomer Emma Odell as a grotesque Katisha and the charming Yankee Yum-Yum of Pamela Hay. Ian Belsey was an imposing Mikado, as well as a dim Northern shop steward.
Stage Director Jeff Clarke also conducted the witty reduction from the keyboard. There were many excellent ideas: the Madrigal, the exhausting Trio, the Act One finale. The opening number in the sweat-shop was inspired.
Fashion was key to the concept here. And whereas previous Luna tours [orbits?] have gleefully embraced their limitations, here, beneath Gabriella Csanyi- Wills' admittedly gorgeous frocks, there was a just a very accomplished traditional Mikado, with one or two outrageous additions to liven up the libretto, which, in 1885, couldn't even name the devil ...
Opera della Luna at the Civic
30.10.08
What would Gilbert have thought ? Not only was Koko's little list updated to include aromatherapy and offensive radio, but the Mikado's fitting punishments were extended to financiers and graffiti artists.
Opera della Luna bring their musical magic to the Mikado this season, with a packed Civic attracted by the prospect of a bright, breezy staging of a favourite G&S.
A fine, experienced cast ensured we were not disappointed. Simon Butteriss, the finest Koko of his generation and a natural successor to Grossmith and Green, relished the freedom afforded him by his bondage trousers and his Gaultier kilt, giving an entrancing performance that was spot-on musically.
David Woloszko made a mighty Pooh-Bah, and Luna favourite Tim Walton was a likeable lover. The Three Little Maids included newcomer Emma Odell as a grotesque Katisha and the charming Yankee Yum-Yum of Pamela Hay. Ian Belsey was an imposing Mikado, as well as a dim Northern shop steward.
Stage Director Jeff Clarke also conducted the witty reduction from the keyboard. There were many excellent ideas: the Madrigal, the exhausting Trio, the Act One finale. The opening number in the sweat-shop was inspired.
Fashion was key to the concept here. And whereas previous Luna tours [orbits?] have gleefully embraced their limitations, here, beneath Gabriella Csanyi- Wills' admittedly gorgeous frocks, there was a just a very accomplished traditional Mikado, with one or two outrageous additions to liven up the libretto, which, in 1885, couldn't even name the devil ...
THE MUSIC MAN
Ingatestone Musical and Operetta Group
24.10.08
The Musical and Operetta Group at Ingatestone remains staunchly true to its traditions – G&S, Brigadoon, and this year, The Boy Friend and The Music Man.
Betty Moore's production was notable for some fine ensemble singing: the travelling salesmen and the town gossips both coped splendidly with their tricky numbers. The characterful barbershop quartet were excellent in their spoof numbers, especially Lida Rose, set against the lovely light operatic soprano of Mynne Johnson as Marian.
Allen Clark made a loveable old rogue of the con man who falls for the librarian, and Meryl Spinks was a feisty Mrs Paroo. Maurice Cole relished every syllable as the pompous mayor of River City.
This show needs young blood, too, and Ingatestone fielded some very promising talent, notably Miguel Martines de Aguino as sidekick Marcellus Washburn. His Act One duet with Hill was masterly, and he even brought zip and zing to the interminable Shipoopi.
Helene Moore's choreography was restrained but effective – I liked the deportment class and the book sequence in the library. Perhaps more could have been made of the final moments, where Winthrop comes into his own and the boys band scam becomes reality.
The real band in the pit, with the director at the helm, made a good fist of Meredith Wilson's score – a special mention for Amy Lincoln, who made one trombone do the work of seventy-six.
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