THE MUSIC OF MOZART

THE MUSIC OF MOZART

The Waltham Singers at KEGS

15.03.2014

Mozart attracted a good crowd for four of his greatest hits; and what a bargain we had. Two superb choral works, with a full orchestra, and two piano concertos, with the legendary local pianist Tim Carey at the keyboard.

First the Loreto Litanies, written for Salzburg Cathedral and performed here with dramatic depth of expression by the choir, and featuring an extended solo [Sancta Maria] from soprano Kirsty Hopkins, whose crystalline contributions were a highlight of both choral works. The second of which was the Coronation Mass, also for Salzburg, with its briskly portentous opening, and superb choral dynamics from the choir, directed by the expressive [virtual] baton of Andrew Fardell – the Credo particularly colourful. A strong quartet of soloists – heard to advantage in the Benedictus, and another glorious solo from Hopkins in the Agnus Dei.

The Andante of the Piano Concerto in G could easily have been a similar sacred aria. Eloquently phrased by Tim Carey, bringing an expressive delicacy to the line; the sunny finale was impressively done, too, with an obvious rapport between soloist and conductor, and the talented musicians of the Covent Garden Chamber Orchestra.

We are used to hearing the Waltham Singers in their own parish church, or in Chelmsford Cathedral. The acoustic in KEGS is drier, less forgiving. But so often in this exceptionally fine programme, the balance between soloist, choir and orchestra, and the clarity of Mozart's writing, seemed near perfect. A venture worth repeating, I'd suggest.

Kirsty Hopkins, soprano, and, courtesy of The Waltham Singers, 

the view from the choir ...

SUMMER SERENADE

SUMMER SERENADE

Caroline Adomeit-Gadd and Timothy Carey at KEGS

19.07.13

A balmy July evening, and a delightfully varied programme of music for violin and piano, with Caroline Adomeit-Gadd and Timothy Carey.

At its heart, Richard Strauss's Sonata, written when he was in his twenties and falling in love with Pauline, who six decades later would inspire the Four Last Songs.

Technically demanding, it is heart-on-sleeve stuff, the kind of music that the term Romantic might have been invented for. The charmingly melodic Andante Cantabile is really high-class salon music; the Finale is outspoken, and occasionally playful. An exciting outing for a work too rarely programmed.

At one extreme, Scarlatti and Couperin, at the other the kind of repertoire that Max Jaffa once played at the Spa in Scarborough. The tone was set after the interval, with Caroline serenading the punters in a Summertime stroll through the audience. Piazzolla, ideally suited to this sultry evening, Suk, Rodrigo, with the fiddle aping the cor anglais, and virtuosic variations from Sarasate. Her unique performance style gave us wordless song, dance, and impressively percussive footwork for the Irish Jig.

ONE FLEW OVER THE CUCKOO'S NEST

King Edward VI School, Chelmsford

25.03.10

Ken Kesey's novel is best known in the Jack Nicholson cinema version. On stage, it presents challenges to actors and to audience, the artifice of the stage showing up some of the shortcomings of plot and character development.

So a bold choice for a school production, but one which paid off, I felt, allowing a huge cast to extend their talents and to work together to create an impressive ensemble piece.

David Woolford charmed his way through McMurphy's disgraceful behaviour; always on the move, everyone's buddy, making waves and inciting riot. A memorable performance. Amongst the other characters, three stood out. Chris Smith's self-harming mother's boy, shy, stuttering and totally believable. Jimmy Murphy, as Harding, the “head bull-goose loony” deposed by McMurphy's arrival, with his nervous, insecure, body language, and Robert  Wickham's Chief, a tall, imposing Native American whose dreams punctuate the play.

The manipulative, sadistic Nurse Ratched was confidently played by Carlotta Manzi Davies.

But every cast member gave the production 100%, always in character, always watchable, haunted faces and lunatic hair.

The white walls, the strip lights, the echoing ward and the piped Muzak all helped sustain an edgy, volatile atmosphere. As McMurphy says, as good as any movie.


production photos by Sam Brown

CHARITY ORCHESTRAL CONCERT

King Edward VI School

03.12.09

Despite modest forces, Shostakovich's exuberant Festive Overture was a highlight of the evening. Brilliant brass and woodwind, and a sterling effort from the strings, including just four hard-working cellists.

More challenges for the Senior Orchestra, led by Sasha Millwood, in Liszt's Les Préludes, with some nice little woodwind solos, too.

The Chamber Ensemble chose Britten's Simple Symphony, written with amateurs in mind – the Sentimental Serenade was beautifully shaped, I thought. And the Junior Orchestra, led by Brian Chan, achieved a real Viennese lilt in the Thunder and Lightning Polka, and also featured, in Jerry Brubaker's Piano Concerto, aka Chopstix Variations, a mystery guest soloist: waltz, rumba, rock – he mastered all the genres and played all the right notes, presumably in the right order …

The enormous wind band – 60 plus musicians, led by Subin Lim – were impressive in Eric Whitacre's Sleep, with elegant horn playing, and achieved an authentic show-band style in a medley from Jersey Boys, the karaoke musical about The Four Seasons.

All these ensembles were conducted by KEGS Director of Music Tim Worrall.

The Chamber Choir, directed by Oliver El-Holiby and Will Waine, produced an amazingly sophisticated sound in an antiphonal Britten piece, Cole Porter, and Rutter's moving arrangement of Steal Away.