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Posts Tagged ‘Benjamin Britten’

The Rest of November

Contemporary Music

I saw her several times with the Carolina Chocolate Drops, but her concert at the Anvil Basingstoke was the first time I saw Rhiannon Giddens without them, but with Italian multi-instrumentalist Francesco Turrisi. It was an eclectic selection, consummate musicianship and great sound / acoustics. She also engages with her audience, so it becomes an evening with her.

Opera

The rarely staged Haydn opera La Fedelta Premiata was given a brilliant production at the Guildhall School of Music & Drama. It was a touch long but it was an absolute hoot, and the standard of singing and playing, and the production values, were sky high. As good as anything I’ve seen in an opera house recently, and better than most.

Having fallen out of love with ENO I didn’t go to see Akhenaten, so I went to the Met Live relay of the same production, which was brilliant. I ‘got’ the music better than when I first saw it decades ago, when I didn’t even realise there were no violins in the orchestra! The juggling synchronised with the music was inspired and the costumes were extraordinary, though I did find two long intervals (with Joyce DiDonato’s overly sycophantic interviews) spoilt the dramatic flow, but producer Phelim McDermott is a magician nonetheless.

Like the proverbial bus, two Haydn operas came along this month at two different ‘conservatoires’, with the second one – Il Mondo Della Luna – at the Royal College of Music was another absolute hoot. Brilliantly designed and choreographed, they got every ounce of comedy out of it, and more, and both the singing and playing was glorious; perhaps the best I’ve heard from the RCM Orchestra

The best staged performance of Britten’s Peter Grimes I’ve seen was on the beach in Aldeburgh during his centenary year, but the best musically was the Bergen Philharmonic Orchestra under Edward Gardner, with Stuart Skelton as  Grimes, at the Edinburgh Festival in 2017, so I pounced when I heard they were going to reprise it at the Royal Festival Hall and it was just as wonderful. The orchestra, four choruses and another eleven fine soloists delivered musical perfection and the RFH audience erupted as the Usher Hall one had.

Classical Music

Another fine lunchtime concert with the Royal Academy SO under Robert Trevino. I enjoyed Igor Stravinsky’s fascinating dance music Agon, which was new to me, but it was a stunning performance of the much heard Elgar’s Enigma Variations that blew me away. The talent is extraordinary and Trevino is clearly very nurturing.

The Philharmonia Orchestra played William Walton’s complete score for Laurence Olivier’s 1944 film of Henry V synchronised with a screening of a restored print at the Royal Festival Hall, helped by Crouch End Festival Chorus, and it was brilliant. Its ages since I saw a film with live music and I’d forgotten how good it can be.

Conductor Michael Tilson Thomas chose Berlioz monumental Romeo & Juliet choral symphony for the 50th anniversary of his first concert with them and the LSO and LSC rose to the occasion, filling the Barbican Hall with a glorious sound.

Tilson Thomas’ celebrations continued at the Barbican with one of the LSO’s ‘Half Six Fix’ series, one hour early evening concerts with digital programmes and illustrated introductions by the conductor. This was insightful, and Prokofiev’s 5th was thrillingly played.

A revisit to Beloved Clara, one of Lucy Parham’s ‘composer portraits’, at Milton Court proved very rewarding. The fifteen piano pieces are interspersed with readings from the letters of Robert & Clara Schumann and their friend Johannes Brahms, by Dame Harriet Walter and Simon Russell Beale no less. Civilised entertainment, and ultimately very moving.

I love single composer evenings and it was great to hear the very animated Doric String Quartet give all three of Britten’s quartets together. The third references his opera Death in Venice which I will be seeing next month (and visiting the city for Christmas and seeing the play in April!). These are challenging works, but their musicianship was extraordinary and the usually reserved Wigmore Hall audience cheered. One of the best chamber recitals I’ve ever been to.

Back at the Royal Academy of Music, where my classical month stared, Mark Elder conducted their Symphony Orchestra in a Berlioz programme which included two rarities. They sounded great, as ever, and it was good to see personal favourite Elder again after two concerts he was too unwell to conduct.

Film

Ken Loach brought shame on our benefits system so effectively in I, Daniel Blake, and now he does the same to the gig economy in Sorry We Missed You, more specifically parcel delivery and care in the home. These are hard films to watch, but they have to be seen. Campaigning film-making at its best.

I enjoyed The Good Liar, though with all its twists and turns it oddly left me wishing I’d read the book. In many ways it’s an old-fashioned film, but there’s nothing wrong with that and it does have two national treasures, though Ian McKellen playing a man pretending to be someone else resulted in something a bit odd.

Art

I became an instant fan of Lisa Brice when I saw her small exhibition at Tate Britain last year, and this was confirmed by her selling exhibition at Stephen Friedman Gallery. Again, it’s mostly semi-clad women smoking (!) but the work is extraordinarily original and mesmerising. Up the road at Sadie Coles HQ, I was less enamoured with Dutch artist Co Westerik’s body and landscape. It was clearly technically accomplished, but I found a lot of it a bit disturbing.

Though there were some lovely pictures and objects, the British Museum’s Inspired by the east: how the Islamic world influenced western art was one of those exhibitions where they took a chunk of their collection, added a few loan items, and made it into something you pay to see. In the print gallery upstairs there was a better (free) show of drawings by 20th century German artist Kathe Kollwitz, who I’d never heard of but whose work in Portrait of the artist bowled me over.

I was a bit surprised that The House of Illustration was five years old as I’d never heard of it, but Made in Cuba: Cold War Graphic Art is an excellent exhibition that puts it on the map for me. They also had a lovely small display of Quentin Blake work-in-progress to add a lighter touch.

One of my gallery wanders brought rich rewards, starting with Peter Doig, back on form at Michael Werner after a disappointing selection at the same gallery a while back, continuing with Grayson Perry’s brilliant new work on a theme of inequality at Victoria Miro, on to the Photographer’s Gallery for the excellent Shot in Soho and the quirky Feast for the Eyes – The Story of Food in Photography and ending with three stunning light, video and sound installations Other Places at 180 The Strand. I am so lucky to live in this city. All of this cost £2.50!

At the Guildhall Art Gallery, they’d assembled an eclectic selection of paintings of London spanning 500 or more years for Architecture of London. From Canaletto to contemporary works, from cityscapes to back gardens, I loved it.

I didn’t think the Taylor Wessing Photographic Prize exhibition at the NPG was as good this year, the selection seeming more pointed and quirky. While I was there, though, I caught the rest of Elizabeth Peyton’s portraits that they’d hung with the Tudors, Stuarts, Elizabethans and Victorians, which was a brilliant idea, and another twenty excellent works to see by this great new find (for me).

The Barbican Art Gallery’s exhibitions are not always as good as Into the Night: Cabarets & Clubs in Modern Art. It featured cabarets & clubs spanning eighty years in twelve cities in Europe, Latin America, Africa, USA and the Middle East and included four recreations as well as pictures, photographs and objects. I thought it was absolutely fascinating. In the Curve Gallery downstairs, Trevor Paglen has covered the walls with 30,000 photographs drawn from the ImageNet database of many millions by word searching, often resulting in surprising images. It’s called From ‘Apple’ to ‘Anomaly’ and I thought it was also fascinating.

The National Gallery was also at its best with the Gaugin Portraits exhibition, really well curated and lit with an excellent accompanying film. The interpretation of ‘Portraits’ was sometimes a bit loose, but justified. A real one-off.

Revisiting the Sir John Soane Museum reminded me how wonderous it is, though I was there specifically to see Hogarth: Place & Progress which brings all of his series paintings and engravings together for the first time. I loved it, though after I’d left I realised that, in the maze that the building is, I missed two rooms, so I’ll have to go back!

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Opera

Scottish Opera visited Hackney Empire with new operatic thriller Anthropocene, which was multi-layered, brilliantly dramatic and superbly sung and played. It’s the first of the four Stuart MacRae / Louise Welsh operas I’ve seen and has whetted my appetite for more. Exciting stuff.

The Monstrous Child at Covent Garden’s Linbury Studio was terrific. The story of Norse Goddess Hel was brilliantly staged with gothic punk sensibilities and the music was strikingly original. They called it their first opera ‘for teenage audiences’ but there didn’t appear to be any in the lovely recently renovated space!

My winter opera visit to WNO at the WMC in Cardiff paired a new production of Verdi’s Un Ballo in Maschera with another look at their fourteen-year-old Magic Flute. The musical standards were as high as ever, with Ballo a thrilling gothic creation, taking its inspiration from the love of theatre of the real life king upon whose life / death the opera was originally based, and Zauberflöte a revival of the Magritte inspired Dominic Cook staging, with terrific designs from Julian Crouch. Loved them both.

Classical Music

The Royal Academy SO was on blistering form again under Sir Mark Elder with a thrilling if melancholic lunchtime programme of Britten, Bax & Sibelius. Magic.

I’m very fond of baritone Roderick Williams, whom I’ve seen as an oratorio soloist and in opera, but never in recital. In Milton Court he sang beautifully, but the largely 18th Century German programme (Brahms and Schuman) isn’t really to my taste and the three British song groupings were lovely but not enough for a satisfying evening, for me anyway.

Film

Another great month leading up to and during the awards season, beginning with If Beale Street Could Talk, a superbly filmed and beautifully performed adaptation of a James Baldwin novel; the first, I think.

Boy Erased was a chilling true story of amateur gay aversion therapy in the name of god, which fortunately ended with the reconciliation of parents and son. Young actor Lucas Hedges impresses for the third time in recent years.

Can You Ever Forgive Me? is another true story, beautifully told, with delightful performances from Melisa McCarthy and Richard E Grant. A bit of a slow burn, but ultimately satisfying.

I loved Green Book, a great comedy with heart, beautifully performed, anchored in a shameful period of American history, just 60 years ago.

All Is True looked gorgeous, but seemed slight and somewhat melancholic. Judi Dench was of course incandescent, Kenneth Branagh virtually unrecognisable and if you blinked you might miss Ian McKellen, the third person on the poster, suggesting a leading role.

Art

Dulwich Picture Gallery have discovered another Scandinavian artist, Harald Sohlberg, whose gorgeous landscapes I found enthralling. I was completely captivated by the colourful beauty of Painting Norway.

Don McCullin is a hugely important photographer who’s documented conflicts and their consequences worldwide for many years. His B&W pictures are stunning, but twelve rooms of Tate Britain is a lot to take in and it becomes relentlessly depressing, I’m afraid.

I like Bill Viola’s video works, which for some reason almost always feature people under water, but I’m not sure their juxtaposition with works by Michelangelo in Life Death Rebirth at the Royal Academy made much sense to me. It seemed like a curatorial conceit to elevate the dominant modern component and / or sell tickets.

Pierre Bonnard: The Colour of Memory at Tate Modern was beautiful. This underrated contemporary of Monet, Matisse et al filled all thirteen rooms with a riot of colour; his landscapes in particular, many taken through windows, doors and from balconies, were stunning.

At White Cube Bermondsey, Tracey Emin’s A Fortnight of Tears consisted of three giant crude bronze sculptures, a room full of big photos of her in bed and a whole load of childish paintings which wouldn’t be selected for a primary school exhibition. As you can see, I loved it. Not.

The problem with Black Mirror: Art as Social Satire at the Saatchi Gallery is that it’s often not at all clear what its satirising! Better than some exhibitions there, though. The little Georgll Uvs exhibition of ultraviolet paintings Full Circle: The Beauty of Inevitability was lovely though.

Daria Martin’s installation Tonight the World in the Barbican Curve Gallery was based on her Jewish grandmother’s dream diary and featured the apartment where she lived before she left Brno to avoid the Nazis. In the first part, the apartment is the centre of a video game she has created and in the final part, film recreates some of the dreams there. In between we see pages of the dream book, too far away to read. Interesting enough to see in passing, but maybe not the Time Out 4* experience!

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Opera

ENO took Britten’s folk opera / operetta Paul Bunyan to Wilton’s Music Hall, where it somehow fitted like a glove. It’s an odd mythical concoction about the American Dream, but its real strength is its lyrical score, which showed off the young singers and chorus brilliantly. It seemed darker than the previous two occasions I’ve seen it, which seemed appropriate given recent events.

My 2018 Proms ended on a high the night before the Last Night with a lovely performance of Handel’s Theodora by Arcangelo and five excellent soloists. Despite being a chamber ensemble and small choir, they filled the RAH. The countdown to Proms 20-19 begins!

My only visit to WNO at the WMC in Cardiff this autumn was for Prokofiev’s epic War & Peace. It’s a flawed opera, with the first half a series of scenes lacking cohesion, and I thought their decision to translate it into English was a mistake as it came over as clunky, but the soloists were terrific and above all the second half showed off both the chorus and orchestra to thrilling effect.

Classical Music

For some reason, I was disappointed in the Berlioz Prom. It wasn’t the musicianship, which was extraordinary, but maybe it was a programme of lesser Berlioz. I just didn’t think it did The Orchestre Revolutionnaire et Romantique, John Elliott Gardiner, favourite Joyce DiDonato and viola player Antoine Tamestit justice. The rest of the audience and the critics appeared to disagree, so maybe it was just an off night for me.

A double-dip of two Proms in one evening proved very rewarding indeed, starting with a superb performance of Britten’s War Requiem from the Royal Scottish National Orchestra & Chorus, probably my favourite choral work, and continuing with 60 mins of 850 years of late night polyphony from the ever wonderful Tallis Scholars; it’s amazing how those 30 or so voices fill the Royal Albert Hall.

The Parry centenary concert at Wigmore Hall was a delightful way to spend an hour on a Sunday afternoon. Songs by him and his friends and contemporaries were beautifully sung by Louise Alder & Nicky Spence accompanied by William Vann and it was all very uplifting. Back in the same venue the following lunchtime, soprano Lucy Crowe and pianist Joseph Middleton gave another lovely recital of English song from Purcell to Ireland, Walton and Michael Head, an early 20th century composer new to me. The folk song encores proved to be the highlight.

Art

As if to compensate for the hugely disappointing exhibition at the Weiner Gallery, Magic Realism: Art in Weimar Germany 1919-33 at Tate Modern was a real treat, with artists new to me as well as those like Otto Dix I’ve seen vast amounts of this summer. Across the Bridge, Artist Rooms: Jenny Holzer was worth popping into, though much of it goes over my head.

A visit to Cornwall meant a second visit to Tate St. Ives, which had a hit-and-miss exhibition of Patrick Heron. I loved some of the colourful abstractions, but much of it left me cold.

Renzo Piano: The Art of Making Buildings at the Royal Academy covered his illustrious career from before the Pompidou Centre to The Shard by focusing on sixteen projects, built and unbuilt (yet). The trouble was it was all very static – each project a table on which there were notes, drawings and models with more drawings and photos on the walls around. The most interesting project was one I’m unlikely to ever see, in New Caledonia, in the Pacific Ocean! For architects and architectural students only, I’d say.

Film

BlacKkKlansman wasn’t an easy watch, but its humour and its chilling ending were enough to make it well worth seeing.

I enjoyed The Children Act, the second film of the summer featuring the consequences of Jehovah’s Witnesses fundamentalism, especially for Emma Thompson’s deeply touching performance.

Crazy Rich Asians was a great advert for the Singapore Tourist Authority, but I rather overdosed on rich Asians, crazy or otherwise. It had its funny moments, but there weren’t enough of them to warrant the reviews that sent me to see it.

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Opera

Trojan Women by the National Changgeuk Company of Korea in the newly refurbished (but you’d hardly notice!) Queen Elizabeth Hall is a pop-opera adaptation of Greek tragedy. It looked good and I liked the choruses, but I struggled with some of the strangulated solo vocals and, at two unbroken hours, it was too long. I always think visiting companies should be warmly received regardless, given they’ve travelled half-way across the world, and thankfully so it was at the QEH.

Mamzer Bastard sees the Royal Opera on walkabout again, this time to Hackney Empire, but probably with the wrong opera, if part of the plan was to engage the local community. There were things to enjoy – beautiful Jewish cantor for the first time in opera, expertly sung, and a cinematic production which made great use of live video – but it’s cultural and musical specificity and inaccessibility robbed it of universal appeal, and the film noir monochrome monotony drained me of energy, I’m afraid.

Rhondda Rips It Up! is WNO’s tribute to Lady Rhondda, an extraordinary woman and suffragette in this centenary year, also visiting Hackney Empire. A mash-up of opera, operetta, music hall and cabaret and great fun, with singalongs and flags to wave. Madeleine Shaw was terrific as Lady R and I even liked Lesley Garrett as the MC!

Britten’s Turn of the Screw saw ENO at the Open Air Theatre, the first ever opera there, on a lovely evening. I thought it worked very well, particularly as the natural light lowered, creating a spooky atmosphere. It was by necessity amplified, but the lovely singing and playing, though not as natural as unamplified, still shone through. There were the usual audience behaviour challenges, this time amplified by the bonkers decision to dish out unnecessary librettos so they could be rustled in unison!

Dance

Xenos at Sadler’s Wells Theatre is a one-man dance piece by Akram Khan inspired by the 1.5 million forgotten Indian soldiers lost in the 1st World War. I struggled to understand all of it, but was mesmerised regardless. The design was stunning, the east-meets-west music hypnotic and the movement extraordinary. A privilege to be at Kahn’s last full evening piece as a performer.

Film

I much admired Rupert Everett’s The Happy Prince, about the last days of Oscar Wilde. It avoided lightening and beautifying what was a very dark period in his life and told it as it was.

Art

The Edward Bawden exhibition at Dulwich Picture Gallery featured an extraordinarily diverse range of works including paintings, posters, linocuts, menu cards, drawings and book illustrations & covers with subjects including animals, people, buildings, landscapes and fantasies. A really underrated 20th century illustrator and a huge treat.

The BP Portrait Award Exhibition at the NPG seemed smaller this year, but the quality remained astonishingly high. Next door at the NG, I loved British-American 19th Century artist Thomas Cole’s paintings, though they only made up 40% of the exhibition, padded out with studies & drawings and paintings by those who influenced him and those he influenced (from the NG permanent collection!), which is more than a bit cheeky.

During a short visit to Exeter I went to their superb Royal Albert Museum to catch Pop Art in Print, an excellent V&A touring exhibition which we don’t appear to be getting in London. A fascinating, diverse range of items, very well curated and presented, probably helped by being the only visitor at the time!

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Opera

Britten’s A Midsummer Night’s Dream in the Britten Theatre at the Royal College of Music was an absolute gem with wonderful singing and playing, a superb design, and stunning staging by Liam Steel. Any opera house in the world would be proud to have a production this good in its repertoire.

The Royal Academy of Music inaugurated their lovely new theatre with a brilliant revival of Jonathan Dove’s opera Flight. I’d forgotten how good it was, and here it was superbly played and sung and, like the RCM last week, in a fine production that any opera house would be proud of.

The English Concert have become the go-to company for Handel operas in concert and their take on Rinaldo in the Barbican Hall, his first Italian opera specifically for London, was superb, faultlessly cast and beautifully played (though I could have done without the attempts at semi-staging which seems a bit naff). Handel wrote himself a harpsichord solo for this opera and here the harpsichordist almost stole the show with his thrilling rendition.

Classical Music

The Royal Academy of Music Symphony Orchestra under Sir Mark Elder gave a blistering Shostakovich 8th Symphony at another of their Friday lunchtime recitals, with Elder again giving an insightful introduction to the piece. The talent on stage is awe-inspiring and the nurturing by a world class conductor heart-warming.

Vivaldi’s The Four Seasons Reimagined combined baroque music with a contemporary twist and puppetry to provide a spellbinding 80 minutes by candlelight in the Sam Wanamaker Playhouse. Another lovely evening in a space that seems to suit absolutely everything!

Britten Sinfonia Voices gave an inspired Easter programme at GSMD’s Milton Court Concert Hall, with choral music spanning more than 400 years, with a few brass pieces as a bonus. The idea of fitting two Stravinsky pieces between movements in a Mozart Mass was particularly inspired.

Dance

Ballet Black’s contrasting double-bill at the Barbican Theatre was a real treat. The Suit was mesmerising, moving and ultimately tragic and A Dream within a Midsummer Night’s Dream was cheeky and playful. I need to ensure this company are on my radar permanently.

Film

You Were Never Really Here is a dark and disturbing but original and brilliant film with a stunning performance from Joaquin Phoenix, and refreshingly short at 90 minutes!

The Square was 2.5 hours of my life I’ll never get back. Lured by 5* reviews, it was overlong, slow and a bit of a mess, the satire largely lost or overcooked.

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….and 1st March!

Opera

Seven operas in nine days, starting with the Guildhall School’s production of Britten’s The Rape of Lucretia, as good as any I’ve seen (and that includes Glyndebourne and Covent Garden). I particularly liked the design in a re-configured Silk Street Theatre, with the audience on three sides, and the singing was terrific.

Chabrier’s L’Etoile is more operetta than opera and has a preposterous plot, but I did enjoy it. The playful production at The Royal Opera House had a few too many cheap gimmicks, but it was fun overall. Vocal honours belonged to Kate Lindsey and Helene Guilmette.

WNO’s themed season of three operas that feature Figaro as a character, in chronological order, was a triumph. I’m not a big fan of Rossini’s The Barber of Seville, but this production was frothy and fun. Mozart’s The Marriage of Figaro was one of the best I’ve ever seen (probably helped by my intentional rest from Mozart operas) and Elena Langer’s new piece, Figaro Gets a Divorce, was one of the best modern operas of the many I’ve experienced. It was great to see veteran design team Ralph Koltai and Sue Blane at the top of their game with beautiful sets and costumes respectively, and the playing and singing in all three (with Rhian Lois a terrific cover for Susanna in the Mozart) was outstanding…..and all of this for less than £100 in the best seats in the house!

Back at the Royal Opera House, it was great to see Puccini’s triple-bill Il Trittico as it was intended. I’d seen this Gianni Schicchi paired with a Ravel opera, but not the others. The diversity proves to be its strength – a revenge tragedy, a spiritual piece and a comedy! – and Richard Jones’ use of three different designers proved a clever way of emphasising their individuality. One of the best evenings at this venue in a while.

Perhaps the best was saved until last (at least, musically) with the English Concert’s concert version of Handel’s Orlando at the Barbican Hall. Five superb, and brilliantly matched, soloists, led by counter-tenor Iestyn Davies, complimented the crisp clean playing of the small orchestra and made the sort of heavenly uplifting sounds that Handel operas can make. A musical feast.

Comedy

Stand-up’s Elis James and John Robbins took a huge risk with their show at Cardiff’s Glee Club. Sitting at a table with microphones and two rows of their chosen beers, the less well-known Robbins read from his self-published autobiography while James listened and commented between chapters, and both got slowly drunk – for almost 2.5 hours. It sounds like an unlikely hoot, but it was very funny indeed!

Art

The Magical Lantern Festival at Chiswick House was a real treat. Lots of colourful tableau along a walking route through the gardens. I think this was a first, but hope it’s a regular feature.

Big Bang Data at Somerset House was an interesting exhibition, but maybe a touch over-ambitious. It tried to cover so much ground, it felt like little of it was in enough depth. Some interesting, thought-provoking facts, though.

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Contemporary Music

A friend suggested going to see Welsh harpist Catrin Finch & Senegalese cora player Seckou Keita at Union Chapel and what a brilliant suggestion it was. Their instruments blend beautifully and create an uplifting sound. It was the perfect venue, with a quiet respectful audience. Gorgeous.

I really don’t know what to make of Elvis Costello‘s concert at the Royal Albert Hall. Part of BluesFest (what?!). He brings Steve Nieve & they play 8 songs together, some in radical new arrangements. His song selections are eclectic and perhaps a bit quirky. He’s often uncharacteristically flat or off key. He talks a lot. It contained sublime moments, but not enough of them. It was certainly no crowd-pleaser and the audience reaction was distinctly underwhelming. Georgie Fame & the Blue Flames, supporting, were great (though he talked a lot too). They played two songs together, one in each others’ set. I’ve seen almost every EC London outing in 30+ years and this was probably the least satisfying. Most odd.

Opera

The autumn Rossini pairing at WNO was amongst their best ever. Neither William Tell nor Moses in Egypt are typical Rossini (which may be why I liked them so much!); the latter more identifiably Rossini. Tell was the more satisfying all round – Moses was also a musical feast but the production wasn’t so good. Former MD Carlo Rizzi brought the best out of the orchestra and chorus (yet again) and there was no weakness in the soloists – just various levels of good to great.

The English Concert’s performance of Handel’s opera Alcina at the Barbican was a huge treat. A faultless cast was led by Joyce DiDonato & Alice Coote and the orchestra made a beautiful sound. I’d thought it might be a star vehicle for Joyce, but she was superbly matched by the rest and the audience showed their appreciation for them all.

I’ve seen a handful of Philip Glass operas, but until The Trial they’ve all been on a huge scale. What this chamber piece proves is how much more suited his music is to this smaller scale. It’s an absurdist, impenetrable story but it was superbly staged and performed by Music Theatre Wales in Covent Garden’s Linbury Studio.

Dance

Lord of the Flies is a big departure for New Adventures at Sadler’s Wells. With two-thirds of the large cast amateurs selected from workshops and open additions, there’s a freshness and energy thoroughly in keeping with William Golding’s story and contemporary dance is a suitable form to tell the tale. It was dark, but I loved it.

I don’t normally like mixed ballet programmes but Birmingham Royal Ballet‘s Shadows of War at Sadler’s Wells caught my imagination, largely because of the music. The first piece, to a Ravel piano concerto, was a bit frivolous for me, but the second was a fascinating re-staging of a Robert Helpmann work set in wartime Glasgow with music by Arthur Bliss and the third a lovely piece set to Malcolm Arnold and Benjamin Britten – and all at a half to a third of prices at the other Royal Ballet.

Cassandra is a rare modern dance piece from the Royal Ballet at the Linbury Studio. It was a nice combination of dance, music and film and it held me for 70 minutes, but in the end it was just OK. I think it was the lack of effective narrative drive / story that was its weakness.

Classical Music

I persuaded a friend who has recently taken up choral singing to go for one of those ‘scratch’ performances put together in one day. The choice of Elijah was ambitious, but they pulled it off. The soloists were terrific, particularly baritone Neal Davies, who gave it his all as if was at the Royal Albert Hall, and the orchestra of a handful of Philharmonia section principals with music students sounded great. It would have been good to see a much bigger audience – where were all the friends and families of the orchestra and chorus?

The third of the Composer Portrait series at St John’s Smith Square was the best so far. Reverie was about Debussy whose writings were spoken by Simon Russell Beale no less. Pianist Lucy Parham played his gorgeous music beautifully and it was a captivating couple of hours.

Film

As much as I loved Pride, the casting of so many English and Irish actors as Welsh characters did irritate me – though I suppose you need Bill Nighy and Imelda Staunton to sell films like this. I was surprised I never knew the true story behind it, but maybe it didn’t get much news coverage at the time. It’s certainly the most heart-warming, feel-good film for a long long time.

Dylan Thomas centenary

I found out about the Dylan Thomas in Fitzrovia festival very late on, by which time the diary was choc a block with other stuff, but I did manage to fit in some. A Warring Absence was readings of writings by him and his wife about one another by Daniel Evans & Sian Thomas with accompaniment by the Bernard Kane Players as a Platform performance in The Olivier Theatre and it was original and fascinating.  I’d never heard the Stan Tracy Jazz Under Milk Wood before – read excerpts accompanied by jazz which somehow works brilliantly; again original and fascinating. The final Gala Concert I had known about and this proved a real treat. An eclectic selection of Welsh music played by Camerata Wales (including world premieres) with readings of letters and poems by Sian Phillips, Tom Hollander, Griff Rhys Jones, Robert Bathurst, Lesley Manville, Jonathan Pryce and Owen Teale and songs from Welsh tenor John Owen-Jones and old folkie Ralph McTell. Two of the pieces combined Thomas’ works with music very successfully. For an Englishman, Tom Hollander’s reading of Fern Hill was almost as good as Dylan’s own!

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