Planet Hugill

A 4,000-year-old lullaby inspires Freya Waley Cohen's new piece for sister Tamsin as part of Lullabies programme with Cordelia Williams

2026-06-03T10:10:48.489+01:00

Lullaby (noun) - A song sung to children to soothe them to rest. Also, any song which soothes to rest. (Oxford English Dictionary online)

Inevitably the idea of a lullaby is immediately associated with children but it can extend to any song related to rest and night. At the Southbank Centre's Purcell Room on Saturday 6 June, violinist Tamsin Waley Cohen and pianist Cordelia Williams are exploring lullabies including pieces associated with the atmospheres of night, slumber and dreams.

Central to the concert is a new work by Freya Waley Cohen (Tamsin's sister), Sweet as plum wine written for the performers. The piece is based on a 4,000-year- old lullaby text found etched on a Babylonian stone tablet in Akkadian cuneiform:

Little one, who dwelt in darkness
Now you’ve come and seen the sun.
Why the crying? Why the worries?
What has made your peace undone?
You have roused the household spirits
You have scared the guardian gods
‘Who has roused me? Who has scared me?’
‘Little baby woke you up!’
May you settle into slumber
Sweet as plum wine, deep as love

Freya Waley Cohen explains what came next:

"I memorised this text and started to sing it to my daughter at night. A sort of lullaby improvisation that quickly settled into a set melody. This melody is what you hear in this piece, and the piece is both a setting of my personal version of this lullaby, and a response to the ancient text itself."

The remainder of the programme moves from Arvo Pärt's Spiegel im Spiegel to the famous Brahms lullaby, to Fritz Kreisler's arrangement of Dvorak's Songs my mother taught me, to music by Schubert and John Cage!

Back in 2024, I chatted to both Tamsin Waley Cohen about her work at the Two Moors Festival [see my interview] and to Freya Waley Cohen about her Spell book [see my interview]

Before the concert there is a talk Night Music: The Creative Power of Parenting, when Tamsin Waley-Cohen, Cordelia Williams and Octavia Bright discuss how parenting has affected their creative practices.

Full details from the Southbank Centre website.

In his passion for the music of Richard Wagner, Tony Cooper finds himself back in Germany attending Stefan Herheim’s widely acclaimed Ring cycle at Deutsche Oper Berlin.

2026-06-03T08:03:13.856+01:00

Wagner: Das Rheingold - Deutsche Oper Berlin (Photo: Bernd Uhlig)

Wagner: Der Ring des Nibelungen; director: Stefan Herheim, conductor: Sir Donald Runnicles; Deutsche Oper Berlin
Reviewed by Tony Cooper (4 June 2026)

Auf wiedersehen! Following this Ring cycle, Sir Donald Runnicles bows out as General Music Director of Deutsche Oper Berlin, a position he has grandly held since 2009.

From my hotel on Bayreutherstraße just off Wittenbergplatz, Berlin’s most fashionable department store KaDeWe stares me straight in the face while a quick three-stop tube journey from Wittenbergplatz drops me right at the doorstep of Deutsche Oper situated at the junction of Bismarckstraße and Richard-Wagner-Straße located in the western part of the city in Charlottenburg.

Sir Donald Runnicles

A city I favour and enjoy so much, I’m in Berlin attending Stefan Herheim’s Ring cycle at Deutsche Oper, a large, comfortable 1850-seat theatre boldly designed in the Modernist style and simply ideal for large-scale productions. And none come much larger than those penned by Richard Wagner, Richard Strauss and. Giacomo Meyerbeer.

In fact, I fondly recall enjoying Meyerbeer’s two great masterpieces Les Huguenots and Le prophète at Deutsche Oper Berlin in 2016. Both operas were written at the peak of his career in 1836 and 1849 respectively and the finale of Le prophète - culminating in fire, destruction and death - closely mirrors the catastrophic ending of Wagner’s Götterdämmerung.

Obviously, my mind is furiously on fast rewind, therefore I also fondly recall the final performance of Götz Friedrich’s monumental (and well-loved) ‘Cold War’ Ring that ‘lived’ on Bismarckstraße for an astonishing amount of time: 33 years, in fact, from 1984 to 2017. A disciple of Götz Friedrich, multiple-award-winning Norwegian director, Stefan Herheim, studied under him at the Hochschule für Musik und Theater Hamburg from 1994 to 1999.

Götz Friedrich crafted his ‘trade’ working as an assistant to the well-respected Austrian-born theatre/opera director, Walter Felsenstein, the iconic boss of East Berlin's Komische Oper in the early post-war years. His philosophy was that opera went beyond singing to encompass music-theatre: the intersections between music, sound and theatrical performance therefore Friedrich’s productions focused on pure dramatic and musical values which were thoroughly researched and, indeed, finely balanced.

Such philosophy as found in Friedrich’s productions defines in my humble opinion Stefan Herheim’s direction. He has certainly crafted a brilliant Ring from the ashes of Valhalla to keep the Wagner flame truly alight at Deutsche Oper. He pulls no punches either and pays full attention to detail often incorporating ideological and historical references in his work. For instance, his celebrated 2009 production of Parsifal at Bayreuth, which I greatly enjoyed, used Parsifal and the search for the Holy Grail as a metaphor for the development of Germany as a Christian nation.

He sparked controversy, though, when depicting the country under the absolute rule and order of the National Socialists. Strong and chilling stuff, maybe, but it was daring stuff nonetheless that showed his directorial style and prowess causing a few raised eyebrows here and there. However, I admire directors such as Herheim who push boundaries while challenging the status quo in opera especially when it comes down to works by Wagner.

Consequently, if Friedrich’s Ring focused on the big issue of his day, nuclear warfare, Herheim follows suit and his Ring focuses on the big issue of today, the refugee crisis, a subject hitting the headlines on a day-to-day basis.

Therefore, in Die Walküre, refugees find themselves at the forefront of the opening scene personified by a large contingent of weary travellers trekking slowly, silently and forbiddingly across a bare stage except for a full-size black grand piano bundled up a corner but soon to make its way to centre stage. Clutching an odd assortment of battered old suitcases, they could have been spinning stories about the legend and culture of the Ring or, perhaps, searching for their ‘golden’ opportunity in life. Who knows?

But watchful as ever and lurking in their midst and leading the tribe is none other than the great ‘Wanderer’ in life himself - Wotan. Breaking loose from the human chain, he edges towards the piano, knocks out a chord from the opening bars of Rheingold, the orchestra immediately takes over and the ‘Game of the Gods’ begins.

And the formidable role of Wotan, Game Master extraordinaire, boss of the whole damn shooting-match, fell to Scottish bass-baritone, Iain Paterson, perfectly fitting the part - vocally, visually and physically! He’s a natural performer and so relaxed on stage often adorned by a feathered-winged helmet so popular in Wagner’s day thereby offering a nice touch by Herheim in revisiting the past - something that he’s very fond of doing.

From my standpoint, I like revisiting the past and I happily recall Paterson delivering a superb performance of Kurwenal in Katharina Wagner’s riveting and intelligent production of Tristan und Isolde at the 2015 Bayreuth Festival working alongside German mezzo-soprano, Christa Mayer, as Brangäne.

Also lurking within the refugee column (keeping a watchful eye on Wotan!) is the formidable trio of Rhinemaidens - Lea-ann Dunbar (Woglinde), Arianna Manganello (Wellgunde) and Karis Tucker (Floßhilde) - the true guardians of the golden hoard that the Rhine harbours.

A well-schooled team, they lovingly relate the legendary story of the magical properties of the Rhine’s gold in an impressive and tantalising performance and when carelessly gossiping about the forging of the ring and the power it bestows upon the owner, Alberich’s all eyes and ears.

Immediately renouncing love and cursing life - the wager of possessing riches beyond the dreams of avarice - he happily screams off with the gold leaving the Rhinemaidens screaming in agony - there’s a lot to scream and shout about in the unfolding story of the Ring.

In essence, no one screams and shouts more than Wotan’s long-suffering wife, Fricka (Goddess of marriage) who with her sister, Freia (Goddess of youth) arrive on the scene in a more eloquent way than her wayward husband. They graciously came from the bowls of the grand piano resembling a couple of finely-sculptured porcelain figurines on a five-tiered wedding cake.

Smartly attired in long-flowing white dresses, they were radiant in appearance as befitting their regal status with Fricka (standing) grooming her sister’s hair while Frei (seated) pampering herself in front of a vanity mirror. Wotan, however, head down, occupies a world of his own, completely ignoring his devoted wife and his rather erratic sister-in-law, busying himself at the keyboard checking and marking Wagner’s score punctuating the fact that all the characters of the Ring are bound by conventions, rules and outcomes as stated by the composer, a common practice throughout this production which at times I found a bit irritating.

Perhaps, Herheim’s making an historical reference here by highlighting the importance of the piano by reflecting upon Wagner’s days of exile living in Zürich. He settled in this German-speaking Swiss canton when fleeing from Germany following his dubious part in the bundled Dresden Uprising of 1848. Furiously working on the Ring, he reputedly gave a concert performance of it in Zürich with just piano accompaniment.

In fact, Herheim elevates the piano to the overall stage action making it the source of the Rhine, the entry not only to Valhalla but also to Nibelheim and everything else in between including the World Ash Tree, Mime’s smithy, Brünnhilde’s rock, Siegfried’s funeral pyre and, indeed, to the score itself.

Overall, a strong and formidable cast was assembled for this cycle that enjoys pace, bounce and consistency. But if there’s anything in opera equivalent to the ‘Man of the Match’ then the person who would get my vote is the German mezzo-soprano, Annika Schlicht, radiant in the role of Fricka while also taking on the role of Waltraute in Götterdämmerung. Harbouring a rich, clear, articulate voice, she delivered a stunning and commanding performance. In fact, one of the best interpretations I’ve ever encountered on this role. Brava!

Hot blooded and on edge, Schlicht’s feisty tête-à-tête with Wotan over the price and terms he bartered with the Giants for building Valhalla was a performance of strength and utter conviction. With fists flying she laid into him left, right and centre in a bruising and fiery ‘in-your-face’ confrontation that brought a round of applause from the contingent of refugees. Quietly, I was joining in.

By now they were finding their feet, finding their voice and getting into the stride of their newfound life. In fact, they had now become part of the audience enjoying the ongoing Game of the Gods. They pop up all over the show often bemused by the behaviour (mostly bad!) of the Gods while emphasising Herheim’s unique setting of the Ring as being a ‘play within a play’.

Not only did Herheim direct but he also had a big say in the set designs working in tandem with Silke Baue. They came up trumps all round with imaginative sets engineered mostly constructed from old suitcases whilst the employment of heavy-duty silk-like drapes (parachute material?) shaped themselves in a wide variety of configurations over, of course, a multitude of scenes. And to punctuate and identify a particular scene, visual images were flashed on to the drape tastefully created by video designer, Torge Møller, complemented by excellent pinpoint lighting effects conjured up by Ulrich Niepel.

For instance, the dark and forbidden world of Nilbelheim was projected by a fiery red-flame wash as opposed to the brightness and heavenly-inspired white imagery reserved for Valhalla while the rainbow bridge, simplistic in its creation to the nth degree, skilfully used silks to create the peaks of Valhalla while a fusion of colourful lighting and a range of smoke-effect patterns offered Wotan and his godly entourage the perfect (and most romantic) ‘rainbow’ thoroughfare to paradise.

But if Annika Schlicht put in a stellar performance as Fricka so did German soprano, Martina Welschenbach as her sister, Freia. Attired in a low-neckline dress over-emphasising her cleavage to project two large golden balls they well represented the golden apples of keeping the Gods young, healthy and wise! Uta Heiseke certainly came up with the right costume to allow plenty of free movement where it mattered.

No stranger to Wagner, Texas-born baritone, Michael Sumuel, was extremely comfortable and relaxed as Alberich, a role he’s renowned for and interprets so well. After he makes off with the gold, he acts like a bloody madman prancing all over the show brandishing a golden trumpet as if enjoying a night on the town.

His timid-looking and subservient brother, Mime (coming by way of that piano, too) appears wrapped up in a massive flood of piercing white light and smoke in a fantastically engineered pyrotechnical display. He’s happy as Larry coming into view with the downtrodden Nibelung brigade slaving away at their anvils at thirteen to the dozen fashioning gold trinkets and crafting the Tarnhelm, the most magical helmet of all.

A surefire role, Thomas Blondelle finds good pace as Loge, a gift of a part, though, while American mezzo-soprano, Lauren Decker’s reading of Erda was paramount. She sang and acted the role with such delicacy and truthfulness in a performance of great magnitude and strength. But in his arrogant and carefree manner, Wotan didn’t want to know or digest any of her wise words.

Offering a great moment to the overall stage action of Rhinegold is the entry of the Giants especially as to how they represent themselves. In this case, Albert Pesendorfer (Fasolt - later taking on the role of Hagen in Götterdämmerung) and Tobias Kehrer (Fafner - later Hunding in Die Walküre) are turned out rugged looking, unkempt and unsavoury - what else! They are found working alongside a couple of giant carnival-inflated puppets constructed from the odd assortment of suitcases as if jumping from a children’s pop-up book. However, they made a fine deuce while playing their part in Wotan’s Game Show with a touch of panache.

Their hostage Freia found herself dumped in the piano, too, resting on a bed of golden-made objects as part of her ransom dictated by them while Fafner, after killing his brother Fasolt over the argument of his share of the golden bounty, soon takes his place in the piano basking in greed and wallowing in the ill-gotten gains bestowed upon him. Fricka, on the other hand, stands by looking quite forlorn and despairingly over Fasolt’s dead body - wondering! The first manifestation of the curse of the ring as bestowed to the holder by the poisoned, bitter and evil dwarf, Alberich.

A couple of characters I always enjoy in Rheingold that I associate with the minor roles of Rosencrantz and Guildenstern in Hamlet are Donner and Froh. Their big moment kicks in at the end of the opera when the Gods are preparing for their heavenly journey to Valhalla. Thomas Lehman as Donner fitted his character the God of thunder to a tee while Kieran Carrel portrayed Froh (God of spring) in a most sincere and honest way.

Wagner: Die Walküre - Deutsche Oper Berlin (Photo: Bernd Uhlig)

When the curtain goes up on the first act of Die Walküre one’s greeted by Sieglinde, the role so delicately sung by Norwegian soprano, Elisabeth Teige, resting in Hunding’s house (on that piano) against a stormy scenario. She welcomes to Hunding’s homestead of misery, motionless and inactivity the weary, burnt out, exhausted traveller, Siegmund, relaxingly sung and acted by American lyric tenor, Matthew Newlin.

Surprisingly, Herheim conjures up here a fourth character by introducing a young person with an intellectual disability who, curiously, turns out to be the son of Hunding and Sieglinde. However, the psychological implications surrounding this move completely evades me. Time will tell, I guess, and may give me the answer.

Acted by Eric Naumann, the boy’s incessantly crouching and crawling about the place craving for love and attention and highly suspicious of the stranger in his midst. Nonetheless, he takes in all that Siegmund has to say when relating his woeful story about his disturbing and emotional past.

Portraying the beastly character of Hunding, the bane of Sieglinde and Sigmund’s life, is German bass, Tobias Kehrer, whose strength and accuracy of performance marks his card as a Wagnerian of note. As he steps foot into his house, the atmosphere and tension bites immediately and increases beyond measure just by his presence.

As Sieglinde relates the story of her forced wedding to Hunding while confessing to Siegmund about her unhappy and loveless marriage, the boy’s annoyingly hopping round them brandishing a blade. For what reason? When she plucks up the courage to address Siegmund asking if his father’s name was ‘Wälse’, gently but in a nervous manner, she immediately recognises him as her long-lost twin brother.

As the opera moves slowly towards its romantic, ecstatic and incestuous end, a striking visual presence of a video incarnation of a wolf’s face is flashed on to the World Ash Tree which dramatically ‘grows’ out of the piano in which Brünnhilde arises from, too, in a stunning scene in Glorious Technicolor ready for her mighty charge in the Ride of the Valkyries which together with the Bridal Chorus from Lohengrin is one of Wagner’s best-known pieces.

Standing stiff, upright and proud, she comes dressed in the style of the helmeted British female warrior Britannia protected by her breastplate and shield (ironically, etched with a smiling face) and the silver-tipped spears of her Valkyrie sisters, Wotan’s immortal daughters. Really, Monty Python didn’t seem too far away.

With wild determination, grit and stamina, the role of Brünnhilde was admirably sung and acted by Danish soprano, Trine Møller, who was firmly in control of that famous ‘Ride’ rampaging and chanting her famous battle-cry Hoyotoho! in a well-choreographed sequence performed by an excellent team of Valkyries who found themselves in full flight and in full voice, too, adorned by feathered-winged helmets and other such paraphernalia with Donald Runnicles in the pit leading his charges to an exciting climatic ending.

But if the Valkyrie’s were found to be in full flight so were the ‘Ghosts’ of the Fallen Heroes surprisingly having the time of their lives pinning the girls to the floor in a flood of erotic behaviour while similar (and more graphic) sexual antics were seen in abundance in Rheingold and Siegfried - shades of David Freeman’s The Fiery Angel flashed through my mind.

However, great reverence is shown when Wotan banishes Brünnhilde to her burning rock against a red-draped flaming backdrop conjured up by a brilliant and impressive lighting scenario by Ulrich Niepel. As the flames catch hold, the refugee contingent - some now firmly established in their new environment and married with kids in tow therefore forming part of the wider community - form a large circle over a rugged rock-filled landscape (more suitcases!) as if witnessing a ritual sacrifice while gracefully bowing at the exact moment when Wotan abandons her.

As Walküre draws to a close, Herheim delivers yet another big surprise showing Sieglinde giving birth to Siegfried while a Wagner ‘lookalike’ acts as a ‘midwife’. However, weary and dying, he takes the child from his mother’s arms.

Wagner: Siegfried - Deutsche Oper Berlin (Photo: Bernd Uhlig)

Therefore, in the first act of Siegfried, it’s Mime’s show, Mime’s game. The person taking on this smarmy and unprincipled character, Taiwanise tenor, Ya-Chung Huang - adorned by a floppy black velvet beret as Wagner often wore - delivered an excellent account of the role playing the good and faithful ‘parent’ of the Young Hero in a loving and tender way trying to dupe him to gain the ring of power.

But the gallant and most formidable role of Siegfried, heroically sung and acted by American heldentenor, Clay Hilley, turns the tables on him. With flowing long blonde hair, Hilley looks the radiant all-conquering hero possessing a good stature and roughly dressed as a hunter with a hunting-horn tied to his waist while acting in that naïve, youthful and uncertain manner that the role demands.

When he took to the slaying of Fafner, I felt the scene had a touch of Broadway fizz about it as the beast was represented by a working team of 12 Supernumaries clothed head-to-toe in tight-fitting super white costumes each one equipped by a large golden trumpet forming the spine of the dragon. Impressive stuff and visually attractive, too.

The point when Yours Truly overcomes fear and kills the beast, the dragon team break loose gyrating in one big choreographic mess until the bitter end. Tobias Kehrer as the ‘not-long-to-live’ Fafner knows the game well and played it to his advantage while engaging in some good old-fashioned slapstick with Alberich and Mime for one last time!

However, in keeping with Wagner’s instructions, the Woodbird’s sung by a boy treble in this case Master Cornelius Park, a member of the Knabenchores der Chorakademie Dortmund. He delivered a lovely and tender performance truly capturing the spirit and movement of a bird in full flight.

The role of Erda was admirably sung by American mezzo, Lauren Decker, who also took the role in Rheingold. And when Wotan interrupts her sleep, he’s wandering and dithering all over the show in his crowded and confused mind seeking worldly advice from the one who sees and knows all. Arrogant and feisty, though, Wotan angrily disregards her advice and consigns her to everlasting sleep putting her ‘below stairs’ in a fit of temper - something that she really wanted, anyway!

An understatement, I know, but the highlight of the opera, Brünnhilde's big awakening scene in which she greets Siegfried as the world’s glorious hero in ‘Heil dir, Sonne! Heil dir, Licht!’ found Elisabeth Teige on terrific form with Clay Hilley, a perfect partner, offering so much energy in performance. He had to navigate some tricky stage movements, though, to get to her. For instance, he climbs on and off the piano at whim, addresses the refugees, sits down at the keyboard and even has a ‘read-through’ of his part of the score seated beside Brünnhilde in full voice.

Irritatingly, edging towards the final bars, the stage suddenly becomes dwarfed by copulating couples which, really, I thought was out of kilter and too intrusive to the overall beauty and sereness of such a glorious piece. Herheim was generous, though, regarding their sexual orientation as the orgy depicted boy-upon-boy, girl-upon-girl and mixed company whatever the case maybe.

Wagner: Götterdämmerung - Deutsche Oper Berlin (Photo: Bernd Uhlig)

The setting for the opening scene of Götterdämmerung became a replica of the main reception area of Deutsche Oper with its massive emblematic cloud sculpture dominating the stage witnessing the three Norns (Lauren Decker, Karis Tucker and Felicia Moore) daughters of Erda the Earth-Mother spinning the rope of destiny singing of the past, present and the future recalling the great days of Wotan’s reign while predicting the fall of Valhalla. Cleverly representing the rope were the Supers who gracefully moved round the stage in balletic form before the Norns, losing their supernatural powers and their prediction foretold, descend back into Mother-Earth.

An odd departure conjured up by Herheim occurred in the scene when Waltraute comes to warn Brünnhilde to return the ring to the Rhinemaidens to end the dreaded curse. She doesn’t gallantly arrive on her steed as stated in the libretto but comes from a front-row seat in the stalls which, strangely enough, then became occupied by Hagen.

Nonetheless, a beautiful and rewarding scene (one of my favourites in the whole of the Ring) with Annika Schlicht superb as Waltraute carrying the role off so well, without a hitch, in fact - and with so much dignity and thought to her performance. But Brünnhilde, stubborn and irritated, dismisses her plea. The ring is a token of pure love from Siegfried therefore she brushes Waltraute, her favourite Valkyrie aside, who leaves in utter despair by the same path as on her arrival.

Acting strong and forcible in the brutal and bullish role of Hagen found Austrian bass, Albert Pesendorfer, menacingly appealing. By now he’s firmly in the director’s chair in the confines of Gibichung Hall exercising controlling behaviour over Gunther and Gutrune, the roles so effectively and nervously played by Thomas Lehman and Felicia Moore.

A sort of Bill Sykes’ character, Hagen chills the air just by his presence let alone by his actions conjuring up the evilness that befits a man possessed by greed and envy. At the epicentre of Götterdämmerung, he personifies evil touched with a wry and subtle irony but riding for a fall.

And in the final act, raging with anger and fury, he decapitates the head of Siegfried whom he had already slain. Siegfried’s funeral pyre then becomes laden with worldly gifts in an act of redemption from the assembled crowd who witnessed the execution while a remorseful Gutrune is seen cradling the severed head of Siegfried in her arms echoing Salome’s erotic dance round the decapitated head of John the Baptist.

And that great Wagnerian Grande Dame, English-born soprano, Catherine Foster, who reigned supreme at Bayreuth in the role of Brünnhilde for 13 years from making her début in Frank Castorf's bicentennial Ring production in 2013 to Valentin Schwarz’ production of 2025, offered a stunning account of Brünnhilde singing and acting the part in a grand and flowing Wagnerian manner thereby delivering a joyous and masterful performance which manifests itself in the brilliant finale in Götterdämmerung, the well-loved Immolation scene. At this pertinent point of the opera Brünnhilde realises the consequences of lust, greed and corruption that lies at the very heart of the Ring is completely and utterly worthless.

In demand the world over, Ms Foster recently performed Brünnhilde in Katharina Wagner’s production of Die Walküre as part of the ‘Bayreuth in Shanghai’ opera project spanning three years - 2025-27. Therefore, last year, the Bayreuth Festival travelled to Shanghai with Roland Schwab's production of Tristan und Isolde and next year will present Tannhäuser in a production from the 1989 Bayreuth Festival directed by Wolfgang Wagner.

And Ms Foster returns to Bayreuth this year taking part in a newly commissioned work entitled ‘Brünnhilde brennt’ at the Friedrichsforum Bayreuth under the musical direction of Jonathan Stockhammer in a production marking the 150th anniversary of the Bayreuth Festival.

However, as Siegfried’s funeral pyre is set alight simple but effective staging kicks in with the Supers seemingly on fire, too, with their arms and fingers at full stretch collectively representing the flames while circling the funeral pyre before it makes its long Rhine journey.

The End Game of the Gods and a breaking new dawn beckons. The Game’s up! Hagen wanders about looking shocked and forlorn, Alberich’s nowhere to be seen (which is not usually the case) while Deutsche Oper’s house cleaner walks across a bare stage save for that black grand piano still stuck in the middle of it clearing up a god-awful unholy mess!

At curtain call the audience erupted with wild applause but when Deutsche Oper’s General Music Director, Scottish conductor, Sir Donald Runnicles - making his final bow with the company - whom I rate as one of the finest Wagnerians around today, took to the stage along with the members of his fine orchestra, the audience erupted even more emphasising that the work done in the pit equals to the work done on the stage. It was standing room only. Deservedly so!

The Ring fitted Wagner’s mood and personality like a glove. His ideas were always adventurous and larger than life and in a matter-of-fact sort of way he specifically knew how he wanted his productions to shape up. In recent years Ring directors have been just as adventurous. Their productions have been light years away from Wagner’s original intentions to the annoyance of the Wagner Traditionalist Brigade!

I remind myself of George Bernard Shaw’s waspish remarks saying that the best way to enjoy the Ring ‘is to relax at the back of the theatre with your feet up, eyes closed and just listen to the music’. He was just as cantankerous as the Wagnerian ‘Old Guard’ is today. But give it a thought. Just think of what you would miss.

I think it’s fair to say that Herheim’s realisation of the Ring keeps the work firmly on track to engage with forward-thinking audiences. Like any director, he harbours strict and definite ideas on how he wants his Ring to shape up - some you got, some you didn’t, but it was that sort of production but a production that made you think.

Under the tenure of Sir Donald Runnicles who has been at the helm of Deutsche Oper since August 2009 the company has thrived like no other and I think it’s also fair to say that Runnicles fostered a close relationship with the orchestra and chorus thus ensuring he leaves everything in ship shape and Bristol fashion for the incoming management team.

And that new team will act as a ‘collective’ with Titus Engel, conductor-in-residence, working in partnership with principal guest conductors, Maxime Pascal and Michele Spotti. They’ll develop productions and symphonic concerts in conjunction with the artistic director, Aviel Cahn, who hails from the Grand Théâtre de Genève.

Following his departure from Deutsche Oper, Maestro Runnicles jumps from the pit to the stage as he has taken on the role of Chief Conductor of the Dresden Philharmonic but returns to Deutsche Oper as a Guest Conductor next June for Britten’s War Requiem featuring the Chor und Kinderchor der Deutschen Oper Berlin and Das Orchester der Deutschen Oper Berlin in a production by English National Opera starring the renowned Scottish operatic tenor, Nicky Spence. He will also continue as Music Director of the Grand Teton Music Festival, an eight-week summer festival held in Jackson Hole, Wyoming, where he has been running the show since 2005. Bravo!

Conductor: Sir Donald Runnicles
Director: Stefan Herheim
Set designer: Stefan Herheim / Silke Bauer
Costume designer: Uta Heiseke
Video designer: Torge Møller (Die Walküre / Siegfried / Götterdämmerung); William Duke, Dan Trenchard (Die Walkure)
Lighting designer: Ulrich Niepel
Dramaturgy: Alexander Meier-Dörzenbach, Jörg Königsdorf
Des Chor und der Extra-Chor der Deutschen Oper Berlin: Götterdämmerung (chorus director: Jeremy Bines).
Das Orchester der Deutschen Oper Berlin

Das Rheinold
Wotan: Iain Paterson
Donner: Thomas Lehman
Froh: Kieran Carrel
Loge: Thomas Blondelle
Alberich: Michael Sumuel
Mime: Ya-Chung Huang
Fasolt: Albert Pesendorfer
Fafner: Tobias Kehrer
Fricka: Annika Schlicht
Freia: Martina Welschenbach
Erda: Lauren Decker
Woglinde: Lea-ann Dunbar
Wellgunde: Arianna Manganello
Flosshilde: Karis Tucker

Die Walküre
Siegmund: Matthew Newlin
Hunding: Tobias Kehrer
Wotan: Jordan Shanahan
Sieglinde: Elisabeth Teige
Fricka: Annika Schlicht
Brünnhilde: Trine Møller
Helmwige: Martina Welschenbach
Gerhilde: Felicia Moore
Ortlinde: Maria Motolygina
Waltraute: Aleksandra Meteleva
Siegrune: Arianna Manganello
Roßweiße: Karis Tucker
Grimgerde: Nicole Piccolomini
Schwertleite: Lauren Decker
Hundingling: Eric Naumann (non-singing role)

SIEGFRIED
Siegfried: Clay Hilley
Mime: Ya-Chung Huang
Der Wanderer: Iain Paterson
Alberich: Michael Sumuel
Fafner: Tobias Kehrer
Erda: Lauren Decker
Brünnhilde: Elisabeth Teige
Ein Waldvogel: Master Cornelius Park, a member of the Knabenchores der Chorakademie Dortmund

Götterdämmerung
Siegfried: Clay Hilley
Gunther: Thomas Lehman
Alberich: Michael Sumuel
Hagen: Albert Pesendorfer
Brünnhilde: Catherine Foster
Gutrune: Felicia Moore
Waltraute: Annika Schlicht
Erste Norn: Lauren Decker
Zweite Norn: Karis Tucker
Dritte Norn: Felicia Moore
Woglinde: Nina Solodovnikova
Wellgunde: Karis Tucker
Floßhilde: Stephanie Wake-Edwards

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A remarkable combination of headlong energy with care & attention: Igor Levit & Leonkoro Quartet in Schumann's Piano Quintet at Wigmore Hall's 125 Anniversary Festival - concert review
Relishing the challenge: during rehearsals for their forthcoming production of The Marriage of Figaro I chat to Orlando Jopling about Wild Arts' ambitious touring plans - interview
What fun, what larks: musical quality & deft comic action in Opera Holland Park's 1960s package deal holiday Cosi fan tutte - opera review
A mix of melodrama & sentiment, yet unashamedly enjoyable: Opera Holland Park open the season in terrific form with Puccini's La fanciulla del West - opera review
Memorable concerts in this year’s Norfolk & Norwich Festival with Britten Sinfonia & Norwich Philharmonic Orchestra & Chorus - concert review
Capella Edina: how Luis Schmidt, a young conductor from Munich, came to found Edinburgh's first professional philharmonic orchestra in almost ninety years - interview
Each song a story to be told: James Newby & Malcolm Martineau's Shipping Forecast at SongEasel in Elephant & Castle - concert review
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Flow Interrupted: prepared piano performance by Teodor Doré in a space conceived by Zaha Hadid

2026-06-02T11:27:39.423+01:00

Teodor Doré: Flow Interrupted

It's not often that I write about the London Festival of Architecture, but on 5 June 2026 Renaissance-21 is presenting Flow Interrupted, a prepared piano performance by Teodor Doré at Roca Gallery, London.

Set within Roca Gallery — a striking space conceived by Zaha Hadid — and presented in collaboration with Cluster, this immersive performance explores water, pollution, and belonging through a disrupted, evolving soundscape. The performance reflects on our fragile relationship with water through the altered voice of a prepared piano. Objects placed within the instrument - fragments evoking debris and pollution - transform its natural resonance into a disrupted, unfamiliar soundscape.

The result blends prepared piano, immersive sound art, and environmental installation,

Teodor Doré is a London-based composer and pianist, a graduate of the Liceu Conservatory in Barcelona and founder of Renaissance-21.

Further details from the Roca Gallery website.

Strauss & Korngold: little known works by well-known composers in passionate performances from Francesca Dego & Alessandro Taverna at Conway Hall

2026-06-02T08:49:44.469+01:00

Alessandro Taverna & Francesca Dego

Korngold: Violin Sonata, Schoenberg: Phantasy, Richard Strauss: Violin Sonata; Francesca Dego, Alessandro Taverna; Conway Hall
Reviewed 31 May 206

Youthful Korngold and Strauss before he was Strauss in a remarkable pair of big late-romantic sonatas that remain surprisingly little known, in passionate and committed performances

On Sunday 31 May 2026, violinist Francesca Dego and pianist Alessandro Taverna brought a pair of big violin sonatas to Conway Hall, both works by well-known composers yet neither work known. This remarkable pairing featured the violin sonatas by Erich Wolfgang Korngold and Richard Strauss alongside Arnold Schoenberg's late Phantasy. Beforehand, I gave the pre-concert talk exploring the background to both the Korngold and the Strauss.

Korngold was a child prodigy and was writing sophisticated music young, so it is no surprise to find that his Violin Sonata was completed when he was just 16 and the work was premiered in Berlin by the distinguished pairing of Carl Flesch and Artur Schnabel. It is a substantial work, four movements lasting almost 40 minutes. The opening movement plunged straight in with florid writing and a rich dramatic harmonic language. There were positive fistfuls of notes at times, pushing chromaticism and tonality to the limit. The scherzo was full of vivid vigour with lots of off rhythms and engaging character, then the slow movement was surprisingly romantic, with dense harmonies. Lush and intense, both performers made this highly impassioned. Throughout the work I was impressed by their commitment to the music, making all this complexity seem expressive. The finale movement began with a lightly flowing chromatic melody that, harmonically speaking, wandered rather. There were later fugato moments, but alongside these formal structures sat a violin melody straight out of one of Korngold's films!

After the interval we began with Schoenberg's Phantasy written in 1949 (when the composer was 75) and commissioned by the violinist who premiered it, Adolph Koldofsky. Dark and dramatic, and often rather jagged in outline, the music was characterised by swift changes of mood. If it wasn't so dark you might call it skittish, yet there were moments of lyrical intensity, but also real violence.

We finished with Richard Strauss's Violin Sonata. Written in 1887 when the composer was 23 and already experience. But it came at a time when things were changing for Strauss: musically he was embracing the music of the future (via Wagner and Liszt) and two years later would come his first international success, the tone poem Don Juan. He was also falling in love. And whilst the sonata might look back to the music beloved of Strauss's father Franz, it also holds young Richard's thoughts about his future wife, Pauline.

The first movement was led by the lyrically impulsive violin, and Robert Schumann never felt far away. Strauss created a remarkably lyrical outpouring with lots of notes for both performers, and ultimately you felt that the music rambled somewhat. The slow movement was almost a song without words, with Strauss conjuring almost endless melody, developing in lyrical intensity in the middle movement. The finale opened with the piano on its own, dark and threatening with thick chords. When Dego's violin joined in the music moved back to Schumann. The music mixed vivid vigour with lyrical fervour climaxing with a big romantic moment with strenuous violin writing and cascades of notes.

Throughout the recital both performers impressed with their command of this complex music and the way they made all those fistfuls of piano notes and cascades of violin notes become vibrant and expressive.

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Elsewhere on this blog

A remarkable combination of headlong energy with care & attention: Igor Levit & Leonkoro Quartet in Schumann's Piano Quintet at Wigmore Hall's 125 Anniversary Festival - concert review
Relishing the challenge: during rehearsals for their forthcoming production of The Marriage of Figaro I chat to Orlando Jopling about Wild Arts' ambitious touring plans - interview
What fun, what larks: musical quality & deft comic action in Opera Holland Park's 1960s package deal holiday Cosi fan tutte - opera review
A mix of melodrama & sentiment, yet unashamedly enjoyable: Opera Holland Park open the season in terrific form with Puccini's La fanciulla del West - opera review
Memorable concerts in this year’s Norfolk & Norwich Festival with Britten Sinfonia & Norwich Philharmonic Orchestra & Chorus - concert review
Capella Edina: how Luis Schmidt, a young conductor from Munich, came to found Edinburgh's first professional philharmonic orchestra in almost ninety years - interview
Each song a story to be told: James Newby & Malcolm Martineau's Shipping Forecast at SongEasel in Elephant & Castle - concert review
Every detail mattered: Basel Chamber Orchestra & Vilde Frang in Bach, Mendelssohn & Grieg at Wigmore Hall - concert review
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Creative Minds in Song: Twelve Years of Listening

2026-06-02T07:42:23.265+01:00

Creative Minds in Song (2023)

In this guest posting pianist Gavin Roberts, artistic director of Song in the City, introduces Creative Minds in Song.

On Friday 5 June, audiences at St Giles Cripplegate will hear the latest chapter in a project that has quietly changed lives through song for more than a decade. Creative Minds in Song, a collaboration between Song in the City, the Guildhall School of Music & Drama and writers connected to local MIND community services, brings together composers, singers and community writers to create entirely new songs from original texts. The 2026 performances mark the fourth major iteration of the project, following earlier projects in 2015 (as reported in the Guardian) 2021 and 2023.

At its heart is a simple yet surprisingly radical idea: that poets, composers and performers should work together as equal creative partners. Writers do not simply hand over texts to be set; they become active collaborators in an artistic process that unfolds over months of conversation, experimentation and discovery.

This year's project has explored memory, identity, humour, survival, imagination and mental wellbeing. Through a series of workshops and rehearsals, Guildhall composers and singers have collaborated with community writers to create a new body of songs, many of which will receive their first performances in June.

What makes the project distinctive is its commitment to placing artistic excellence alongside lived experience. Emerging professional musicians are challenged to respond to living writers rather than historical texts. Writers hear their words transformed through music, often for the first time. Performers become advocates for stories that are personal, complex and deeply human.

The impact of that process has been evident throughout the project's history. Participants in previous Creative Minds in Song projects have described the experience as helping them ‘re-engage my creative faculties in a context that was fully respectful of the situation I was in’, while another reflected that ‘my world is gently opening... small baby steps for a new beginning.’

For composers, the experience can be equally significant. One participant described it as the project that helped them realise ‘my main artistic interest as a composer’, while another reflected that it offered ‘great hope for the future of de-stigmatising mental illness’ while opening new possibilities around creativity, collaboration and accessibility.

Creative Minds in Song (2021)

Over the years, I have increasingly come to believe that the project's success rests on a culture of listening. The writers are not merely the subject of the work; they are its creative engine. Their words shape the music, and their experiences challenge everyone involved to think differently about collaboration, communication and artistic responsibility.

The project has also benefited from the expertise of a number of artists and mentors who have helped shape its development over the years. Poet and actor Alexander Knox has provided invaluable guidance in writing workshops. Countertenor Andrew Watts and mezzo-soprano Sarah Walker have served as performance coaches across several iterations of the programme.

The resulting programme is strikingly varied. Some songs are lyrical and intimate, while others are theatrical, humorous or experimental. Together, they form a rich portrait of contemporary lives and voices, brought to life by a new generation of composers and performers.

On 5 June at St Giles Cripplegate and again on 21 June at the Royal Foundation of St Katharine, audiences will hear these works for the first time. They will encounter new music, certainly, but also something perhaps rarer: a space where community and artistic creativity meet on equal terms.

Creative Minds in Song is presented by Song in the City, in partnership with the Guildhall School of Music & Drama and writers connected to local MIND community services. Song in the City is a London-based arts charity that creates concerts, workshops and interdisciplinary projects that combine artistic excellence with meaningful social engagement. Founded in 2011, the charity works across performance, education and community collaboration to make live music accessible, inclusive and socially meaningful.

Tickets for both 5 June and 21 June from TicketTailor.

Einstein on the Beach, Cassandra Miller in residence, Gabriella Smith's Breathing Forests: BBC Philharmonic Orchestra's 2026/27 season

2026-06-01T11:36:08.199+01:00

BBC Philharmonic & John Storgårds at Bridgewater Hall in 2024 (Photo: Chris Payne)

The BBC Philharmonic Orchestra's recently announced 2026/27 season spans from large-scale symphonic concerts at The Bridgewater Hall to more intimate performances at the RNCM, alongside ambitious large-scale collaborations at Aviva Studios and innovative live experiences at the orchestra’s home in MediaCityUK.

Cassandra Miller is composer in residence for 2026/27, and works to be performed include Swim, inspired by two chords by Robert Schumann and the writings of Anne Carson, and Chanter (with soloist Sean Shibe) which draws on Scottish folk music and the work of smallpipes player Brìghde Chaimbeul [see my review of the premiere with Sean Shibe in 2024]. The residency concludes with the UK premiere of Dad Goes to the Mountain, informed by Peruvian banda music and themes of memory and perception.

Chief conductor John Storgårds opens the season with Gabriella Smith's Breathing Forests, with organ soloist James Vinnie [see my review of the UK premiere at the 2025 BBC Proms] alongside Sibelius' Symphony No. 5. Other new music at Bridgewater Hall includes a new orchestration of Miho Hazama's Dawn in Retiro, and music by Jennifer Higdon, Gabriela Ortiz and Caroline Shaw. In the series of concerts at the RNCM, contemporary composers include Errollyn Warren, Edmund Finnis, Tom Coult, Julia Wolfe and Alex Paxton.

Large scale works include the relative rarity, Bernstein’s Symphony No. 2 ‘The Age of Anxiety’ and Strauss's Alpine Symphony. Principal guest conductor Anja Bihlmaier conducts Brahms' German Requiem, with soloists Julia Grüter and Joshua Hopkins, and Beethoven’s Symphony No. 9 marking the 200th anniversary of the composer’s death with soloists Hera Hyesang Park, Jess Dandy, Robin Tritschler, Paul Grant.

Following the UK premiere of Du Yun’s Angel’s Bone, the orchestra continues its collaboration with English National Opera and Factory International with a new staging of Philip Glass and Robert Wilson’s iconic 1976 opera Einstein on the Beach, directed by Phelim McDermott. This completes ENO and Improbable’s Glass Portrait Trilogy, following the success of Satyagraha and Akhnaten. The production premieres in Manchester at Aviva Studios in June 2027

Full details from the BBC Philharmonic's website.

A remarkable combination of headlong energy with care & attention: Igor Levit & Leonkoro Quartet in Schumann's Piano Quintet at Wigmore Hall's 125 Anniversary Festival

2026-06-01T09:02:05.647+01:00

Igor Levit & the Leonkoro Quartet in Heidelberg in 2024 (Photo: Studio Visuell)

Henriëtte Bosmans: String Quartet, Robert Schumann: Piano Quintet; Igor Levit, Leonkoro Quartet; Wigmore Hall
Reviewed 31 May 2026

A completely absorbing performance of the Schumann bringing a real sense of urgency to the music and refreshingly lacking romantic self-indulgence. The Quartet's performance of Bosmans' piece made you wonder why it was not better known

Wigmore Hall's 125th Anniversary Festival continues apace. On Sunday 31 May 2026, pianist Igor Levit joined the Leonkoro Quartet - Jonathan Schwarz and Emiri Kakiuchi (violin), Mayu Konoe (viola), Lukas Schwarz (cello) - for the second of two collaborations. Having performed Brahms's Piano Quintet in F minor Op. 34 together on Saturday evening, Sunday morning saw them performing Schumann's Piano Quintet. The quartet began the concert with Henriëtte Bosmans' String Quartet.

Bosmans' String Quartet dates from 1927, the period when she had just started working with Dutch composer William Pijper, to whom the quartet is dedicated, and the work reflects the changes to Bosmans' style. The work opened with a modal viola melody that made me think of Vaughan Williams and Bosmans' subsequent free flowing contrapuntal development of this evoked both RVW and his teacher, Ravel. Whilst there were more urgent, darker moments, textures were often transparent and harmony was luminous. The Quartet played it with care and feeling, bringing the music alive and making you wonder why the work is not better known. The second movement had a lush, romantic feel opening with a violin solo and then leading to more flowing textures, still luminous and transparent. The third (and final) movement began with urgent vigour. Things eased off in the middle section, with some lovely colours to the harmony and occasional disturbing notes from the cello so when the opening material returned there was an addition sense of anxiety.

By 1842 when Robert Schumann came to write his piano quintet, the piano trio was a long-established genre whilst Mozart had written important piano quartets. But as far as quintets were involved, the line-up was mostly that used by Schubert in his Trout Quintet (itself designed to match the instrumentation of another work). Schumann decided to change things up, replacing the double bass with a second violin thus giving the opportunity for more transparent textures.

The opening felt urgent, yet there was noticeable care and attention to the phrases. As things eased off there was a lovely sense of flow to the cello melody, then in the development the music's intensity and urgency was complemented by the sheer power and dazzle of Levit's finger-work. Throughout the piece, whilst we never lost sight of Levit's piano he knew when to ebb and flow. There was a rich subtlety to the work along with a sense of urgency. The march that opens the second movement was distinctly marked but with strong forward motion. Levit brought a lovely shimmer to the piano in the first episode, complementing the string with their rather attractive use of portamenti. There was a reticence to Levit's playing at times so that there was never a sense of a mini piano concerto nor was there ever the feeling of famous pianist playing with young quartet. When the march returned there was an added element of foreboding, then the second episode was urgent with a new sense of violence allied to the power and dazzle of Levit's playing. As the early material returned rather transformed the repeat of the first episode almost became a memory and the final incarnation of the march reticent indeed. There was an impetuous feel to the third movement with Levit's vigorous piano passage-work, then the trio had a welcome lyricism. But when the opening material returned it was with a dark and furious urgency. The opening of the final movement was marked with a refreshing invigorating feel. Things eased off for the piano scale passages and the music seemed to combine lyrical ease with more disturbing piano moments. Levit really struck out at the notes opening the fugato, the music moving urgently to the close.

There was little in the way of romantic self-indulgence in this performance. It was substantial in length yet completely absorbing and whilst speeds were never excessive there was always an underlying urgency to the playing. All in all there was a remarkable combination of headlong energy with care and attention.

Never miss out on future posts by following us

The blog is free, but I'd be delighted if you were to show your appreciation by buying me a coffee.

Elsewhere on this blog

Relishing the challenge: during rehearsals for their forthcoming production of The Marriage of Figaro I chat to Orlando Jopling about Wild Arts' ambitious touring plans - interview
What fun, what larks: musical quality & deft comic action in Opera Holland Park's 1960s package deal holiday Cosi fan tutte - opera review
A mix of melodrama & sentiment, yet unashamedly enjoyable: Opera Holland Park open the season in terrific form with Puccini's La fanciulla del West - opera review
Memorable concerts in this year’s Norfolk & Norwich Festival with Britten Sinfonia & Norwich Philharmonic Orchestra & Chorus - concert review
Capella Edina: how Luis Schmidt, a young conductor from Munich, came to found Edinburgh's first professional philharmonic orchestra in almost ninety years - interview
Each song a story to be told: James Newby & Malcolm Martineau's Shipping Forecast at SongEasel in Elephant & Castle - concert review
Every detail mattered: Basel Chamber Orchestra & Vilde Frang in Bach, Mendelssohn & Grieg at Wigmore Hall - concert review
Richness & imagination: the all-male ensemble De Profundis continues its exploration of Morales with two masses based on L’homme armé - CD review
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BBC Proms: Tony Cooper makes his personal selection of events from the 2026 edition of the world’s largest classical-music festival

2026-06-01T07:45:58.061+01:00

The BBC Proms, the world’s largest classical-music festival, salutes the USA in this year’s edition marking 250 years since the signing of the US Declaration of Independence.

A feast of music like no other, the BBC Proms (running from Friday 17th July to Saturday 12th September) illuminates London’s famous Royal Albert Hall for eight action-packed weeks offering music lovers the sheer joy of getting to see and hear some of the world’s greatest orchestras and soloists playing some of the world’s greatest music in one of London’s most iconic venues that rock guitarist, Eric Clapton, fondly dubs ‘The Albert’. Pint of twos, please!

So closely associated with Sir Henry Wood - lovingly known as ‘Old Timber’ who, incidentally, was no stranger to Norwich as he was artistic director/conductor of the Norfolk & Norwich Triennial Festival from 1908 to 1930 - this year’s Prom series features UK premières of major new works co-commissioned by the BBC from American composers Wynton Marsalis and Jessie Montgomery with appearances coming from prime conductors and star soloists as Simon Rattle, Marin Alsop, Angel Blue and Joyce DiDonato.

Interestingly, there are so many associations with conductors and composers linked to Norwich and the Proms. For instance, the N&N Triennial commissioned Scottish-born composer, Thea Musgrave to write ‘The Five Ages of Man’, a masterful choral/orchestral work based on Hesiod’s ‘Works and Days’ - the scenario depicting the Greek myth of the decline and fall of humanity through five distinct ages: gold, silver, bronze, heroes and iron - premièred in St Andrew’s Hall on 6th June 1964 conducted by Charles Mackerras.

Now 97 years old, Musgrave - who lived in Norfolk, Virginia (twinned, by the way, with Norfolk, England) for over a quarter of a century with her husband, Peter Mark, general music director of Virginia Opera from 1975 to 2010 - has come up with a new work for this year’s Prom series (a BBC commission) offering a bassoon concerto entitled ‘Out of the Darkness’ performed by Amy Harman (matinee show: 23 August) who has had works written for her by Olav Berg, Heloïse Werner, Brian Elias, Roxanna Panufnik, Robin Holloway and Simon Holt. A pretty good tally!

Broadening the range of choral/orchestral music heard at the N&N Triennial, Sir Henry Wood persuaded many young English composers to perform and conduct their own compositions in Norwich such as Holst (‘Hymn of Jesus’) and Vaughan Williams (‘A Sea Symphony’) while Frank Bridge’s ‘Enter Spring’ received its première in St Andrew’s Hall in 1927 with the young Benjamin Britten as a member of the audience. After the performance he was introduced to the composer which led Bridge taking Britten on as one of his very few composition pupils. Such is history!

Stamping the centenary of the Triennial in 1924, E.J. Moeran - whose mother, Ada Esther Smeed came from Norfolk while his father, the Rev. Joseph William Wright Moeran, an Anglo-Irish clergyman, served the parish of Salhouse near Norwich - came up with Rhapsody No.2 in E major, a rewarding and tender piece based on the well-known Norfolk folksong ‘Polly on the Shore’ (or ‘The Valiant Sailor’) telling the story of a young man pressed into naval service who regrets leaving his love Polly. And as he lies bleeding on deck, he dreams of his beloved on shore.

Therefore, enjoying a chequered history, the origins of the Triennial can be traced back to the founding of the Norfolk & Norwich Hospital following a successful fund-raising concert held for the hospital in Norwich Cathedral in 1772. This duly paved the way for the festival becoming an annual event launched in 1788 by a four-day Grand Music Festival in St Peter Mancroft Church (morning concerts) and St Andrew’s Hall (evening concerts).

The N&N Triennial Festival was founded in 1824 and from an historical perspective Norwich shared it on a rotating basis with the cities of Birmingham and Leeds just as the Three Choirs Festival (the oldest choral/classical music festival of its kind) does to this very day rotating between the English cathedral cities of Hereford, Gloucester and Worcester.

Equally, the Proms has a rich and chequered history. Founded by Robert Newman in 1895 with Sir Henry Wood as chief conductor, the first concert fell on 10 August at the Queen’s Hall, London. And pioneering as ever, Wood established the tradition of mixing popular classics with new and adventurous modern works thereby offering a healthy, challenging and interesting repertoire. And barmy as it may seem today, the early Prom concerts allowed Prommers to eat, drink and smoke in the arena to create an informal and democratic atmosphere.

However, the BBC’s relationship with the Proms started in 1927 following the death of Robert Newman when the 32nd season was broadcast to the nation. Sir Henry Wood continued to be the conductor and the driving force behind the whole shooting-match and conducted the London Philharmonic Orchestra to celebrate the Golden Jubilee of the Proms on 14 June 1944. Sadly, Wood died in August of that year at the age of 75. His ashes are interred in the Musicians’ Chapel, St Sepulchre’s Church, London.

Come 1930, the BBC Symphony Orchestra was formed thus becoming the main orchestra for the Proms and when the Queen’s Hall was destroyed by enemy action in 1941, the series of Prom concerts moved to the Royal Albert Hall.

After Wood’s death, he was followed by Sir Malcolm Sargent, chief conductor from 1950 to 1966, who established the tradition of humorous engaging speeches and the flag-waving antics punctuating the ‘Last Night’ dearly loved by the Prommers and Uncle Tom Cobley and all!

As the 20th century progressed, so did the Proms. Therefore, from the 1960s, the repertoire expanded to include avant-garde music, non-Western music and jazz while numerous international orchestras received invitations.

This year a host of orchestras, composers and musicians from the USA will be beating a path to Kensington Gore taking part in an American season marking 250 years since the signing of the US Declaration of Independence.

A co-commission between the BBC and the Lincoln Center, New York, Jessie Montgomery’s new Cello Concerto receives its UK première (20 July) while the Los Angeles Philharmonic, conducted by their outgoing artistic director, Gustavo Dudamel, will perform a couple of Proms: a programme of Beethoven and Thomas Adès (11 August) and Beethoven and Gabriela Ortiz (12 August).

That popular American composer/trumpeter, Wynton Marsalis, brings to The Albert his brand-new work ‘Concerto for Orchestra’ co-commissioned by the BBC (13 August) while there’ll also be a special Miles Davis Prom marking the centenary of this great jazz musician’s birth (20 August) as well as an American Classics Prom featuring music by Bernstein, Gershwin and Copland (24 August) conducted by Marin Alsop.

And making their Proms début this year, The Met Orchestra, New York, conducted by their flamboyant and dynamic music director, Yannick Nézet‑Séguin, offers a couple of great concerts - a programme of Richard Strauss with mezzo-soprano Elza van den Heever (26 August) and Mahler with mezzo-soprano Joyce DiDonato (27 August).

The celebrated American soprano, Angel Blue, who made her Last Night début in 2024 with the BBC Symphony Orchestra and conductor Sakari Oramo, famously throwing red-and-white roses to excited Prommers to great delight, joins the Chineke! Orchestra for a Prom featuring music by Charleston-born composer, Edmund Thornton Jenkins (22 August).

A plethora of anniversaries and centenaries of composers therefore dutifully mark the current season which features music by John Coltrane, Morton Feldman, Edmund Thornton Jenkins, György Kurtág and Steve Reich while the season includes 20 premières including 17 BBC commissions including a 15-minute work from the hundred-year-old French-American composer, Betsy Jolas ‘Tales of a Summer Sea’ performed by the BBC Philharmonic Orchestra under John Storgårds (24 July).

Families are never forgotten about in the Proms and this year they can gather in their droves in the comfort and vastness of the Royal Albert Hall to enjoy the music of composer Alan Menken for Disney, a relaxed matinee with the Fantasia Orchestra and a relaxed Prom at the Bristol Beacon with the National Open Youth Orchestra featuring the world’s first concerto written for the Clarion, an app that transforms a tablet computer into a musical instrument plus a new commission from Charlotte Harding inspired by Britten’s ‘Young Person’s Guide to the Orchestra’.

As an aside, the first public concert of this well-loved work by Britten took place on 15 October 1946 in Liverpool conducted by Sir Malcolm Sargent, yet another legendary figure who was no stranger to Norwich as he took charge of the 1947 Triennial, the first to be held following World War II, conducting this significant event alongside that supreme and well-loved English contralto, Kathleen Ferrier. He returned to Norwich in 1951 to take charge of the Triennial which was specially postponed to align with the nationwide Festival of Britain.

A dominant figure of the BBC Proms, Sargent was famous for sporting a white carnation in his buttonhole while on the famous Albert Hall rostrum. This signature flower was part of his immaculately groomed ‘Flash Harry’ appearance - which included white tie and tails - thus becoming a hallmark and stamping his tenure as chief conductor of the Proms from 1947 to 1966. What an innings!

A good ambassador, too, for classical music in its widest sense, Sargent introduced the Proms to BBC television and over the course of his long reign he notched up 500 appearances while his arrangement of ‘Rule, Britannia!’ has been used at the Last Night since 1953. Wave that flag!

But stamping the Proms’ First Night this year (17 July) is the BBC Symphony Orchestra and Chorus led by Dalia Stasevska performing alongside the BBC Singers with tenor Thomas Atkins and pianist and global phenomenon, Yunchan Lim.

Their concert includes Copland’s ‘Fanfare for the Common Man’ and Gershwin’s ‘An American in Paris’ while Lim takes to the keyboard to perform Ravel’s Piano Concerto in G major. There’s also a brand-new, eight-minute work coming from French-British composer, Josephine Stephenson, commissioned by the BBC entitled ‘That the sunrise not leave us unmoved’.

A rare performance in the programme comes with Finzi’s ‘For St Cecilia’ (premièred at the RAH nearly 80 years ago) scored for tenor solo (Nicky Spence), mixed chorus and orchestra, set to words by Edmund Blunden, inspired, of course, by the patron saint of music whose feast day falls on 22 November which, incidentally, happens to be Britten’s birthday - born in Lowestoft in 1913.

Jump to the Last Night (12 September) and there’s a star-spangled array of musical treats and talents in store which includes the first performance at the Proms of Barber’s Pulitzer Prize-winning Piano Concerto performed by Yuja Wang, who returns to the Proms after an absence of three years.

An interesting concert is punctuated by the Greek-born violinist, Leonidas Kavakos, taking on Tchaikovsky’s Violin Concerto with the BBC Symphony Orchestra (2 August) which also features the world première of Dani Howard’s ‘Concerto for Brass - Signal’ (co-commissioned by the BBC) with the programme completed by Scriabin’s Symphony No.2, a marvellous piece ending in a grand and triumphant manner as befitting a military parade.

Returning to the Proms after a two-year absence, Felix Klieser, born without arms and plays the French horn with his feet, will treat the audience to Mozart’s Horn Concerto No.3 with the Academy of St Martin in the Fields while this promising concert also includes works by Britten and Elgar.

And to celebrate Steve Reich’s 90th, Paraorchestra performs ‘Music for 18 Musicians’ at the Bristol Beacon (7 August) while the Colin Currie Group takes a late-night Prom at the Royal Albert Hall (2 September) featuring ‘Tehillim’, a setting of Hebrew Psalms heard in stark contrast to early sacred choral music from the Renaissance sung by the Gesualdo Six comprising pieces from Hildegard of Bingen, Pérotin Machaut and Josquin des Prez.

Also making their Proms débuts are the Spanish National Orchestra under their chief conductor and artistic director, David Afkham, performing a vibrant programme of Spanish music (19 July) while the well-loved international conductor, Mirga Gražinytė-Tyla, returns to conduct the Oslo Philharmonic in a programme that includes Stravinsky’s Violin Concerto performed by Patricia Kopatchinskaja (29 August).

A veteran of the Proms, Simon Rattle takes to the podium conducting three works by Schumann with the Freiburg Baroque Orchestra featuring violinist Isabelle Faust (7 September) followed by the Mahler Academy Orchestra conducted by their music director, Philipp von Steinaecker, playing Mahler’s Symphony No. 9 (11 September).

Global superstars of classical music make appearances throughout the season and one such superstar is none other than Martha Argerich who’ll perform Beethoven’s Piano Concerto No.2 with the Munich Philharmonic almost 60 years to the day since she made her Proms début at the Last Night in 1966. I attended (and well remember) Argerich’s Edinburgh Festival début in 1966 shortly after she won the Chopin Piano Competition in Poland - a treasured memory! The concert (5 September) also includes Farrenc’s Overture No.2 and Brahms’ Symphony No.4.

The supremely talented Italian-German-American Grammy-winning classical violinist, Augustin Hadelich, plays Beethoven’s Violin Concerto with the Berlin Philharmonic in a concert also featuring Scriabin’s Symphony No.3 ‘The Divine Poem’ (3 September) a work expressing the spirit’s journey from being shackled by past beliefs to a joyful affirmation of its freedom and unity with the universe. The second of two Proms by the Berlin Philharmonic - the first features Elgar’s ‘Enigma Variations’ and Tchaikovsky’s Symphony No.4 (2 September).

This season marks ten years since Sheku Kanneh‑Mason won the 2016 BBC Young Musician with a performance of Shostakovich’s First Cello Concerto at the age of 17. He returns to the Proms alongside fellow finalists - saxophonist Jess Gillam and French horn player Ben Goldscheider - to perform the world première of Gwilym Simcock’s ‘Triple Concerto for Soprano Saxophone, Horn and Cello’ commissioned by the BBC to mark this special anniversary (6 September).

As in past years, BBC orchestras and choirs remain the beating heart of the Proms and this season they’ll be making 42 appearances while Ryan Bancroft takes his final bow as chief conductor of the BBC National Orchestra of Wales.

In total, there are performances from 41 orchestras and choirs from across the UK including the Aurora Orchestra returning to play Mahler's Symphony No.1 (1 August - matinee performance: 2 August). The first half of the concert showcases actors bringing Mahler’s creative process to life while the second half features the symphony performed by the orchestra entirely from memory.

Dazzling a packed and wild house at the Last Night in 2025, soprano Louise Alder returns to The Albert with the London Philharmonic Orchestra under their principal conductor Edward Gardner (27 July) while the celebrated BBC Singers performs a late-night Prom (11 August) at the Royal Albert Hall with Dame Evelyn Glennie and the Fantasia Orchestra playing a genre-bending programme to include works by Caroline Shaw, Radiohead and the world première of a BBC commission by Héloïse Werner, a French-British composer based in London.

This year marks the 50th anniversary of the death of Britten and the celebrated cellist, Guy Johnston, salutes the occasion by performing the composer’s highly exciting Cello Symphony written for the renowned Russian cellist, Mstislav Rostropovich, who gave the work its first showing in Moscow in March 1964 with the Moscow Philharmonic conducted by the composer (28 July).

The Britten tribute continues to blaze a trail with Simone Lamsma performing the Violin Concerto (4 September) and the Sinfonia of London under their principal conductor, John Wilson, performing ‘Les Illuminations’ and ‘Variations on a Theme of Frank Bridge’ in a matinee Prom (6 September). Meanwhile, the iconic showpiece ‘The Young Person’s Guide to the Orchestra’ will be performed by the BBC Symphony Orchestra conducted by Sakari Oramo (6 September).

The Proms celebrates some of the most influential sounds of the past century, too, beginning with a symphonic tribute to the British movement of Prog Rock as the BBC Concert Orchestra under Robert Ames reimagines classics by Emerson, Lake and Palmer, Genesis, Jethro Tull and Mike Oldfield presented by BBC Radio 6 Music’s Stuart Maconie (18 July) while a late-night Prom (5 August) honours Paul Simon’s landmark album ‘Graceland’ with Bond and Beyond bringing iconic 007 film music to the Royal Albert Hall (25 August) featuring Daniel Bartholomew‑Poyser and the BBC Concert Orchestra.

Spectacular moments, one-off large-scale performances and rarely performed works of the kind only the Proms can offer include the first-ever Proms performance (6 August) of Weber’s final opera, ‘Oberon’, 200 years after the composer’s death. Soloists Nicky Spence (tenor) and Jennifer Davis (soprano) stand alongside the Orchestre Révolutionnaire et Romantique and the Monteverdi Choir conducted by Sir Mark Elder.

The BBC Symphony Orchestra, led by Sakari Oramo, takes on Kurtág’s monumental work ‘Stele’ (Greek word meaning ‘decorated stone slab’) a major orchestral work from this well-respected and challenging Hungarian composer written in 1994. Known as a sombre, powerful and deeply emotional elegy, it was commissioned by the Berlin Philharmonic and is dedicated to the composer/conductor András Mihály (1917-93) a close friend of Kurtág (22 July).

There are also performances of Zimmermann’s ‘Märchen‑Suite’ (Fairy-Tale Suite) (4 August) - an early tonal orchestral work dating from 1950 written over seven movements transporting listeners into the world of fairies heard in stark contrast to an explosion of orchestral sound like no other that truly stamps Berlioz’s monumental 1837 choral work ‘The Damnation of Faust’ (15 August).

Featuring four off-stage brass bands and ten timpanists evoking profound themes of fear, faith and the apocalypse, a brilliant cast has been assembled for ‘Damnation’ comprising John Osborn (tenor), Véronique Gens (soprano), Gerald Finley (baritone) and Thomas Dolié (bass). Just the right forces, I feel, for the Royal Albert Hall.

Shining a spotlight on under-represented voices, too, the Proms salutes Czech composer, Vítězslava Kaprálová, offering a rare performance of ‘Suita rustica’ (1 September), a radiant and joyful piece based on Czech folksongs and dances mixing the rustic charm of the countryside with the confidence of a young and acclaimed artist.

Most certainly a remarkable and talented person, Kaprálová’s promising career was cut short by her death at the age of 25 and ‘Suita rustica’ (a 16-minute piece in three movements) was composed in 1938. She died two years later.

The prodigiously talented French composer, Lili Boulanger, also died at a young age. She was just 24. Her poignant and haunting choral work ‘Vieille prière bouddhique’ (Old Buddhist Prayer) composed in 1917 gets a well-deserved performance, too (23 July). A brief, evocative piece reflecting a meditative Buddhist prayer, it more than highlights Boulanger’s ability to combine deep spirituality with emotional intensity.

And Lili’s eldest sister, Nadia Boulanger, gets a Prom with a performance of her 1912 work ‘Fantaisie variée pour piano et orchestre’ / ‘Fantasy for piano and orchestra’ (5 August). A significant early 20th-century piece offering an eclectic nod to Franck, Fauré and Stravinsky, the soloist is Romanian pianist, Alexandra Dariescu, making her Proms début with the Hallé conducted by Kahchun Wong.

That’s about it but if you cannot make it to the Royal Albert Hall, remember that every Prom is broadcast on Radio 3 and BBC Sounds while 24 Prom programmes are broadcast on BBC television and available on iPlayer. Last year’s Proms broke multiple records with over seven million streams on BBC iPlayer and BBC Sounds and twelve million TV viewers. Long live the Proms!

Seated tickets start at £12.20 (including fees) and Promming tickets remain at £8 (including all fees). Over 70,000 are available across the season at the Royal Albert Hall. Last year’s Proms welcomed 300,000 in‑person attendees - over half of them ‘first‑timers’ - underlining the BBC’s strong commitment to making the world’s greatest classical-music festival available to all licence fee payers.

For each concert at the Royal Albert Hall there are around 1,000 standing places in the Arena and Gallery. For most concerts, though, one can book up to two tickets online from 9.30am on the day of the concert.

A limited number of seats either at the back of the Arena or in the Choir or Gallery are available for those Prommers who are unable to stand for an entire concert. These seats can be booked online at royalalberthall.com

There’s so much on offer at the Proms therefore check out the full, detailed and informative programme by visiting www.bbc.co.uk/proms

Music on a summer’s day. What could be better!

Never miss out on future posts by following us

The blog is free, but I'd be delighted if you were to show your appreciation by buying me a coffee.

Elsewhere on this blog

Relishing the challenge: during rehearsals for their forthcoming production of The Marriage of Figaro I chat to Orlando Jopling about Wild Arts' ambitious touring plans - interview
What fun, what larks: musical quality & deft comic action in Opera Holland Park's 1960s package deal holiday Cosi fan tutte - opera review
A mix of melodrama & sentiment, yet unashamedly enjoyable: Opera Holland Park open the season in terrific form with Puccini's La fanciulla del West - opera review
Memorable concerts in this year’s Norfolk & Norwich Festival with Britten Sinfonia & Norwich Philharmonic Orchestra & Chorus - concert review
Capella Edina: how Luis Schmidt, a young conductor from Munich, came to found Edinburgh's first professional philharmonic orchestra in almost ninety years - interview
Each song a story to be told: James Newby & Malcolm Martineau's Shipping Forecast at SongEasel in Elephant & Castle - concert review
Every detail mattered: Basel Chamber Orchestra & Vilde Frang in Bach, Mendelssohn & Grieg at Wigmore Hall - concert review
Richness & imagination: the all-male ensemble De Profundis continues its exploration of Morales with two masses based on L’homme armé - CD review
Home

Relishing the challenge: during rehearsals for their forthcoming production of The Marriage of Figaro I chat to Orlando Jopling about Wild Arts' ambitious touring plans

2026-05-30T09:25:39.306+01:00

Mozart's The Marriage of Figaro in rehearsal - Ellie Neate, Danielle de Niese, Jack Sandison - Wild Arts (Photo: Anastasia Tikhonova)

Wild Arts is a small but dynamic company that presents music and opera, touring from its base in Essex, under artistic director and founder Orlando Jopling. This year the company presenting a new production of Mozart's The Marriage of Figaro with Danielle de Niese making her directorial debut and Orlando Jopling conducting. The cast features Jack Sandison as Figaro, Ellie Neate as Susanna, Timothy Nelson as Count Almaviva, Elinor Rolfe Johnson as Countess Almaviva and Abbie Ward as Cherubino. The work will be sung in a new translation by Danielle de Niese and Orlando Jopling, and accompanied by a ten-piece instrumental ensemble.

I recently went to join the company at rehearsals in South London where Danielle de Niese was working on the end of Act Two with Timothy Nelson, Elinor Rolfe Johnson and Ellie Neate, and afterwards I was able to find out more from Orlando Jopling.

In rehearsal, it was fascinating quite how much stress Danielle de Niese placed on the words. Not only focusing on meaning and sense, but stress too and trying different readings, and it was illuminating to hear how different inflections affect the results. It was also clear that the translation itself was malleable with Danielle de Niese and Orlando Jopling working on alternative readings to achieve the right effect. For much of the scene (the moment from the Count's entry) the attention was on the recitative and focusing on it as dialogue, but when the trio started Danielle de Niese was also paying great attention to the staging logistics, the farce elements.

Afterwards, when I chatted to Orlando he commented that the singers were loving the rehearsal process and really believed in the work. Danielle de Niese has evidently come up with some interesting solutions to the challenges of staging various scenes, and Orlando describes the overall intention as being like good TV drama where details make so much difference. They are rehearsing the recitatives by speaking them so that the music comes in the natural rhythm of speech and pacing. Orlando's aim is that people will forget that the cast is singing and that this will draw the audience into the story. They have also been doing a lot of work on the music of the recitatives themselves, thinking about the placement of the chords, what they mean and whether the chord precipitates the next line or references what has just happened. Orlando adds that Mozart and Da Ponte are so amazingly brilliant that the music gives the right shape to the drama with so much satisfying detail.

Mozart's The Marriage of Figaro in rehearsal - Wild Arts (Photo: Anastasia Tikhonova)

As regards the musical side of things, Orlando is the least of controlling of conductors. He feels that if the drama is right then the music will be right. He wants the impulse for the music to come from the singers' minds rather than insisting that they watch him all the time. He thinks that too often in performance control by the conductor is put ahead of the natural organic drama, responding to what the singers are feeling and thinking.

When I spoke to Orlando some weeks before opening night the production was already surpassing his wildest dreams. Not only is The Marriage of Figaro an amazing piece, but he had nothing but praise for the working process with Danielle de Niese, and he also refers to the 'knockout cast'. He has always wanted to bring The Marriage of Figaro alive without all the conventions of a typical opera performance. After all it is a brilliant story made much better by the music, rather than being 'a piece of music'. Orlando also emphasised that for Danielle de Niese, the music was the found of all the dramatic ideas for the production.

For The Marriage of Figaro, Wild Arts is giving 26 performances in 20 venues. They open with their Summer Opera Festival at Layer Marney Tower in Essex (5-7 June) and then move around the country from Northern Aldborough Festival, Yorkshire and Doddington Hall, Lincolnshire to Forde Abbey, Somerset and Malvern Festival Theatre, Worcestershire, ending at The Rep in Birmingham on 27 September. The aim of the production is to be practical, they need a show that will work in an amazing variety of different spaces - barns, gardens, concert halls, proscenium arch theatres. Orlando is rather proud of the fact that no other company does that variety of location, and he admits that it is asking a lot of the singers. When I saw them perform Donizetti's L'Elisir d'Amore it was in Thaxted Church with an improvised stage and the audience end on [see my review], but for Tchaikovsky's Eugene Onegin at Chartrhouse the audience was on three sides of the performance space [see my review].

Mozart's The Marriage of Figaro in rehearsal
Wild Arts (Photo: Anastasia Tikhonova)

One of the advantages of the long tour is that it means that Wild Arts, whilst not able to pay lavishly, can offer the singers a decent chunk of money. And the sheer number of performances gives the singers, especially the Young Artists, the opportunity to learn to move from simply thinking 'what next' and really developing their performances. Orlando points out that if you only do three or four performances of a production, it all passes by in a flash thanks to sheer adrenalin. But a longer run gives the singers time to react to the stage and be in the moment, to play around with timings, see what makes the audience laugh and respond to this.

Orlando is keen for the opera performances to be approachable, and so they try and take away any element of the staging that puts the opera in a box, making it seem to be 'over there'. English is very much the company's preferred language, but Orlando is not dogmatic and does what's right for that particular opera, though he admits that there is so much to be gained from performing in English as the audience is drawn into the story. Besides telling a story, Orlando wants his audiences to understand that opera is simply a brilliant night out at the theatre. The incredible story, with human characters who make mistakes and do ridiculously funny things (in the case of The Marriage of Figaro) allied to great music.

The show has to be flexible and respond to where it is, so any performance is about 'that' place and responds to 'that' audience. They are taking the best of theatre and thanks to having a long-running show are able to play with it and enjoy it.

For Wild Arts the summer is packed! From May to early September they are giving performances of An Evening of Opera, their 2026 incarnation of their regular opera programme. This year directed by Guido Martin-Brandis, it features four singers and a string quartet in arias and scenes from operas by Handel, Mozart, Puccini and Rossini, alongside songs from classic musicals by Rodgers and Hammerstein, Bernstein and Noel Coward. For these performances they intend to work in the same way as for the opera, concentrating on projecting the drama, with the intention of shedding new light on great music.

For The Marriage of Figaro they work with an ensemble of around ten players so every player is a soloist, and it becomes large-scale chamber music with a different dynamic between the players. The sound is more direct, less plush than with a full orchestra but Orlando feels that when they get it right it can be plangent. Orlando is also a cellist, and he comments that he loves playing in an orchestra, finding it wonderful how 80 or so players react. But experiencing chamber music making is intoxicating, considering what each player brings to the piece and the way it is brought to life by each player being a soloist.

Orlando points out that once an audience member is in the story, following the characters, the venue and stage matter less as the storytelling draws the audience in. As far as he is concerned it doesn't matter what is on stage, you don't need huge built sets as the stuff of the drama is in the interaction of the characters.

For The Marriage of Figaro they are working with a number of theatres, and several of these are ones that Glyndebourne Opera used to tour to. This means that their performances at these venues (including Norwich Theatre Royal, Malvern Festival Theatre, Cheltenham Everyman Theatre and Yvonne Arnaud Theatre, Guildford) are an important part of what they do. For these proscenium arch theatres, the orchestra is on stage and the performance is very much about the interplay between singers and instrumentalists to that the fourth wall is almost gone.

For the next few years, Orlando is very aware that Wild Arts needs to build these relationships. They have been thinking about performing Janáček's Jenůfa, but have decided that next year they will tour Mozart's Don Giovanni, so that theatres that have taken a chance on them can build their audiences. Then they will come to the challenges of Jenůfa in 2028.

Orlando regards Jenůfa as being essential for the company, showing that they have a range that encompasses serious opera and goes beyond entertaining comedy. The work presents the company with several challenges. For a start there is the issue of doing it in English. Janáček uses Czech speech rhythms in his music, but Orlando points out that whilst Janáček builds the orchestral texture from melodic fragment based on speech rhythms the vocal lines are freer. Also, between the first performances of the opera in Brno in 1904 and the later performances in Prague in 1916, Janáček changed a lot of the word setting so it is clear that even he was fiddling around with this. As long as the melodic shape is intact there is a way of doing it in English, so the language is intelligible whilst keeping the musical integrity. And Orlando is hoping to work with the same playwright who did the translation of Tchaikovsky's Eugene Onegin for Wild Arts.

Mozart's The Marriage of Figaro in rehearsal - Wild Arts (Photo: Anastasia Tikhonova)

Though they will be using small forces, as usual, Jenůfa requires a bigger orchestra than their usual productions so in 2028 Wild Arts will be touring second production, Donizetti's Don Pasquale, so that they have something portable to offer the smaller festivals. With an opera like Mozart's The Marriage of Figaro, the company is able to cast the singers so that they are age-appropriate which means you get the perfect performers, something Orlando finds exciting. With Jenůfa it will be a bit more of a challenge, as singers will need the appropriate dramatic weight. But I sensed that this was a challenge that Orlando would relish.

Wild Arts' production of Mozart's The Marriage of Figaro, directed by Danielle de Niese & conducted by Orlando Jopling opens at Layer Marney Tower on 5 June 2026.

Full details of Wild Arts' performances from their website, with a full calendar of performances

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The blog is free, but I'd be delighted if you were to show your appreciation by buying me a coffee.

Elsewhere on this blog

What fun, what larks: musical quality & deft comic action in Opera Holland Park's 1960s package deal holiday Cosi fan tutte - opera review
A mix of melodrama & sentiment, yet unashamedly enjoyable: Opera Holland Park open the season in terrific form with Puccini's La fanciulla del West - opera review
Memorable concerts in this year’s Norfolk & Norwich Festival with Britten Sinfonia & Norwich Philharmonic Orchestra & Chorus - concert review
Capella Edina: how Luis Schmidt, a young conductor from Munich, came to found Edinburgh's first professional philharmonic orchestra in almost ninety years - interview
Each song a story to be told: James Newby & Malcolm Martineau's Shipping Forecast at SongEasel in Elephant & Castle - concert review
Every detail mattered: Basel Chamber Orchestra & Vilde Frang in Bach, Mendelssohn & Grieg at Wigmore Hall - concert review
Richness & imagination: the all-male ensemble De Profundis continues its exploration of Morales with two masses based on L’homme armé - CD review
Unashamedly romantic: the music of the remarkably youthful Christopher Churcher on Resonus Classics - record review
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What fun, what larks: musical quality & deft comic action in Opera Holland Park's 1960s package deal holiday Cosi fan tutte

2026-05-29T12:26:00.441+01:00

Mozart: Cosi fan tutte - Osian Wyn Bowen, Madeline Boreham, Paul Grant - Opera Holland Park (Photo: Craig Fuller)

Mozart: Cosi fan tutte: Madeline Boreham, Shakira Tsindos, Osian Wyn Bowen, Paul Grant, Elizabeth Karani, Paul Carey Jones, director: Cecilia Stinton, City of London Sinfonia, conductor: Charlotte Corderoy; Opera Holland Park
Reviewed 28 May 2026

Musical quality triumphs in Cecilia Stinton's over-active Italian package holiday-themed production with a young cast led by conductor Charlotte Corderoy really showing their Mozartian chops

When Mozart's Cosi fan tutte last appeared at Opera Holland Park (OHP) in 2018 [see my review] the young artists playing the lovers were Eleanor Dennis, Kitty Whately, Nick Pritchard and Nicholas Lester, all now well on their way to being distinguished names, and one wonders what a production featuring them would be like now. The sisters being somewhat more mature, perhaps having a holiday fling!

That 2018 production was also firmly and attractively set in the 18th century. For their new production at this year's Opera Holland Park, director Cecilia Stinton [who directed Donizetti's Lucia di Lammermoor here last year, see my revew] and designer Neil Irish have decided to take the opera's ideas of two women holidaying near Naples and give it a more contemporary gloss so that the sisters are on a distinctly modern package deal holiday.

We caught the opening night of the production (28 May 2026) when Charlotte Corderoy conducted the City of London Sinfonia with Madeline Boreham and Shakira Tsindos as Fiordiligi and Dorabella [the two were in the 2023 Young Artist performance of Humperdinck's Hansel & Gretel, also conducted by Corderoy, see my review]. Ferrando was Osian Wyn Bowen and Guglielmo was Paul Grant [who sang Figaro in Rossini's The Barber of Seville in 2024, also directed by Stinton, see my review]. Elizabeth Karani was Despina and Paul Carey Jones was Don Alfonso, both OHP regulars.

Mozaart: Cosi fan tutte - Elizabeth Karani - Opera Holland Park 2026 (Photo: Craig Fuller)

During the overture we watched passengers arriving for holidays against a backdrop of a huge Naples travel poster. The mood was deliberately upbeat and at the end of the overture Fiordiligi and Dorabella were left, unmet, at the airport. The setup seemed to be that Ferrando and Guglielmo were American servicemen stationed in Naples, and both Don Alfonso and Despina worked in the hotel where the sisters were staying. Act One unfolded against a series of imaginative (and very funny) scenes as the sisters did the usual tourist activities. The men's disguises were as ancient Romans and dressing up became a theme as, when the sisters finally took the plunge they dressed up too, as did Despina and Don Alfonso.

Throughout, Neil Irish's designs made the most of very little, creating a series of imaginative and effective settings yet allowing scenes to flow. A single ticket booth did multiple duty - airport arrivals, hotel reception, ticket desk at Pompeii - thus ensuring we knew where we were! The introduction of quasi-erotic Roman frescoes during Act Two only ensured that the opera's underlying theme was emphasised.

There are different ways of handling the problematic elements in Mozart and Da Ponte's opera and most directors have take on what does and doesn't work. By focusing on the holiday romance element, Stinton seemed to be saying that there were feelings here but keep them light. And by setting the piece in the 1950s/60s (costumes were somewhat varied) there was an element of historical perspective to the men's attitudes. This seemed to be a holiday fling gone wrong and once real feelings came into play in Act Two the tone became less frenetic, and the ending was distinctly ambiguous. Not a solution to the opera's perceived problem then, but certainly an interesting take.

The problem was that the action in Act One in particular was a little too riotous with continuous stage movement and comic business that threatened to pull focus from the soloists. It was funny, all the action deftly handled, and the audience clearly enjoyed it, but Mozart isn't Rossini and for much of the first act the four young principals struggled to establish strong characters. Even Madeline Boreham's superb account of 'Come scoglio' suffered from this over-egging. The drawback also was that when Mozart and Da Ponte did create deliberately over-active comic business at the end of Act One this hardly stood out. Another theme of the staging was disguise, not just everyone dressing up as Romans, but Elizabeth Karani's Despina played multiple roles including as tour guide. Again rather blunting the effect of her dressing up as the doctor in Act One and the notary in Act Two.

The opera does work as this sort of hyperactive comedy, Mozart's music is great enough that it can take almost anything. But Stinton seemed to be saying that the best way to solve the opera's problems was to skate over them and keep the audience distracted. Rarely, if ever, were the soloists alone on stage in Act One.

Once beyond the serenade in Act Two (which saw the chorus 'serenading' the lovers in an Ancient Roman themed restaurant) the action takes a darker turn and Stinton's staging responded. In Act One, though she did use the full extent of the OHP stage, there seemed the intention of using main stage and fore stage for dramatic separation with the sisters often on the main stage. It was only in Act Two that the nitty-gritty of music action moved to the fore-stage, and we got to appreciate the way the singers were invested in the music. It helped that the hyperactive fun rather stopped and Stinton did not shy away from having her singers alone.

Musically, however, this was a very strong performance. From the crisp opening moments of the overture it was clear that Charlotte Corderoy was in charge and her take in the music had an engaging zip to it, mirroring the general youth of the cast. Yet there was never a sense of pushing or over-fast tempos and the pace flowed admirably and engaging. Continuo was provided by Stuart Wild at a piano, thank goodness; sometimes a little over-active but always dramatic and supportive.

Mozaart: Cosi fan tutte - Madeline Boreham - Opera Holland Park 2026 (Photo: Craig Fuller)

Madeline Boreham is developing into a stylish Mozartist, her performance of consistently high technical quality allied to real poise. In Act Two, she made Fiordiligi's emotional arc into something engaging and, once the production allowed, drew us into the character. Shakira Tsindos's distinctly 'up for it' Dorabella was a real complement to Boreham. Tsindos's performance was consistently engaging, and the two really created a fine dynamic as the sisters let themselves go.

Whilst the performances by Osian Wyn Bowen and Paul Grant were musically distinguished, the production did rather less to distinguish the two characters. Were these two even in love, or was it all a bit of a game to them? When push came to shove later in Act Two, Grant's admirably lyrical Guglielmo finally got his moment, whilst Wyn Bowen's intriguingly nerdy Ferrando highlighted his characterful voice.

The engines of the performance were very much the characters of Despina and Don Alfonso. Both Elizabeth Karani and Paul Carey Jones are gifted comic performers and, more importantly, both had the knack of holding the stage no matter what else was going on. This could be distracting so that some of Don Alfonso's by-plays rather drew the eye, but Karani's feisty and admirably well sung Despina had no problems holding our attention in her Act One solo despite a chorus of scantily clad dancing men! Carey Jones, showing little sign of having been singing Wotan and Dutchman [including at OHP last year, see my review] proved to be a vivid Don Alfonso with great attention to text.

the chorus was far more active thatn their small musical role might have suggested and the chorus members eagerly and vividly filled the stage with tourists and more as a backdrop to the action.

For me, it was the musical quality of the performance that held me. If you closed your eyes it was very good indeed. At the centre of this was Charlotte Corderoy and City of London Sinfonia, consistently engaging, interesting and stylish, yet this was Mozart with plenty of pep. The soloists followed Corderoy's lead and there were plenty of moments where you felt that by laughing at the jokes the audience were perhaps missing something deeper.

If critics will probably continue talking about OHP's opening production of Puccini rarity La fanciulla del West [see my review], I would imagine that audiences will remember this production for its sheer fun. The production is in repertory until 13 June with the Young Artists Performance on 7 June.

Never miss out on future posts by following us

The blog is free, but I'd be delighted if you were to show your appreciation by buying me a coffee.

Elsewhere on this blog

A mix of melodrama & sentiment, yet unashamedly enjoyable: Opera Holland Park open the season in terrific form with Puccini's La fanciulla del West - opera review
Memorable concerts in this year’s Norfolk & Norwich Festival with Britten Sinfonia & Norwich Philharmonic Orchestra & Chorus - concert review
Capella Edina: how Luis Schmidt, a young conductor from Munich, came to found Edinburgh's first professional philharmonic orchestra in almost ninety years - interview
Each song a story to be told: James Newby & Malcolm Martineau's Shipping Forecast at SongEasel in Elephant & Castle - concert review
Every detail mattered: Basel Chamber Orchestra & Vilde Frang in Bach, Mendelssohn & Grieg at Wigmore Hall - concert review
Richness & imagination: the all-male ensemble De Profundis continues its exploration of Morales with two masses based on L’homme armé - CD review
Unashamedly romantic: the music of the remarkably youthful Christopher Churcher on Resonus Classics - record review
Rising to the challenge: Britten's The Rape of Lucretia from Royal Academy Opera directed by Paul Carr & conducted by Lada Valesova - opera review
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Late Romantic: Richard Strauss & Erich Korngold violin sonatas at Conway Hall with my pre-concert talk.

2026-05-28T07:53:16.362+01:00

Richard Strauss & his father, Franz
Photographed in 1901

On Sunday 31 May 2026, Italian-American violinist Francesca Dego and pianist Alessandro Taverna, who came to international prominence at the Leeds International Piano Competition in 2009, make their debut at Conway Hall in a concert that features the violin sonatas of Korngold and Richard Strauss, alongside Schoenberg's Phantasy, Op. 47.

Both sonatas are relatively early works, and both Korngold and Strauss were child prodigies, much influenced by dominant fathers. Both composers would eventually escape their father's influence with Richard Strauss taking on board the music of Wagner and Liszt, whilst Korngold escaped into the Golden Age of Viennese operetta.

I will be exploring this and much more in my pre-concert talk, Late Romantic which takes place at 5.30pm in advance of the concert at 6.30pm.

Further details from Conway Hall's website.

Dowland 400 celebrations in Norwich

2026-05-28T07:31:14.131+01:00

Performers at the Dowland 400 festival in Norwich

This year marks the 400th anniversary of the death of John Dowland. Numerous concerts, festivals and special projects are being held throughout the country to commemorate his legacy with Norwich at the forefront of the celebrations.

The famous English Renaissance composer, lutenist and singer, John Dowland, is being honoured and remembered in Norwich on the 400th anniversary of his death with a four-day festival in July featuring concerts, masterclasses, talks and workshops curated by two renowned Dowland experts - lutenist Daniel Murphy and lute-maker David Van Edwards. Therefore, Dowland’s melancholic and beautiful music - either for solo lute, singer or ensemble - will be laid bare in all its ravishing beauty at Norwich’s historic Octagon Chapel in Colegate with the festival running from Thursday 23 July to Sunday 26 July.

Not only does Dowland 400 salute John Dowland - considered one of the defining and most famous musicians of the Elizabethan era - it also brings to life the lasting impact this pioneering musician had on music of the Renaissance period (circa 1400-1600) defined by a transition from single-line chanting to complex intertwining melodies. Driven by a cultural rebirth, this era saw the rise of music printing, secular courtly songs and expanded instrument families particularly the lute and harpsichord.

James Sillett: The Octagon Chapel, Norwich (Norfolk Museums Collections)

Now widely recognised as one of the most pre-eminent and influential composers of this period, Dowland’s legacy has spread extensively through music of many styles over the last 400 years and he’s best known today for his melancholy songs such as ‘Come, heavy sleep’, ‘Come again’, ‘Flow my tears’, ‘I saw my Lady weepe’, ‘Now o now I needs must part’ and ‘In darkness let me dwell’ while his instrumental music has undergone a major revival and has been a continuing source of repertoire for lutenists and classical guitarists the world over.

However, his influence over the last four centuries is well illustrated by the many modern pop and rock artists who have taken on elements of his music either in straight versions of his songs or deconstructed pieces based on his melody and harmony.

For instance, Elvis Costello included a heartfelt recording of Dowland’s ‘Can she excuse my wrongs’ as a bonus track on the 2006 re-release of ‘The Juliet Letters’ while Patrick Doyle adapted Dowland’s ‘Weep You No More Sad Fountains’ featuring soprano Jane Eaglen in the 1995 film adaptation of Jane Austen’s much-loved novel, Sense and Sensibility.

Science-fiction writer, Philip K. Dick, greatly admired Dowland, too, referencing him in many of his works including the 1974 novel Flow My Tears, the Policeman Said and even used the pseudonym ‘Jack Dowland’ on one occasion.

Sting equally admired Dowland and got into the act by releasing an album entitled ‘Songs from the Labyrinth’ in collaboration with Edin Karamazov on lute and archlute for Deutsche Grammophon in 2006. Throughout the album Sting recites parts of a fascinating letter from Sir Robert Cecil, Queen Elizabeth I’s spymaster.

In fact, Dowland’s life was fascinating and one of considerable interest, too, therefore the letter to Sir Robert Cecil (written in 1595) can be seen as proof that he was acting as a spy on the growing Catholic plot in Italy and Germany to usurp the Protestant Queen Elizabeth I of England.

As a Roman Catholic, Dowland often came under suspicion of being a traitor. He knew only too well that his job and life depended on the grace and favour of royal patronage. As a greatly respected and admired musician, he was able to gain access to many of the most influential people of the time in Europe including monarchs and those in government. He learnt to conduct himself as a type of double agent becoming ensconced with high-profile Catholics whilst reporting back to his ‘spymaster’.

Born in 1563, little is known of his early life but come 1580 Dowland travelled to Paris where he was in service as a lutenist and composer to Sir Henry Cobham, the ambassador to the French court and subsequently his successor, Sir Edward Stafford. Becoming a Roman Catholic around 1584, he returned to England and married. The specific identity of his wife remains unknown. They had children including Robert Dowland (lutenist and a composer of 90 songs) but no surviving documents or records reveal her name.

It’s highly probable that he thought by ingratiating himself with the monarchy he would be in line for a prominent position at the English court. Unfortunately, this did not happen most probably due to his Catholicism. He remained an ‘outsider’ therefore spent much of his early career pursuing positions abroad. However, it didn’t prevent other important musicians such as fellow Catholic, William Byrd, enjoying a handsome career at court.

Snubbed at court, Dowland took off travelling the Continent from 1595 to 1597 which included a monumental journey from Germany to Italy over the Alps to reach Venice. One of the curators of the Dowland 400 (Daniel Murphy) is hoping to recreate this epic trek although walking with a lute and one’s belongings is not totally straightforward so rather than writing to his ‘spymaster’, Mr Murphy plans to give concerts and film some of the journey and the people he meets enroute.

By 1598, Dowland worked at the court of Christian IV of Denmark though he continued to publish his compositions in London. King Christian was very interested in music and paid Dowland a handsome fee (500 daler a year) making him one of the highest-paid servants of the Danish court.

Though Dowland was highly regarded by King Christian, he was not the ideal servant, often overstaying his leave when spending time in England on publishing business or for other reasons. Therefore, Dowland was dismissed around 1606 and returned to England to work as a freelance composer and lutenist. In 1612, he secured a long sought-after post as one of the lutenists of King James I.

Dowland’s music often display a melancholia rare in music of his time and his contemporaries were greatly influenced by this - some even mimicked his style. For instance, Johann Froberger composed a consort piece with the punning title ‘Semper Dowland, semper dolens’ (Always Dowland, always doleful) which could well be said sums up much of Dowland’s output.

After Dowland published his First Booke of Songes or Ayres in London in 1597 (a set of 21 lute songs) it turned out to be one of the most influential collections in the history of the lute and the music historian, Brian Robins, wrote: ‘Many of the songs were composed long before the publication date. However, far from being immature, the songs of Book I reveal Dowland as a fully-fledged master and one of the defining masters of the Renaissance.’ His last work ‘A Pilgrimes Solace’, published in 1612, was highly praised by the English musicologist and Church of England clergyman, Edmund Fellowes, who became well known for his work in promoting the revival of 16th- and 17th-century English music. He described ‘A Pilgrimes Solace’ as ‘the last masterpiece in the English school of lute songs’.

One of the first 20th-century musicians who successfully helped reclaim Dowland from the history books was the singer-songwriter, Frederick Keel, who included 15 pieces by Dowland in his two sets of Elizabethan love-songs published in 1909 and 1913 which achieved huge popularity in their day. These free arrangements for piano and low or high voice were intended to fit the tastes and musical practices associated with art-songs of the time.

In 1935, Australian-born composer, Percy Grainger, who had a deep interest in music of the Renaissance, arranged Dowland’s lovely song ‘Now, O now I needs must part’ for piano. Perhaps the greatest use of his work came from another song ‘Come Heavy Sleepe’ which inspired Britten’s ‘Nocturnal After John Dowland’ written in 1963 for guitarist, Julian Bream. The piece comprises eight variations all based on musical themes drawn from the song or its lute accompaniment finally resolving into a guitar setting of the song itself.

Dowland’s music became part of the repertoire of the Early Music Revival in the 1960s and 1970s with Julian Bream, Alfred Deller and Peter Pears and then later with musicians and groups such as David Munrow and the Early Music Consort, Emma Kirkby, Fretwork, Jacob Lindberg and Nigel North.

Amongst hundreds of recordings made of Dowland’s music since the 1980s some have influenced the jazz world. For instance, in 1999, ECM Records produced an innovative new recording entitled ‘In Darkness Let Me Dwell’ featuring new interpretations of Dowland’s songs performed by tenor John Potter, lutenist Stephen Stubbs and baroque violinist Maya Homburger in collaboration with English jazz musicians, John Surman (saxophone) and Barry Guy (double bass).

While the exact date of Dowland’s death is not known, his last payment from the English court was on 20 January 1626. He was buried at St Ann’s Church, Blackfriars, in the city of London, on 20 February 1626. Destroyed in the Great Fire of London of 1666, St Ann’s was never rebuilt therefore the exact location of Dowland’s grave has been lost.

However, the historic churchyard - now believed to be in or near the Ireland Yard/Ireland Lane area - still exists as a site where one can visit. Following the Great Fire, the parish of St Ann’s was absorbed by the neighbouring St Andrew-by-the-Wardrobe on St Andrew’s Hill where a memorial to the pioneering lutenist and composer is maintained today. Such is history!

The Norwich Dowland 400 celebrations promise a host of interesting concerts, talks, etc. especially on the opening day of the festival (Thursday, 23 July, 7.00pm) which sees acclaimed British lutenist, Nigel North, perform his celebrated programme ‘John Dowland, Mirth and Melancholy’ focusing on the composer’s solo lute music with the programme exploring the two contrasting emotional poles of Dowland's compositions.

The closing concert (Sunday, 26 July, 7.00pm) falls to the renowned English viol consort, Fretwork, who’ll include in their programme Dowland’s most famous composition ‘Lachrimae’ published by John Windet in 1604. In this well-loved work, Dowland pours his heart and soul into an extended cycle of viol consorts built round its themes. Comprising a set of seven slow pieces which the composer calls ‘tears’ (‘teares’ in Early English spelling) ‘Lachrimae’ is one of the first great cycles in the history of instrumental music which Fretwork recorded for Richard Branson’s label, Virgin Classics, in 1993. For their Norwich concert they’ll be joined by the celebrated lutenist, Elizabeth Kenny, working alongside Emilia Benjamin, Emily Ashton, Jonathan Rees, Joanna Levine, Sam Stadlen and Richard Boothby who founded Fretwork in 1985 with Richard Campbell together with other early music specialists.

Full details from the Dowland 400 website.

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The blog is free, but I'd be delighted if you were to show your appreciation by buying me a coffee.

Elsewhere on this blog

A mix of melodrama & sentiment, yet unashamedly enjoyable: Opera Holland Park open the season in terrific form with Puccini's La fancuilla del West - opera review
Memorable concerts in this year’s Norfolk & Norwich Festival with Britten Sinfonia & Norwich Philharmonic Orchestra & Chorus - concert review
Capella Edina: how Luis Schmidt, a young conductor from Munich, came to found Edinburgh's first professional philharmonic orchestra in almost ninety years - interview
Each song a story to be told: James Newby & Malcolm Martineau's Shipping Forecast at SongEasel in Elephant & Castle - concert review
Every detail mattered: Basel Chamber Orchestra & Vilde Frang in Bach, Mendelssohn & Grieg at Wigmore Hall - concert review
Richness & imagination: the all-male ensemble De Profundis continues its exploration of Morales with two masses based on L’homme armé - CD review
Unashamedly romantic: the music of the remarkably youthful Christopher Churcher on Resonus Classics - record review
Rising to the challenge: Britten's The Rape of Lucretia from Royal Academy Opera directed by Paul Carr & conducted by Lada Valesova - opera review
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Fantasy & Fairytales, a return of the Opera Festival & The Rain Show: a busy year for Tête à Tête

2026-05-27T18:27:47.080+01:00

Launched in 2007, Tête à Tête will be 30 next year! But this year the company shows no sign of slacking. From 3 to 6 July the latest chapter in their longstanding partnership with the Royal College of Music features five new short operas. Fantasy & Fairytales features new work created for young audiences; each opera opens out a different fantastical world, drawing on folklore and storytelling to explore human experience. The creative team includes director Bill Bankes-Jones (artistic director of Tête à Tête), conductor Michael Rosewell and designer Sarah Jane Booth.

Fantasy & Fairytales includes Daniel Musashi’s Ogga Loggas, in which ancient forests and age-old curses teach us the importance of looking after our world, and Lasha Kharkhelauri’s Ramona, a Georgian tale of love and upheaval set inside a puppet theatre as well as Asher Joyce’s Three Lives, Deniz Dortok’s The Boy Who Went to Find Fear and Ruvin Meda’s The Nightingale and the Rose.

Further details from the RCM website.

And from 8 to 20 September, the company's flagship Tête à Tête: The Opera Festival returns to the Cockpit Theatre, Marylebone for new operas that include a quadruple bill of young composers. There are operas on the last eight days of Mary Queen of Scots, Frankenstein, and a Cornish-language setting of Tennyson’s The Lady of Shalott. There is an international collaboration spanning Finland, Luxembourg, Switzerland, and Germany, opera from a Ukrainian composer, a Hong Kong artist, an opera exploring relationships between people and their languages, incorporating Cantonese

Further details from the Tête à Tête website.

And just to show that the company spreads its wings wider than London, last month (20 to 25 April) they presented The Rain Show in Tyneside and Cornwall. The Rain Show was a collaboration between British and Kenyan artists bringing workshops and performance into schools across North Tyneside and Cornwall. Delivered in partnership with Across Arts (led by producer Helene Mathiesen), and Baraka Opera Kenya, the project introduced young people to opera through cross-cultural exchange and culminated in a public performance on 25 April. The creative team featured librettist Nami Shah and composer Shaka Lwaki.

Further details from the Tête à Tête website.

Donnerstags-Abschied: 2026 East Neuk Festival plans tribute to the late John Wallace with a work he wanted to bring to the festival but never achieved

2026-05-27T11:40:51.851+01:00

John Wallace in rehearsals for ThunderPlump (East Neuk Festival Big Project 2022) with a young performer from StAMP (Photo: Neil Hanna)

The trumpeter John Wallace, who died in January this year, was born in Fife and his father played in the Tullis Russell Mills Band for 65 years with Wallace quickly joining the junior band. Wallace remained proud of his Fife roots and a vital participant in musical life in the Kingdom of Fife. He instigated multiple community orientated projects including StAMP, the University of St Andrews’ outreach programme.

StAMP has been a regular collaborator of the East Neuk Festival for many years, whilst Wallace took a leading role on three of the Festivals ‘Big Projects’ which brought together professional and community musicians as part of the main festival programme. These included the award-winning De Profundis which Wallace wrote with McEwan-Brown in 2017, to celebrate the lives of Fife’s miners and bring together massed brass bands, alongside Wallace’s own ensemble The Wallace Collection.

One project that Wallace discussed more than once (but never achieved) with Festival Artistic Director Svend McEwan-Brown was a performance of Stockhausen's five-trumpet Donnerstags-Abschied written for the end of Stockhausen's opera Donnerstag aus Licht.

This year's East Neuk Festival, which runs from 1 to 5 July 2026 will feature two performances of Stockhausen's Donnerstags-Abschied with Marco Blaauw leading an ensemble formed of John Wallace's friends and colleagues. Weather permitting it will be performed outdoors at sunset on Saturday 4 July, and indoors preceding the closing concert on Sunday 5 July.

Another proud son of Fife is celebrated in Looking for Oswald, exploring the life and music of James Oswald, the 18th century composer who was born in Crail. The event mixes words from Tom Davison (who has written a book about Oswald) with music from Karen Marshalsay, harps, Kathryn Nicholl, fiddle, Chris Miles, voice.

The festival opens with an intriguing concert when Scotland’s finest jazz pianist Fergus McCreadie will play Brahms' Four Ballades, Op. 10 before taking these as inspiration for his own improvisations plus duos and trios with Su-a Lee (cello) and Donald Grant (violin).

There are three quartets at the festival, Opus13, Cuarteto Quiroga, Calidore Quartet and the three will share out Beethoven's Razumovsky Quartets and spread performances across the Saturday. Alongside thise, Cuarteto Quiroga is joined by Christian Zacharias for Schubert's Trout Quintet, Opus 13 quartet play Images from the Floating World, a piece by Swedish composer Britta Byström inspired by Njál’s Saga, and Calidore Quartet perform Arietta, a work by Mark-Anthony Turnage inspired by Beethoven's late piano sonatas.

Other music includes Llŷr Williams performing Schumann’s Kreisleriana, the Tallis Scholars in all three Byrd masses, and the festival ends with the Scottish Chamber Orchestra and Maxim Emelyanchev in Mozart, Haydn and Stravinsky including ‘No word from Tom’ (from The Rake’s Progress) with soprano Anna Dennis.

Other visitors to the festival include Kolektif Istanbul, a traditional Turkish wedding band, oud player Rihab Azar who is joined by Scottish fiddle player Donald Grant, Scottish/Egyptian music from the Ayoub sisters, and English Concert Winds in Mozart serenades.

Full details from the festival's website.

A mix of melodrama & sentiment, yet unashamedly enjoyable: Opera Holland Park open the season in terrific form with Puccini's La fanciulla del West

2026-05-27T10:34:35.812+01:00

Puccini: La fanciulla de West - José de Eça, Robert Hayward - Opera Holland Park, 2026 (Photo: Craig Fuller)

Puccini: La fanciulla del West; Amanda Echalaz, José de Eça, Robert Hayward, Zwakele Tshabalala, Alaric Green, Aidan Edwards, Blaise Malaba, director: Martin Lloyd Evans, City of London Sinfonia, conductor: Matthew Kofi Waldren; Opera Holland Park
Reviewed 26 May 2026

With two leads who soar and vivid sense of ensemble, Opera Holland Park launches its 30th season with a production that should win plenty of hearts and minds for Puccini's surprisingly sophisticated Wild West opera

Puccini's 1910 opera La fanciulla del West premiered at the Met in New York to great acclaim but failed to make a regular place for itself in the opera house. When the Met mounted a new production in 1961 it was the first time the company had performed the work in 30 years. Covent Garden's 1977 production, originally intended for the 1976 American Centennial celebrations, featured Carol Neblett and Placido Domingo and the production's subsequent filming made its very influential. This production was a regular at Covent Garden until 2008. Since then both Opera North and English National Opera have produced the work (both in 2014). Opera North revived their production in 2021, but the work has never returned to the London Coliseum alas.

Opera Holland Park had productions in 2004 and 2014, with Grange Park Opera producing it in 2008 and 2016 [see my review]. When I attended Opera Holland Park's 2014 performance I commented on how many people had not seen the opera before, and the situation has hardly changed.

It remains a challenging work to produce because the basic premise is so specific, yet somewhat resistant to naturalism. When Richard Jones directed it for English National Opera in 2014 [see my review] he talked about not tinkering with the opera's complex mechanism. It is not a piece that responds well to creative dissonance, so the 1950s Las Vegas casino setting for Stephen Barlow's production at Opera Holland Park 2014 was less successful [see my review].

Puccini: La fanciulla de West - Amanda Echalaz, José de Eça - Opera Holland Park, 2026 (Photo: Craig Fuller)

Yet the opera has oddities which mitigate against complete naturalism. The work opens with the men rushing into the Polka saloon, the language is Italian, yet there are odd awkward English phrases and the card game that the men are playing is Faro! It requires you to surrender to this world. For all their rough exterior, these characters have a strong vein of sentimentality and early on in Act One, Jake Wallace's aria keys into this as well as providing the source material and connective tissue for a lot of the opera.

Watching Opera Holland Park's new production where director Martin Lloyd-Evans and designer Anna Reid have chosen to set the work in 1849 as intended, I was struck by how much Puccini and his librettists, Guelfo Civinini and Carlo Zangarini, prefigure that combination of the projection of robust manhood with melodrama and sentimentality that characterises many of the mid-20th Westerns from Hollywood. And the ending with Minnie and Dick walking off into the distance is pure Hollywood too. Except, of course, Puccini and his librettists took this from Belasco's original play where the stage pictures conjured much. [Incidentally there is a 1938 film based on Belasco's play with songs by Sigmund Romberg!]

Opera Holland Park opened its 2026 season with Puccini's La fanciulla del West on Tuesday 26 May 2026 directed by Martin Lloyd-Evans and conducted by Matthew Kofi Waldren with City of London Sinfonia in the pit. Designs were by Anna Reid, lighting by Jamie Platt, choreography by Roisin Whelan. Amanda Echalaz was Minnie, Robert Hayward was Jack Rance, José de Eça was Dick Johnson, Zwakele Tshabalala was Nick, Alaric Green was Ashby, Aidan Edwards was Sonora. Freddie Tong and Kezia Bienek were Billy Jackrabbit and Wowkle, Blaise Malaba was Jake Wallace, Ronald Nairne was Jose Castro.

Puccini: La fanciulla de West - Opera Holland Park, 2026 (Photo: Craig Fuller)

The seven other named miners were played by members of the Opera Holland Park Chorus - Jamie Formoy, Joe Ashmore, Michael Temporal Darell, Dominick Felix, Hugh Beckwith, Matthew Duncan, Samuel Snowden - whilst another chorus member, Robert Jenkins play the Pony Express rider.

The production made admirable use of the whole Opera Holland Park stage whilst Anna Reid's sets had an admirable stripped back quality to them. The backdrop was simple wood, hung with adverts in Act One, and the bar inhabited the fore-stage (so that the 24-strong chorus were crammed in). Minnie' cabin was exactly that, sitting at the centre of the main stage. Then for the scene change to Act Three, a white sheet was thrown over the cabin and the action moved to the fore-stage until the hanging when the outer wall of Minnie's cabin was recycled for the hanging. A rather imaginative move.

The staging leaned into the work's theatricality. Yes, the miners all looked shabby and careworn with slightly theatrical 'dirt' on their faces but José de Eça's dapper Dick Johnson was band-box trim and fresh, clearly wherever he had been hiding had good bathing facilities. And the group scenes in Act One had moments where the action froze giving one person the focus.

Amanda Echalaz made a captivating and commanding Minnie, creating a believable yet charismatic character. This was a woman who was definitely capable of wielding a gun, yet had an innate belief in the Bible too. There was a touching unworldliness allied to the way she managed the unruly miners. Echalaz gave her a slightly edgy quality, you sensed that underneath the striking exterior something worked away. And there were times when she reminded me more of Eileen Atkins than the gun-toting heroine of a Western. Yet Echalaz has the spinto edge to make the role work. It is a big, tiring role yet her duet with de Eça at the very end as the two walk off into the sunset was glorious. The voice does have something of an edge to it, and impassioned climaxes could be somewhat strident but this rarely felt out of character and Echalaz made Minnie's more intimate moments rather touching.

It helped that in José de Eça you had a leading man who had the right combination of swagger and charm. De Eça made a youthful Dick Johnson, still believably passionate. Yet there was a thrilling edge to his voice, so that he captured the sound quality of this character. Neither Minnie nor Dick Johnson have excerptable arias as such, instead they need to be able to soar over Puccini's richly inventive, busy and often loud score. De Eça did this magnificently, and captured our attention without ever seeming to scream 'famous tenor'. Dick Johnson is the least active of heroes, we see him charming Minnie at the end of Act One and in Act Two, but all his heroics take place off-stage. Here de Eça and Echalaz created a believable intimacy on the Opera Holland Park stage so that the swift progress of their relationship was believable and captivating.

Puccini: La fanciulla de West - Amanda Echalaz, Robert Hayward, José de Eça - Opera Holland Park, 2026 (Photo: Craig Fuller)

By contrast Robert Hayward's Jack Rance was older and world-weary, you felt his approach to Minnie was very much the last throw of the dice. Hayward brought a slightly raddled quality to the character, wary and weary. He was the first on stage at the very beginning but by Act Three he was deep in a bottle. Yet when roused, Hayward made this Jack Rance a thing of fury. You believed his rough wooing of Minnie in Act One and understood that in the absence of Dick Johnson, Minnie might have settled for him. Their card game in Act Two was a thing of wonder with both Hayward and Echalaz bringing out the characters' fury and desperation, and Minnie's cheating was a gloriously hammy moment.

The challenge of the opera, and perhaps one of the reasons for its absence from regular performance, is the reliance on a raft of smaller roles, some effectively cameos. There are 18 named roles and all are important.

Zwakele Tschabalala made a sparky Nick. This is a role I very much associate with Francis Egerton who was Nick in Piero Faggioni's production at Covent Garden in 1977 and still behind the same bar in 2005! Tschabalala did not perhaps make Nick quite as central to the opera as he can be, but Tschabalala brought an engagingly youthful element to the role. Aidan Edwards made an imposing Sonora. He was very much the linchpin of the miners, and essential to the manoeuvres in Act Three. Edwards had the physical presence and swagger for the role yet also made Sonora one of the boys. Alaric Green's Ashby the Wells Fargo agent had a rather rubicund quality to him, making the character less forbidding than some. Jake Wallace is a tiny role, a minstrel who sings then disappears. Yet Wallace's aria of longing 'Che faranno i vecchi miei' is one of the opera's most excerptable moments and provides material for much of the rest of the piece's connective tissue. The remaining miners, seven named roles, were all well taken, each making the most of their moment yet remaining part of the whole.

Kezia Bienek and Freddie Tong made strong cameos as Minnie's servants. These are presumed Native Americans, but wisely the production played this down. Both came over as fierce and angry. Ronald Nairne was the captured bandit and Robert Jenkins the Pony Express Rider.

The chorus plays a big role in Acts One and Three, creating a character in its own right. The Opera Holland Park Chorus (chorus master Dominic Ellis-Peckham) was on terrific form. You sensed the amount of detailed work that had gone into the staging, this is the chorus as a group of characters rather than a monolithic block. The moment in Act One, when the chorus takes up Jake Wallace's aria was moving indeed as was their Act Three reprise of this material bidding farewell to Minnie. Such moments have to be embraced, they are part of the vein of sentimentality running through the piece. There as no irony here, just gorgeous choral tone.

Puccini writes for a substantial orchestra (triple woodwind and plenty of brass). Here City of London Sinfonia played a reduced orchestration which used double woodwind and brass with four percussion and timpani, harp, guitar and celeste. In Matthew Kofi Waldren's hands the results were vivid and impassioned. He brought out the rich detail of Puccini's score allied to a lovely flexibility of phrasing. As in much of Puccini, the use of thematic material told us what to think and in many places the orchestral playing created mini-tone poems. Never once did you feel the lack of the full orchestration and whilst Waldren ensured that the orchestra was a dominant partner in proceedings they never overwhelmed.

Puccini: La fanciulla de West - José de Eça, Amanda Echalaz - Opera Holland Park, 2026 (Photo: Craig Fuller)

This was one of those performances that drew you in and had you hooked. Martin Lloyd Evans, Matthew Kofi Waldren and their cast all believed in the opera and gave it to us, with its mix of melodrama and sentiment in a way that was unashamedly spellbinding yet also paid homage to the way Puccini was deliberately setting out on pastures new in the opera.

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The blog is free, but I'd be delighted if you were to show your appreciation by buying me a coffee.

Elsewhere on this blog

Memorable concerts in this year’s Norfolk & Norwich Festival with Britten Sinfonia & Norwich Philharmonic Orchestra & Chorus - concert review
Capella Edina: how Luis Schmidt, a young conductor from Munich, came to found Edinburgh's first professional philharmonic orchestra in almost ninety years - interview
Each song a story to be told: James Newby & Malcolm Martineau's Shipping Forecast at SongEasel in Elephant & Castle - concert review
Every detail mattered: Basel Chamber Orchestra & Vilde Frang in Bach, Mendelssohn & Grieg at Wigmore Hall - concert review
Richness & imagination: the all-male ensemble De Profundis continues its exploration of Morales with two masses based on L’homme armé - CD review
Unashamedly romantic: the music of the remarkably youthful Christopher Churcher on Resonus Classics - record review
Rising to the challenge: Britten's The Rape of Lucretia from Royal Academy Opera directed by Paul Carr & conducted by Lada Valesova - opera review
A mix of everything: The Celtic Tenors' eclectic repertoire with harmony-driven music sung by classically trained voices - interview
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Thomas Adès as Principal Guest Conductor, Sir James MacMillan as Featured Composer: The Hallé Orchestra & Kahchun Wong's 2026/27 season

2026-05-26T11:47:37.230+01:00

The Hallé Orchestra's 2026/27 season has a striking focus on contemporary music as well as celebrating both Kahchun Wong's third season as Principal Conductor & Artistic Advisor and Conductor Emeritus Sir Mark Elder's 80th birthday.

Composer and conductor Thomas Adès has had a relationship with the Orchestra for some thirty years. From 1993-1999, he was the orchestra’s Composer-in-Association then in 1996, his piece These Premises Are Alarmed was commissioned and premiered by the Hallé for the opening of The Bridgewater Hall, Manchester’s concert hall and home of the orchestra. In July 2025 the Hallé’s own label released an acclaimed recording of Adès conducting his Aquifer and Dawn, alongside works by Oliver Leith and William Marsey. Building on this he has been announced as Principal Guest Conductor. He will three concerts, which he has curated including his own works including Asyla, ...but all shall be well, Concerto for Piano and Orchestra (with Kirill Gerstein) alongside premieres by Gabriella Smith and Francisco Coll and music by Stravinsky, Elgar, Berg, Chabrier and Gerald Barry.

Sir James MacMillan becomes the Hallé’s Featured Composer with the world premiere of his Symphony No.6 opening the Orchestra's season conducted by Kahchun Wong alongside Beethoven's Piano Concerto No. 5 with Sir Stephen Hough. Other MacMillan works include ;Timotheus, Bacchus & Cecilia, his Christmas Oratorio will be conducted by Sir Mark Elder, and his Seven Last Words from the Cross with the BBC Singers will feature at a new Easter Festival alongside Bach’s St John Passion with the Hallé Choir conducted by Laurence Cummings. Larghetto for Orchestra is performed by the Hallé Youth Orchestra playing Side-by-side with the Orchestra.

Featured Artist violinist Leila Josefowicz will perform Thomas Adès’ Violin Concerto ‘Concentric Paths' and Ligeti’s Concerto for Violin and Orchestra. Jonny Greenwood, another Featured Artist, presents his immersive work, 606 Years of Reverb at Manchester Cathedral and a film screening of There Will Be Blood with the Hallé Orchestra in which he will perform the Ondes Martenot.

Other new music in the season includes works by Ravel orchestrated by Composer Emeritus Colin Matthews, Steve Reich orchestrated by Anna Clyne, John Casken, Priaulx Rainier and Joan Tower.

One novelty will be a rare performance of Offenbach's operetta Barkouf conducted by Paul Daniel and being presented in association with Opera Rara who are recording the work.

The winner of the 2026 Siemens Hallé International Conductors Competition, Aku Sorensen, begins his role as the Hallé’s Assistant Conductor and Music Director of the Hallé Youth Orchestra. The 2026 winner of the Terence Judd-Hallé Award, Lukas Sternath, performs Beethoven’s Piano Concerto No.3 with the Hallé and as part of the chamber series at Hallé St Peter’s.

Full details from the Orchestra's website.

A shared encounter between contemporary music & art: Alex Mills's debut album Look How Brightly has a physical manifestation as an exhibition

2026-05-26T10:27:03.925+01:00

Susan Rocklin: Realm - featured in Look How Brightly at Apsara Studio

Composer Alex Mills's Look How Brightly is his debut album on Delphian, presenting a body of work shaped over a decade, bringing together ten of his most personal and uncompromising pieces performed by CHROMA and contralto Jess Dandy. But it isn't just an album.

From 4 to 20 June, Alex Mills has co-curated a linking exhibition Look How Brightly. Described as 'shared encounter between contemporary music and art' the exhibition is co-curated by Jenn Ellis and is being presented by Aspara Studio in London.

Look How Brightly reimagines the album launch as a site of encounter, contemplation, and intimate exchange between contemporary music and art. The exhibition brings together work by 22 international artists that unpack the emotional and conceptual world of Mills’ album.

Central to Mills’s body of work is a preoccupation with unison and fragmentation: musical lines that move together, unravel, fall apart, transform, and reintegrate. Drawing on influences as diverse as the Tibetan Book of the Dead, trauma studies, psychological theories, and grieving rituals, Mills likens these musical processes to the cyclical and bittersweet nature of human experience — how we continually break down, transform, and regather ourselves as we negotiate the many different parts of who we are.

In the exhibition, artworks form a “visual orchestra”, each artist contributing a distinct expression to a larger emotional whole. Throughout the space, a balance of paintings and sculpture explore themes ranging from embodiment, grief, and transformation to time, memory and the natural world, tracing the fragile balance between fragmentation and reintegration, control and surrender, presence and disappearance. These works are held together by the music from Mills’s album as it permeates the space — itself fragmented, reimagined, and further “worked through” in a special presentation created uniquely for the exhibition and heard with vivid clarity on equipment supplied by legendary hi-fi specialists, Audio Gold.

The exhibition is being held within Pink Floyd’s former Britannia Row recording studios and production warehouse in Islington.

Look How Brightly streaming details, on Delphian, exhibition at Apsara Studio.

A couple of memorable concerts in this year’s Norfolk & Norwich Festival were delivered by the Britten Sinfonia and Norwich Philharmonic Orchestra and Chorus.

2026-05-26T08:47:26.570+01:00

Britten: Les Illuminations - Elizabeth Watts & Britten Sinfonia at Kings Place, London (Photo: Shoël Stadlen)

Britten: Young Apollo, Bowles: Six Piano Preludes, Copland: Clarinet Concerto, Britten: Les Illuminations, Copland: Appalachian Spring; Oleg Shebeta-Dragan (clarinet), Elizabeth Watts (soprano); Britten Sinfonia, led from the violin by Zoë Beyers; St Andrew’s Hall, Norwich.
Walton: Henry V: A Shakespeare’s Scenario, Belshazzar’s Feast; Norwich Philharmonic Orchestra and Chorus, cond: Matthew Andrews, Ashley Grote; Roderick Williams (baritone), Alex Jennings (voice); St Andrew’s Hall, Norwich
Kaija Saariaho: Terra Memoria, Vaughan Williams, Barber, Webern, Mahler; Kleio String Quartet, Berniya Hamie, Andrew Hamilton; Octagon Chapel
Reviewed by Tony Cooper (11, 12, 20 & 23 May 2026)

At this year's Norfolk & Norwich Festival, the Britten Sinfonia concert focused on Britten in America while the Norwich Philharmonic saluted William Walton in all his glory, whilst the young Kleio String Quartet made a big impression in their concerts

Feeling disillusioned with Europe, Benjamin Britten spent a formative and productive period in North America from 1939 to 1942 with Peter Pears where he composed such major works as the song-cycle Les Illuminations, his first opera Paul Bunyan and Sinfonia da Requiem.

Thankfully, Britten’s time in America proved personally and professionally worthwhile paving the way for such grand and exciting works as his Suffolk-based opera, Peter Grimes. And when Britten made the dangerous sea journey back to England in the spring of 1942, he was officially registered as a ‘conscientious objector’.

One of the first works he wrote on arriving in America was Young Apollo based on the final lines of John Keats’ poem Hyperion showing the image of Apollo as a ‘new, dazzling Sun-god, quivering with radiant vitality’. A delightful ten-minute piece and one of the few works Britten wrote for piano and orchestra, the commission came from the Canadian Broadcasting Corporation.

Receiving its first performance in August 1939 on CBC Radio with Britten as the solo pianist, the work’s characterized by a scintillating opening fanfare followed by a host of rapid and cascading glissando passages cutting through the sweeping, heroic textures of the strings comfortably played with flourish, flair and everything else by the renowned pianist, Huw Watkins, who often collaborates with the Britten Sinfonia.

Ashley Grote rehearsing the Norwich Philharmonic Chorus and Orchestra in Walton's Belshazzar's Feast at St Andrew's Hall, Norwich for Norfolk & Norwich Festival

I felt it appropriate, too, that Copland shared the stage with Britten in this remarkable and well-curated programme as both men enjoyed a close personal and professional relationship. Copland acted as a mentor and friend to Britten assisting him in navigating the American musical scene while introducing him to influential people.

Therefore, if Young Apollo comes over as a radiant and inspiring piece of writing so does Copland’s Clarinet Concerto, a 17-minute piece commissioned by the legendary jazz clarinettist, Benny Goodman, completed in 1948.

The concerto’s renowned for blending lyrical and nostalgic melodies with a fast-paced jazz-influenced and Latin-tinged second movement featuring a daring and showy solo cadenza in which Ukrainian-born clarinettist and BBC Radio 3 New Generation Artist, Oleg Shebeta-Dragan, took all in his stride playing so magnificently.

Harbouring a tireless unyielding ability, Mr Shebeta-Dragan executed the highly demanding passages of the work with flawless precision not only punctuating the clarinet’s technical flexibility but also his technical ability, too, which is second to none. After a thrilling performance, he treated the audience to an encore, a solo piece, in which he employed the full range of the clarinet ending with a low raucous bluesy growl that gently vibrated round the cloistered surrounds of St Andrew’s Hall.

And in Britten’s song-cycle Les Illuminations, a vivid and intense piece of writing of ten surreal dream-like poems and prose passages penned by French-born Symbolist poet, Arthur Rimbaud, the work creates a dramatic, evocative scenario exploring passion, beauty and so much more.

Marked by a series of energetic and highly contrasting movements, Les Illuminations opens in grand fashion with ‘Fanfare’ acting as a bold structural prologue bursting with energy in a bright martial-type rhythm that weaves in and out of the entire work while the vocal line mimics a ceremonial bugle call summing up the brilliance and the ‘vaudeville’ side that characterizes so much of Rimbaud’s glorious writing.

Following such a wonderful opening with ‘Fanfare’, whose musical theme returns later in the work, divides the movements and appears three times throughout the work including the dramatic conclusion to the entire cycle. A rewarding performance all round especially in relation to the pizzicato cello and viola accompaniment found in ‘Villes’ and ‘Antique’, a couple of distinct prose poems showcasing Rimbaud’s radical approach to imagery and myth.

Originally written for Swiss soprano, Sophie Wyss - a favourite singer of Britten and the work’s dedicatee - Les Illuminations premièred on 30 January 1940 at London’s Aeolian Hall with the Boyd Neel Orchestra conducted by Boyd Neel. Ms Wyss was also the soloist in Our Hunting Fathers which received its world premiere on 25 September 1936 at St Andrew’s Hall as part of the 34th Norfolk & Norwich Triennial Festival, the commissioning body.

However, this performance for 2026 N&N Festival was graced and so well presented by Elizabeth Watts, a soprano whose clear articulate voice, heard over frantic and intense string playing, perfectly fitted this outstanding work.

Ms Watts became totally wrapped up in Britten’s deep and rich textural writing while the brilliant players of Britten Sinfonia were gathered round her in standing position which all added to an attractive stage presentation highlighting the intimacy of the work in which the large audience took to their hearts offering a resounding and elongated applause.

Graciously, Ms Watts, a Norwich-born girl and former chorister at Norwich Cathedral, offered a jewel of an encore with her brand-new arrangement of the lovely haunting ballad Scarborough Fair - Nellie Melba’s Home Sweet Home could well be next on her ‘little list’ of encores!

Copland: Clarinet Concerto - Oleg Shebeta-Dragan & Britten Sinfonia at Kings Place, London (Photo: Shoël Stadlen)

This enlightened programme ended with a wonderful and fulfilling performance of the renowned ballet/orchestral suite Appalachian Spring written by Copland in 1944 for famed American choreographer, Martha Graham.

Celebrated for the American pioneering spirit of the 19th century, Appalachian Spring - conjuring up the Shaker ideals of humility, contentment and the beauty of a simple but rewarding life - depicts a spring celebration for a new farmstead of a young couple: a pioneering woman and a revivalist. Performed on this occasion by the strings of Britten Sinfonia featuring pianist Huw Watkins and Britten Sinfonia’s sub-principal flautist, Sarah O’Flynn (another excellent Norwich-born musician) who made such a big contribution to the work overall.

Sandwiched somewhere between this lot, Huw Watkins took to the stage to play Six Piano Preludes composed in 1938 by American composer Paul Bowles, a student of Aaron Copland, who became best known as a writer by his novel The Sheltering Sky. However, the preludes (six in all) blend classical forms with a hint of jazz and blues thus making this rather short atmospheric and rhythmic piece a nice inclusion in the programme.

For their sell-out concert in St Andrew’s Hall, the Norwich Philharmonic Orchestra and Chorus, jointly conducted by Matthew Andrews and Ashley Grote, pulled no punches offering a splendid Walton double-bill comprising Henry V: A Shakespeare Scenario and Belshazzar’s Feast.

Created by Christopher Palmer, Henry V adapts music from Walton’s richly textured score for Laurence Olivier’s patriotic 1944 film of the same name into a performance piece for narrator, full orchestra and chorus.

For some reason or other, my thoughts churned round the timescales of Henry V: Agincourt was 1415, Shakespeare’s play 1599 and Walton’s score having an outing in Norwich in 2026 thereby reflecting that culture really does span centuries thus reminding one of shared histories and experiences.

Laurence Olivier in Henry V

Divided into six distinct symphonic movements - At the Boar’s Head, Embarkation, Harfleur, The Night Watch, Agincourt, At the French Court - with a prologue and epilogue, the work traces the narrative of Henry V from his preparation for combat with the French to his miraculous victory at Agincourt.

For sure a showpiece of music and drama, the Norwich Philharmonic Orchestra and Chorus under Matthew Andrews pulled out all stops delivering a thrilling account of Walton’s score while the distinguished English actor, Alex Jennings - highly acclaimed for his work with the Royal Shakespeare Company and the National Theatre - delivered a clear and charismatic performance greatly enhancing the drama of the music particularly the pivotal scene when the British forces captures Harfleur culminating in one of the Bard’s most famous and rousing rallying calls ‘Once more unto the breach, dear friends’ heard against Walton’s tense and strongly propelled orchestration proved a proud (and patriotic) moment all round finding great favour with the audience on high alert!

In stark contrast, the nostalgic, sombre interlude at the Boar’s Head found the Norwich Phil engaged in some fine and detailed playing of the ‘Passacaglia’ bubbling in nostalgia in a scene remembering the late and roguish Sir John Falstaff who, incidentally, was born in Norfolk at Caister Castle near Great Yarmouth, and King Henry V’s rowdy youth - in which Henry morphs from Prince Hal to being a responsible monarch.

Sir Thomas Erpingham was a Norfolk boy, too, born in the village of Erpingham near Aylsham (c.1357). His family held lands in the county going back to Norman times. He played an incredibly important role at Agincourt when approaching the age of 60 by being placed in command of Henry V’s archers who made up most of the English army. According to French chroniclers, when the armies were in position, Erpingham gave the order to advance by throwing his staff into the air shouting ‘Now strike!’

Erpingham features in Shakespeare’s play in the moving and quiet scene on the eve of the battle of Agincourt when Henry V asks Sir Thomas for the loan of his cloak and, therefore, in disguise walks the camp to mingle with his warriors, check their morale and secretly gauge their thoughts on the upcoming battle.

When Erpingham returned to Norfolk, he became a massive benefactor to the city of Norwich and in 1420 funded the construction of the beautiful ornate gatehouse that stands at the main entrance to Norwich Cathedral where a kneeling statue of him can still be seen above the arch.

However, the thrilling symphonic climax capturing the chaos of the famous 1415 battle witnessed the Phil’s seasoned and dedicated team of percussionists rolling up their sleeves getting stuck in and fully immersing themselves wholeheartedly into the show recreating the sound of clashing swords and the thunder of cavalry with driving, dissonant rhythms adding to the overall effect and excitement of the work highlighting that Walton’s Henry V is a ‘showstopper’ per se and a fit-and-proper work for a special festival event such as the N&N Festival which has choral music running through its veins since the founding of the old Norfolk & Norwich Triennial Festival in 1824.

Members of the audience were simply buzzing at the interval with sheer excitement while gearing themselves up for Walton’s dramatic and grand choral cantata Belshazzar’s Feast which, incidentally, received its world première on 8 October 1931 at Leeds Town Hall as part of the Leeds Triennial Festival featuring the London Symphony Orchestra, the Leeds Festival Chorus and baritone soloist Dennis Noble conducted by Malcolm Sargent.

From an historical perspective, Norwich Triennial shared their festival on a rotating basis with the cities of Leeds and Birmingham just as the Three Choirs Festival (the oldest choral/classical music festival of its kind) does to this very day rotating between the English cathedral cities of Hereford, Gloucester and Worcester.

For sure, a thrilling piece of writing, Belshazzar’s Feast features an extremely large chorus and orchestra together with a massive percussion section (Walton was a noisy bugger well known for his visceral rhythmic drive and explosive brassy climaxes) and for this N&N Festival concert they all came under the safe and disciplined control of the Master of Music of Norwich Cathedral, Ashley Grote, who presided over an exciting account of Walton’s marvellous and acclaimed work that hit the mark in more ways than one offering the Norwich Philharmonic Chorus - specially expanded for the occasion with guest singers from other local choirs - numbering a staggering 120 voices, a ‘Big Shout’ like no other. They did the work immensely proud.

The work’s theatricality and jazz-infused rhythms made their mark, too, so did Roderick Williams - who was artist-in-residence at the 2023 Aldeburgh Festival - in the pivotal role of Belshazzar, the doomed ruler whose reign was marked by self-indulgence, unteachable pride and a failure to recognize divine sovereignty. In the end he’s brought down by extreme arrogance and blasphemy. He should have gone to Specsavers to read more closely the writing on the wall!

Taking all things into account, the musical forces gathered tightly together on St Andrew’s Hall stage duly created a very big and exciting soundscape clearly balancing overwhelming vocal weight with instrumental grandeur to the delight of a packed and enthusiastic house witnessing the final choral concert of the 2026 N&N Festival which triggered off a wild round of rock-stadium applause.

The packed house was going barmy in appreciation by the rich and fulfilling music that they had just heard. And putting the icing on the cake, I overheard an old Norfolk boy making the comment that ‘the chorus sung their socks off’. They certainly did!

Under the artistic direction of Daniel Brine, who has been at the helm of the N&N Festival since 2018 steering it to grand and surprising adventures. I wonder what’s in store for next year? Hopefully, another great choral piece. Keep it going, I say!

Kleio String Quartet

Earlier in the festival, I came across BBC Radio 3 New Generation Artists, Kleio String Quartet - Yume Fujise/Katherine Yoon (violins), Jaren Ziegler (viola), Gerard Flotats (cello) - for the first time at the Octagon Chapel. I was immediately taken by the accuracy and mastery of their playing especially in Helsinki-born composer Kaija Saariaho’s 2006 work Terra Memoria, one of her most frequently performed pieces commissioned by Carnegie Hall for the Emerson String Quartet, the subject-matter focusing on the souls of the departed.

Thereby a musical reflection on memory, loss and the changing ways we remember people, the Kleio Quartet well and truly captured the mood of Saariaho’s deep and intense writing offering a fine and detailed performance that moved between intimate, conversational textures and lush, unified, orchestral-like moments.

Strong and intense playing witnessed members of this fine quartet bowing on the same pitch one moment while the tender passages of the work, played so delicately and flute-like, on the other conjured up mixed emotions ranging from happiness to sadness thereby stamping the credentials of a fine and interesting work by Saariaho who, incidentally, resided in Paris and died there in June 2023 aged 70 years.

I first heard Saariaho a couple of years ago while in Germany attending a concert by Deutsche Symphonie-Orchester at the Philharmonie Berlin and heard Ciel d’hiver (Winter sky) - a work forming part of a Finnish-based programme under Finnish-born conductor, Tarmo Peltokoski, currently music director of the Hong Kong Philharmonic Orchestra. Her exciting piece made a big contribution to the programme and, on the other hand, made a big impression on me.

The Kleio Quartet made a big impression on me, too. They stayed over for a second concert at the Octagon. What joy! What pleasure! Opening with Webern’s Langsamer Satz, a piece he found inspiration for by his innermost feelings for his future wife, Wilhelmine Mörtl.

Although Webern had planned to compose a full-scale string quartet, he only managed to complete one movement which was lost but rediscovered in the early 1960s by Hans and Rosaleen Moldenhauer when they stumbled across the manuscript in an attic in Perchtoldsdorf, a town lying in the vicinity of Vienna.

A richly-textured, late-romantic, emotionally-charged work, Langsamer Satz, conveying themes of yearning, turmoil and tranquillity, was beautifully and ravishingly played by the Kleio Quartet who brought out the sensitiveness and tenderness of the score punctuating the composer’s early but masterful contrapuntal skills and his ability to convey a passionate love scenario tinged with a sense of melancholy in what I can only describe as an abstract musical landscape.

Joining the quartet for the second item of what was a superbly curated programme witnessed baritone Andrew Hamilton delivering a tender and exacting reading of Samuel Barber’s Dover Beach, a setting of the poignant 1867 Victorian poem written by a youthful Matthew Arnold composed by Barber in 1931 while a student at the Curtis Institute of Music.

The music reflects the poem’s melancholic reflection on a world without faith, shifting between peaceful imagery of the sea in contrast to the darker and tense harmonies representing human misery and lost security.

The programme was further enriched by Brighton-born pianist, Berniya Hamie, joining members of the Kleio Quartet in a performance of Mahler’s Movement for Piano Quartet in A minor, the composer’s only surviving chamber work written around 1876 when he was a student at the Vienna Conservatoire. A passionate, single-movement work of 15 minutes featuring a host of dramatic, romantic themes, rich harmonic textures and a strong piano part was played with panache by Ms Hamie.

To round of this brilliant concert, the Kleio Quartet, pianist Berniya Hamie and baritone Andrew Hamilton came together delivering a lovely and inviting reading of Vaughan Williams’ Five Mystical Songs originally written for soloist, choir and orchestra but performed on this occasion in its chamber version.

A dramatic piece of storytelling of the highest order, the text explores Christian mystical themes particularly in relation to the Trinity and the Resurrection penned by the 17th-century Welsh poet and Anglican priest, George Herbert.

An exceptional work with an exceptional singer. What more can one say. Andrew Hamilton was immaculate, his diction paramount, his performance impeccable and so well-controlled thus making his interpretation of RVW’s Five Mystical Songs (premièred at the 1911 Three Choirs Festival in Worcester with the composer conducting) so enjoyable to hear in the intimate surroundings of the lovely 18th-century Octagon Chapel.

Although an atheist at the time of writing, Vaughan Williams was comfortable in setting verse of an overly religious nature and Five Mystical Songs moved from personal reflection in all the songs except the last ‘Let all the world in every corner sing’ which is so well known encouraging universal praise to God from both heaven and earth. The other settings comprise Easter (‘Rise heart; thy Lord is risen’), ‘I Got Me Flowers’, ‘Love Bade Me Welcome’ and The Call (‘Come, my way, my truth, my life).

And when you think it’s all over, it isn’t. I managed to take in a fantastic show by the National Youth Jazz Orchestra at Epic Studios as part of the Norwich Jazz Festival, curated by Norwich Arts Centre, in association with the N&N Festival.

Performing a South African-themed programme, NYJO highlighted the legacy of the legendary South African pianist Abdullah Ibrahim and the sounds of South African township jazz in a project developed by long-time Ibrahim collaborator, Pete Letanka.

A brilliant show all round delivered by a brilliant bunch of ‘young bloods’ exploring the unique blend of traditional African rhythms, gospel harmonies and big-band energy that served as an anthem of resilience, unity and liberation during the anti-apartheid movement.

Playing to an admiring audience about 500 strong, NYJO ended their show with a tribute to New Orleans delivering a raw and earthy ‘marching’ number that had the audience on their feet stamping and shouting for more. And that’s what they got, another great number (but softer in tone) that sent them packing after enjoying a glorious and entertaining night of township jazz tinged with big-band swing.

There was such good stuff in this festival and if there was a ‘man-of-the-match’ in musical parlance, the concert by the Kleio Quartet, Berniya Hamie and Andrew Hamilton (all BBC Radio 3 New Generation Artists) would get my vote. Bravo!

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Elsewhere on this blog

Capella Edina: how Luis Schmidt, a young conductor from Munich, came to found Edinburgh's first professional philharmonic orchestra in almost ninety years - interview
Each song a story to be told: James Newby & Malcolm Martineau's Shipping Forecast at SongEasel in Elephant & Castle - concert review
Every detail mattered: Basel Chamber Orchestra & Vilde Frang in Bach, Mendelssohn & Grieg at Wigmore Hall - concert review
Richness & imagination: the all-male ensemble De Profundis continues its exploration of Morales with two masses based on L’homme armé - CD review
Unashamedly romantic: the music of the remarkably youthful Christopher Churcher on Resonus Classics - record review
Rising to the challenge: Britten's The Rape of Lucretia from Royal Academy Opera directed by Paul Carr & conducted by Lada Valesova - opera review
A mix of everything: The Celtic Tenors' eclectic repertoire with harmony-driven music sung by classically trained voices - interview
Sheer joy & plenty of welly: the marimbas of The Wave Quartet join the Academy of Ancient Music for Bach concertos & more - concert review
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From the Caribbean to Brazil with a bit of New Orleans on the way... Brixton Chamber Orchestra's Streetband Parade 2026

2026-05-25T10:46:10.284+01:00

Brixton Chamber Orchestra took to the streets yesterday (Sunday 24 May 2026) for their Streetband Parade. The band consisted of brass (including, of course, a Sousaphone) and woodwind, along with electric guitar and drums. We all met on Rush Common at the foot of Brixton Hill then made our way by a circuitous route uphill to Holmewood Gardens where there was an impromptu picnic and concert.

Preparing to set off from Rush Common

The music was described as "From the Caribbean to Brazil with a bit of New Orleans on the way...". And of course, being Brixton there was rap too (a young man had the unenviable task of pedalling a cargo bike uphill bearing amp, power source and such).

And a steel band. They formed a separate 'parade' and spelled the streetband, with the two playing together at the end.

Holmewood Gardens

The weather was kind, the music fun. People watched from their houses, joined the parade and had a great time.

The whole thing was free, but Brixton Chamber Orchestra can only function with our support, so please be generous. And you can keep an eye on what's coming next via the website.

Leeds is alive with the Sound of Music

2026-05-24T10:00:18.569+01:00

Opera North is at it again, serenading unsuspecting Leeds shoppers with music from their shows. Last year it was Anna Dennis singing the Queen of the Night in Trinity Leeds shopping centre, and this year it is Katie Bird as Maria in The Sound of Music having her Julie Andrews moment not on a hill but on the balcony of the Queens Hotel. The clip above fades out before the end, so it looks as if you'll have to go along to Leeds Grand Theatre for the complete thing.

The performance also marked a special week too, celebrating the 65th anniversary of The Sound of Music first arriving on London's West End. On 18 May 1961, the musical premiered at the Palace Theatre and subsequently ran for 2,385 performances.

The original Broadway production had featured Mary Martin, but in the West End, Maria was played by British actress Jean Bayless (who would later feature in Crossroads on TV) with Constance Shacklock as the Mother Abbess. Shacklock had shared the title role in Britten's Gloriana with Joan Cross in 1953, and in 1949 when Joan Hammond travelled to Russia, singing Tatiana in Tchaikovsky's Eugene Onegin, Shacklock played Olga.

Opera North presents Rogers & Hammerstein's The Sound of Music at Leeds Grand Theatre from 9 July to 1 August 2026. Oliver Rundell conducts, Nikolai Foster directs with a cast including Katie Bird, Edward Bennett and Katherine Broderick.

Full details from Opera North's website.

Capella Edina: how Luis Schmidt, a young conductor from Munich, came to found Edinburgh's first professional philharmonic orchestra in almost ninety years

2026-05-23T09:52:41.395+01:00

Luis Schmidt & Capella Edina (Photo: Euan Robertson)

Luis Schmidt, a conductor from Munich who has just turned 22, founded Capella Edina in Edinburgh in 2024, the city's first professional philharmonic orchestra in almost ninety years. For its second season in 2026, Capella Edina is presenting four concerts at venues from the Caird Hall in Dundee to the Usher Hall in Edinburgh. The second concert of their season, Spring is at the Usher Hall on 3 June when Luis Schmidt conducts Capella Edina in music by Vaughan Williams, Britten and Copland.

The orchestra and its location came about through a series of circumstances. Luis moved to Newcastle to study for his degree and was introduced to Edinburgh by a friend who was working there. On his first visit to the city, Luis fell in love with it. He also took on board his friend's comment that Edinburgh did not have its own professional orchestra. Also whilst studying in Newcastle Luis met the conductor Robert Ames through the Royal Northern Sinfonia. Amongst Ames's advice to a young conductor was the suggestion that he form his own orchestra, that way you learn who to do things. And Luis would also get the same advice from his teacher in Germany, Bruno Weil.

Luis felt that if he was going to found an orchestra he was going to do it properly and Edinburgh seemed the obvious choice. Not only did it not have a resident professional orchestra but Luis enjoyed the city a lot. There were discussions with the Musicians Union about pay and conditions, something that Luis thought important if the orchestra was to contribute to the local area. Also these conversations helped with the process of finding players.

The orchestra now has a core of players who do most of the concerts. And Luis enjoys the fact that he is meeing different people yet has something in common with them. All the players, he feels, take pleasure in sharing their joy with the audience. The orchestra is reliant on philanthropy and ticket sales for its income, with private support plus support from trusts and foundations. They do not receive anything from the council. Currently the orchestra is run by a small team, there are just three of them (with two of those part-time).

Luis comments that it would be nice to get to the stage where the orchestra was self-sufficient and that donations would elevate them. He would like to be able to afford to do semi-staged operas, and to do outreach work. But he feels that there is an advantage to being lean, and he points out that there is a lot of machinery behind many established orchestras. Orchestras are cost intensive and it is a challenge reducing costs without limiting the artists or artistic quality.

One of the focuses of the orchestra from Luis's point of view is the wish to make music more accessible.

Luis Schmidt & Capella Edina at the Usher Hall, Edinburgh

Luis is from a non-musical family from Munich. He learned the trumpet in secondary school partly because friends from primary school were musical and planned to join a wind band and he wanted to follow them. He admits that he didn't really practice but seeing the bands at the Trooping of Colour rather inspired him. Age fifteen he approached the British Army asking how he could join the band of the Household Division. Their response was that he would need to be over sixteen and to be British! But as a teenage trumpeter in the school orchestra he rather got bored and started watching the conductor.

One of his teachers was an oboe player who had played in the Mozarteum Orchestra. Luis confided in this man that he was interested in conducting and the man got in contact with the conductor Bruno Weil who was the former head of conducting at the Mozarteum. Weil responded and Luis went to meet him at his home in Augsburg. Luis found that first session an eye opening afternoon and he returned two weeks later. He continues going to see Weil, visiting him when Luis is in the area. Weil's teaching is very analysis focused and Luis thinks it is important to understand what you are working on. Luis comments that though Weil has so much experience, Luis feels that they are on the same wavelength and they agree on things. He adds that it is important to find a teacher that you agree with, that the most important thing is the music not showmanship.

Luis's school orchestra did a joint concert with the Munich Philharmonic and Luis also went to their young people's concerts. He found this a nice way of being introduced to classical music. Going to normal classical concerts makes him think that there should be a different way of engaging the audience. Having someone presenting, engaging with the audience is more interesting, with explanations of why the pieces are in the programme.

Whilst orchestras do not need to innovate overly, Luis thinks it important that they find a way of reflecting both the times and the needs of the audience. In some classical concerts there is too much the feeling of the orchestra playing at the audience ratehr than interacting. He points out that not many people actually read programme notes and he appreciates the way Aurora Orchestra interacts with the audience without ever feeling they are patronising them. For Capella Edina's concerts, Luis addresses the audience, explaining what makes the works special and why they are in the programme.

When he started the orchestra, his first question was how to found an orchestra? He admits to having Googled this, but received much useful advice from Robert Ames. He also decided that from the beinning the orchestra would be a charity which meant it needed three trustees. Through university in Newcastle he had met Chris Bruerton from the Kings Singers. They got on, and Luis liked the way the Kings Singers' programming mixed styles with everything themed. Works were presented as they are, but in surroundings that were different. Chris Bruerton became a trustee.

For the orchestra's first concert season (in 2025), each concert had a theme and Luis narrated. The programmes had a main classical work along with something more recent, and a mixture of repertore with the intention of catering to different tastes whilst at the same time helping to introduce people to something new. For their first concert in January 2025 at the Usher Hall in Edinburgh, the programme mixed Bruckner's Symphony No. 6 with John Williams's music from Star Wars and a commission from James Clay, a young Newcastle-based composer. Luis feels that Williams's music has influences from Bruckner. Also, the orchestra enjoyed the programme as did the audience which drew a mix of Bruckner lovers and young people interested in Star Wars. The success of the concert helped to kick-start the orchestra.

The Lord Provost of Edinburgh contacted the orchestra (rather aptly Edinburgh is twinned with Munich, Luis's home city) and they gave a concert in Jun 2025 celebrating 900 years of the City of Edinbugh. The concert had an audience of 1500 people in the Usher Hall with music on a Scottish theme including Bliss's Edinburgh Overture (written for the 1956 Edinburgh Festival), a lovely piece that is rarely performed. The tickets were free, and Luis enjoyed the way they got positive feedback from people who would not normally attend a classical concert.

He thinks that such events are important to bring people together, creating a nice moment when you sit in a concert hall, switch off from the outside world and be in the moment. For him, this is what music is for and he wants to share this with the audience. In September 2026 they are doing another free concert at the Usher Hall, again with a Scottish theme. A young Italian violinist, Andrea Cicalese is playing Bruch's Scottish Fantasia and there is music by Malcolm Arnold, James MacMillan, and Max Richter along with music from pipes and drums.

The orchestra has a mix of personnel with recent graduates from the Royal Conservatoire of Scotland, freelance players from other Scottish orchestras and teachers from the Guildhall School. Luis describes them as a lovely group of players, and meeting them at the orchestra's first concert helped him to crystallise what his vision is. He admits that in many ways it is a scratch band, but they work well together and are growing together. Also, the orchestra gives young people the same age him the chance to play in an orchestra.

When I chatted to Luis he was just back from Dundee where the orchestra had given a concert at Caird Hall jointly with the Band of His Majesty’s Royal Marines Scotland in support of the Royal Marines Charity. The Band does not normally do orchestral concerts and so wind and brass from the Band joined with strings from the Orchestra. Luis was accomodated at HMS Caledonia and held sectional rehearsals with the wind and brass from the Band. There were differences in playing style between the orchestral players and band members, with the latter getting to perform music they did not normally play. The feedback he got from both from band members and orchestral players was very positive and Luis points out that music is there for collaboration. He would be keen to do it again. There was a variety to the concert's programming as it included Beethoven's Wellington’s Victory along with a piece by French contemporary composer Camille Pépin.

Returning to the subject of free concerts, this is something that Luis had experience in Munich. He feels that they are a great idea, enabling them to make music accessible. But there is a need to maintain the highest artistic quality possible, something that is important to him and to the musicians. After all, they are all part of the same journey.

In November the orchestra is joining forces with indie artist Fink. Luis had come across the album that Fink recorded with the Concertgebouw Orchestra in 2014 and found the music well done and well crafted. Luis feels that with most pop artists, the music does not work particularly well with orchestra whereas Fink's style and music did. They approached Fink who was interested and the concert will include selections from his forthcoming 2026 album. Fink loved the idea of collaboration and there will be new arrangements with Luis making some. With Fink interested and engaged the idea is to create something musical out of the event. Alongside Fink there will be pieces by Camille Pépin and Michael Hoppé. Camille Pépin is a composer whose music Luis thinks remains accessible to the audience as she does not push things too far. Luis feels that with contemporary music if it is too 'out there' you close more doors than you open.

On 3 June 2026, the orchestra gives a concert on the theme of Spring which Luis says is a programme most special for him. The first half focuses on Vaughan Williams with the Fantasia on a Theme by Thomas Tallis and Oboe Concerto, and in the second half there is Britten's Suite on English Folk Tunes, op. 90 (“A Time There Was…”) and Copland's Appalachian Spring. The oboe soloist is Ralf Ebner who is that former teacher of Luis's who recommended him to Bruno Weil. The selection of RVW's oboe concerto came about because Luis asked Ebner what he wanted to play. Without him, Luis feels that he would not be conducting which makes the event a very special occasion. Luis and the orchestra are working towards a tour in 2028, taking a Scottish programme mixing Bruch and Mendelssohn to Germany and Switzerland.

Listening to Luis talking about the orchestra I was struck that he has had an enormous amount of luck, support and help. Founding orchestras is no easy task, nor is keeping them running. But Luis clearly has the drive, focus, energy and imagination needed, as well as the necessary personal charm and interesting ideas. And you think that if he can do this in his early 20s, what will he get up to next.

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The blog is free, but I'd be delighted if you were to show your appreciation by buying me a coffee.

Elsewhere on this blog

Each song a story to be told: James Newby & Malcolm Martineau's Shipping Forecast at SongEasel in Elephant & Castle - concert review
Every detail mattered: Basel Chamber Orchestra & Vilde Frang in Bach, Mendelssohn & Grieg at Wigmore Hall - concert review
Richness & imagination: the all-male ensemble De Profundis continues its exploration of Morales with two masses based on L’homme armé - CD review
Unashamedly romantic: the music of the remarkably youthful Christopher Churcher on Resonus Classics - record review
Rising to the challenge: Britten's The Rape of Lucretia from Royal Academy Opera directed by Paul Carr & conducted by Lada Valesova - opera review
A mix of everything: The Celtic Tenors' eclectic repertoire with harmony-driven music sung by classically trained voices - interview
Sheer joy & plenty of welly: the marimbas of The Wave Quartet join the Academy of Ancient Music for Bach concertos & more - concert review
Richness & austerity: Morales, Vivanco, Kerensa Briggs's & James MacMillan's settings of John Henry Newman in The Sixteen's Choral Pilgrimage - review
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Each song a story to be told: James Newby & Malcolm Martineau's Shipping Forecast at SongEasel in Elephant & Castle

2026-05-22T14:21:59.541+01:00

SongEasel at St Matthew's Church, Elephant & Castle
Jocelyn Freeman

The Shipping Forecast - Elgar: Sea Pictures, Chabrier, Duparc, Medtner, Rachmaninov, Bantock, Ireland, Tippett, Eric Coates, Ives, Kurt Weill, Charles Trenet; James Newby, Malcolm Martineau; SongEasel at St Matthew's Church, Elephant and Castle
Reviewed 21 May 2026

A sea theme gives us a feast of story-telling in music from James Newby and Malcolm Martineau with Elgar's Sea Pictures alongside Loewe ballads and a wide-ranging selection of songs

The Shipping Forecast continues to provide a remarkable source of musical inspiration for recitalists. In 2024, Nigel Foster's London Song Festival celebrated the centenary of the first Shipping Forecast to be broadcast on British radio [see my review], and now baritone James Newby and pianist Malcolm Martineau are celebrating with their own take on the subject.

They brought their Shipping Forecast programme to Jocelyn Freeman's Song Easel on Thursday 21 May at St Matthew's Church, Elephant and Castle. The programme featured three of Carl Loewe's ballads (this year is his 230th birthday) along with songs from Elgar's Sea Pictures, and songs by Chabrier, Duparc, Medtner, Rachmaninov, Bantock, Ireland, Eric Coates, Tippett, Cheryl Frances-Hoad, Ives, Kurt Weill and Charles Trenet.

The programme was divided into four parts, each one beginning with one of Elgar's Sea Pictures - Mysteries of the Deep, Invitation to Voyage, Exotic Isles and Desert Island Discs.

Mysteries of the Deep began with Sea Slumber Song from Elgar's Sea Pictures. Whilst Elgar premiered the work with in its orchestral guise with soloist Clara Butt, the first London performance (also with Butt) featured Elgar on the piano, so the piano version does have some currency. Newby and Martineau made it entirely believable as a song with the calm beauty of the opening drawing you in and leading to some compelling moments. We then moved on to Carl Loewe with Der gefangene Admiral, dramatic ballad about an admiral imprisoned far from the sea. In the five verses Loewe really varies the mood, and Newby gave us some strong story telling using the words and colour in the voice along with more histrionic elements. He is a vivid storyteller, using his whole body, and throughout the evening I was struck by his ability to draw us into the world of the song. Each song a story to be told.

Medtner's Meerestille from 1907 sets text by Goethe (in German) about an eerie calm sea, with Medtner's gorgeous, complex harmonies creating a distinct atmosphere around Newby's hypnotic voice. Granville Bantock's Song to the Seals is one of his Songs of the Western Isles. This was folksong as art song, engagingly performed. Each verse ended with which seemed like melisma, or perhaps a rendering of the original Gaelic. Cheryl Frances-Hoad's Rita the Pirate was altogether more dramatic and vivid. The song is from Frances-Hoad's 2016 song cycle The Thought Machine setting words by Kate Wakeling and premiered at the Oxford International Song Festival (then the Oxford Lieder Festival). It began with vivid swagger from Newby and developed into a quasi-operatic narrative with a dramatic tour de force at the end.

James Newby

Invitation to Voyage began with In Haven from Elgar's Sea Pictures. Here, the sentimentality of the words (by Elgar's wife) remains a problem but with Newby's beautifully phrased delivery and Martineau's characterful piano the whole remained convincing. Duparc's L'Invitation au voyage (setting Baudelaire) took us to a far more sophisticated, exotic world. The seductive shimmer of Martineau's piano and Newby's concentrated, beautiful tone allied to some finely floated high notes successfully drew us into this alluring world before both opened up in the second verse. Carl Loewe's Die Uberfahrt (The Crossing) was an intriguing piece with Uhland's poem talking about a ferry crossing but drawing in hints of the Styx and ghosts. Aspects of the writing were quite Schubert-like and Newby's performance beguiled us with the story.

John Ireland's Sea Fever is rightly a classic and here Newby projected the words above all, the vivid performance carrying us along. This part finished with something far more taxing. Charles Ives's The Swimmers written just eight years after the Ireland and taking us into a more expressionist world. Martineau's restless vibrant piano supporting the intense declamatory vocal line leading to a terrific declaimed climax. This little piece took song far out of its traditional box.

Exotic Isles opened with the sentimentality of Browning's Sabbath Morning at Sea as set by Elgar from Sea Pictures. Newby took the words entirely seriously so that he and Martineau created a compelling story with a wonderfully expansive final verse. Chabrier's L'Ile heureuse was very different, but it was still about the (French) words with Newby delivering them with relish, yet his and Martineau's fluidity really shaping the phrases. Tippett's Songs for Ariel were originally from a performance of Shakespeare's The Tempest at the Old Vic in 1962. Did an actor really sing these? Martineau made the piano at the opening of Come unto these yellow sands really conjure the fantastic, with Newby singing with vivid relish. Full fathom five was concentrated, dark and serious, then Where the bee sucks featured Martineau's edgy piano alongside Newby's wonderful swagger.

Rachmaninov's Ostrovok (This Island) featured long lyrical expansive vocal lines supported by a relatively discreet piano. This group ended with the final Loewe ballad, this time a Goethe setting, Der Zauberlehrling which featured a sort of sorcerer's apprentice but this time with water involved. A terrific story, told with histrionic relish.

Desert Island Discs began with Where corals lie from Elgar's Sea Pictures. Arguably the most memorable of the songs, but here it was more than just a lovely melody as Newby made the story the thing. Eric Coates's Sleepy Lagoon began as an orchestral piece in 1930, and it is best known as the theme tune to Desert Island Discs on the radio. But American songwriter Jack Lawrence added words in 1940, though these did not really add to the piece's charm. The voice was the focus of the traditional song, Blow the wind southerly, sung unaccompanied. Kurt Weill's My Ship (from Lady in the Dark) was one of the surprises of the evening as transferring the song to baritone worked well, with Newby and Martineau giving us a fine combination of words and music. We ended with Charles Trenet's La mer, from 1943. This was sung, rather than crooned (thank goodness) but still the words were all.

We were treated to an encore, Cole Porter's The Tale of the Oyster, which was a cue for more vivid story telling!

Never miss out on future posts by following us

The blog is free, but I'd be delighted if you were to show your appreciation by buying me a coffee.

Elsewhere on this blog

Every detail mattered: Basel Chamber Orchestra & Vilde Frang in Bach, Mendelssohn & Grieg at Wigmore Hall - concert review
Richness & imagination: the all-male ensemble De Profundis continues its exploration of Morales with two masses based on L’homme armé - CD review
Unashamedly romantic: the music of the remarkably youthful Christopher Churcher on Resonus Classics - record review
Rising to the challenge: Britten's The Rape of Lucretia from Royal Academy Opera directed by Paul Carr & conducted by Lada Valesova - opera review
A mix of everything: The Celtic Tenors' eclectic repertoire with harmony-driven music sung by classically trained voices - interview
Sheer joy & plenty of welly: the marimbas of The Wave Quartet join the Academy of Ancient Music for Bach concertos & more - concert review
Richness & austerity: Morales, Vivanco, Kerensa Briggs's & James MacMillan's settings of John Henry Newman in The Sixteen's Choral Pilgrimage - review
The UK premiere of Du Yun's Angel's Bone - photo essay
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Every detail mattered: Basel Chamber Orchestra & Vilde Frang in Bach, Mendelssohn & Grieg at Wigmore Hall

2026-05-22T07:58:36.039+01:00

Kammerorchester Basel (Photo: Matthias Mueller)

Mendelssohn: String Symphonies Nos. 4 & 10, Bach; Violin concerto in A minor, Violin concerto in E major, Grieg: Holberg Suite; Basel Chamber Orchestra, Vilde Frang; Wigmore Hall
Reviewed 20 May 2026

In a varied programme the Basel players brought real vitality the music, making Mendelssohn's early symphonies invigorating and Grieg's Holberg Suite anything but hackneyed. But the centrepiece was a pair of Bach concertos with Vilde Frang in elegant, expressive and plangent form

The name Basel Chamber Orchestra has resonance, it is associated with the patron and conductor Paul Sacher, who founded the Basler Kammerorchester in 1926 and commissioned works from Stravinsky, Bartók, Martinů, Frank Martin, Hindemith, Henze, Lutosławski, Birtwistle and more. The orchestra disbanded in 1987 and Sacher died in 1999 though The Paul Sacher Foundation continues.

The present Basel Chamber Orchestra (Kammerorchester Basel) began life in 1984 as Serenata Basel founded by graduates of Swiss music academies. Since 1999 it has operated without a chief conductor and also that year the name changed to the present one. And listening to the orchestra today, one can safely forget any Sacher resonances, the orchestra is simply one of the best chamber orchestras around.

On Wednesday 20 May 2026 they paid a visit to Wigmore Hall. Directed from the violin by Baptiste Lopez their programme centred on Bach's two violin concertos (in A minor and E major) with violinist Vilde Frang, alongside Mendelssohn's ;String Symphonies Nos. 4 & 10 and Grieg's Holberg Suite.

We began with Mendelssohn. The orchestra fielded quite a number of musicians fitting 19 strings (5.5.4.3.2) and harpsichord on the stage. Mendelssohn began writing his string symphonies at the age of 11 as composition exercises but the rapid rate at which he wrote them (12 in all over two years) allied to his grasp of music demonstrates the way he was growing as an artist. Symphony No. 4 dates from 1821 (when he was 12) and began with a very Handelian Grave, full of grand, strong gestures leading to a scurrying Allegro with the players combining a vibrant sound with concentrated focussed lines. The Andante featured a gentle violin melody of hazy undulations, then we ended with the vivid vigour of an Allegro vivace again with strong focused tone. The orchestra plays on modern instruments but in this music and particularly in the Bach their use of vibrato was sparing, creating an appealing plangency of line. Mendelssohn's string symphonies are remarkable for a 12-year-old, but the Orchestra's commitment and intent made this an invigorating start to the concert.

Bach's two surviving solo violin concertos are tantalising. We have manuscripts but these date from later in Bach's life, and we have no way of knowing for certain when they were written. Did he write them in 1729/30 when he took over the Collegium Musicum in Leipzig with its concerts at Zimmermann's Coffee House? This seems likely, but a lot of material for that ensemble had its origins in music Bach wrote earlier. His time in Köthen featured a lot of instrumental music (his employer, Prince Leopold did not require choral church music) which Bach would mine during his Leipzig years.

We began with Bach's Violin Concerto in A minor, BWV1042, and for this the ensemble slimmed down slightly (4.4.3.2.1) though it has to be said that for my taste the harpsichord (played by Sebastian Wienand) felt underpowered. The opening tutti featured intent, sprung rhythms and Vilde Frang's solo line was fast but alert with an engaging way with passagework and ornament. In the slow movement, Frang's solo line unfolded over the throb of strings. Playing with focus and elegance, her plangent tone with sparing use of vibrato fitted with the orchestra's approach and Frang's concentrated intent line held our attention. The final movement had the feeling of a vibrant dance, and whilst Frang's solo line had plenty of vivid notes in it, she kept that underlying dance feel.

The first half ended with Mendelssohn, his String Symphony No. 10 which was written when he was 14. This is in one movement, and may well have been intended as the start of something larger, but the single movement is remarkably large scale and mature. The opening was atmospheric with a sense of dark brooding and suppressed excitement that hinted at Sturm und Drang. The development was lively and varied, the resulting work surprisingly substantial. Mendelssohn would complete another symphony a year later in 1824, but this would become is first mature symphony.

After the interval came Bach's E minor concerto. The opening was crisp and brisk but out of this flowed Frang's lovely soloistic effulgences, and throughout the movement there was great sense of interplay between Frang and the ensemble violins. The slow movement featured the elegant thread of Frang's sound unfolding over the strong ground bass. There was a magical moment when the bass dropped out, leaving Frang and throbbing upper strings. The finale had an engaging energy and rhythm, with an underlying sway to it, and Frang contributing brilliant violin playing.

We were treated to an encore when Frang was joined by Baptiste Lopez for the slow movement of Bach's Concerto for two violins.

We ended with Grieg looking back at the Baroque era in his Holberg Suite. Remarkably, despite the work's ubiquitousness in its string form it started out as a piano suite. The Praeludium began with tight, compelling rhythms alongside insouciant violin melodies, leading to exuberant excitement in the middle section. The Sarabande was graceful yet intent, full of details in phrasing for all the instrumental lines. The Gavotte was notable for engaging and joyful rhythms, then there was a yearning plangency to the Air, particularly when the melody was in the cellos. We ended with a Rigaudon where both violin and viola soloists gave us vivid and amazingly fast (and light) passagework, imbuing the music with a feeling of their own enjoyment. Throughout the piece we sensed the players' enjoyment, making every detail matter and taking joy in the interactions between them.

Never miss out on future posts by following us

The blog is free, but I'd be delighted if you were to show your appreciation by buying me a coffee.

Elsewhere on this blog

Richness & imagination: the all-male ensemble De Profundis continues its exploration of Morales with two masses based on L’homme armé - CD review
Unashamedly romantic: the music of the remarkably youthful Christopher Churcher on Resonus Classics - record review
Rising to the challenge: Britten's The Rape of Lucretia from Royal Academy Opera directed by Paul Carr & conducted by Lada Valesova - opera review
A mix of everything: The Celtic Tenors' eclectic repertoire with harmony-driven music sung by classically trained voices - interview
Sheer joy & plenty of welly: the marimbas of The Wave Quartet join the Academy of Ancient Music for Bach concertos & more - concert review
Richness & austerity: Morales, Vivanco, Kerensa Briggs's & James MacMillan's settings of John Henry Newman in The Sixteen's Choral Pilgrimage - review
The UK premiere of Du Yun's Angel's Bone - photo essay
From a circle of friends to worrying anti-Semitism: the strange history of Schumann's Neue Zeitschrift für Musik - feature
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At just 17, pianist Jacky Zhang becomes the youngest ever winner of the Sheepdrove Piano Competition at Newbury Spring Festival

2026-05-20T09:45:15.474+01:00

Jacky Zhang at BBC Young Musician in 2024

In 2024 at just 16 years old, pianist Jacky Zhang reached the final stages of BBC Young Musician with a performance of Rachmaninov’s Piano Concerto No. 2 described by judges as an "incredibly powerful, volcanic interpretation".

Now 17, Zhang has been named winner of the 2026 Sheepdrove Piano Competition at Newbury Spring Festival, becoming the youngest winner in the competition’s 17-year history.

Zhang was awarded the First Prize of £3,000, donated by the Sheepdrove Trust, following the final of the competition held as part of this year’s Festival programme. As part of the prize, Zhang also gave a recital at Newbury Corn Exchange on Monday 18 May as part of the Festival’s Young Artist Lunchtime Series.

The Second Prize was awarded to Nicole Wu from Canada, a student at Guildhall School of Music and Drama, while Third Prize went to Mayuko Narutani from Japan, a student at the Royal Academy of Music. Fourth Prize was awarded to Tomos Boyles from Wales, who also received the Audience Prize.

Established in 2009 by the Sheepdrove Trust, the Sheepdrove Piano Competition is open to pianists aged 26 and under from the UK’s leading conservatoires and forms part of Newbury Spring Festival’s longstanding commitment to supporting emerging artists and young performers.

Born in the UK in 2008, Zhang studied in the Royal College of Music Junior Department from the age of seven and now studies with renowned pianist Dmitri Alexeev. Alongside his piano work, he is also active as a composer, songwriter and producer, with interests spanning conducting, historical performance and music for screen.

Newbury Spring Festival continues until 2 May, full details from the festival website.

Richness & imagination: the all-male ensemble De Profundis continues its exploration of Morales with two masses based on L’homme armé

2026-05-20T09:22:04.834+01:00

Cristóbal de Morales: Missa L’homme armé a4, Magnificat secundi toni, Missa L’homme armé a5; De Profundis, Robert Hollingworth; CORO
Reviewed 20 May 2026

The Morales Project moves to CORO and demonstrates the richness to be found in the composer's less-known masses when performing at the original pitch.

In many ways, Cristóbal de Morales had a somewhat remarkable career, becoming the most influential Spanish composer before Victoria and probably the most famous composer in Europe between the death of Josquin in 1521 and the rise of Palestrina and Lassus in the 1550s. Yet we know so little about him and what we do know from surviving documents suggests a life that was restless, with its share of frustration and disappointment. He seems to have had a recurrent illness, which led to gaps in his employment, and whilst admired musically was a difficult character. He left some 22 masses (many from a pair of books published in Rome in 1544), along with magnificats and motets.

Mark Dourish founded the all male ensemble De Profundis in 2011 to perform Renaissance polyphony at the original lower pitch. One of the reasons why this is pertinent to Morales was that he came from the Spanish tradition of using high countertenors on the top line and in fact one of the reasons why Morales was able to travel to Italy was that Spanish singers were popular in the Papal choir with the falsettists reinforcing or supplementing the castratos.

De Profundis, conducted by Eamonn Dougan and Robert Hollingworth recorded two discs of Morales for Hyperion and now the Morales Project is on Coro with the aim to record the complete Masses and Magnificats of Morales. The third disc in the project (the first on Coro) sees Robert Hollingworth conducting De Profundis in Morales two masses based on L’homme armé, the four part and the five part.

Morales's mass in five voices first appeared in an anthology of 1540, and the one in four in his Missarum liber secundus of 1544. The basing of masses on L’homme armé possibly dates back to the Chivalric Order of the Golden Fleece (created by the Dukes of Burgundy and then taken over by the Hapsburg Emperors). There is the hint of a connection in Morales's four part mass as the ornamental 'K' at the beginning of the alto part in the printed edition features a portrait of Emperor Charles V (whose grandmother was the daughter and heiress of the last Duke of Burgundy) as a warrior wearing the imperial crown, plus his motto, ‘Plus ultra’,

Missa L’homme armé a4 is very traditional. The tune is in the Phyrgian mode and presented on the tenor line, which is actually sung by modern baritones. Which brings us to the sound of the choir. This is a modern choir, using modern voices, and we are not talking about any sort of period reconstruction of sound. After all, Morales during his career would have written for choirs of men and boys, all men with falsettists on the top, and the Papal ensemble that used castrati. For this ensemble there is a basis of around 17 singers with different line-ups used depending on the scoring of the particular masses.

The result in the four-part mass is a sense of richness of imagination as Morales varies the textures all within the confines of a 'typical' Renaissance mass. Hollingworth keeps the music flowing, yet there is a clarity of texture at all times. Using falsettists on top provides a very particular sound quality, and they contribute to this with an admirably smooth line. The liveliness of some of the part writing is also admirably captured. As we move through the mass, there is an increase in intensity with the Benedictus and Agnus Dei being most notable, perhaps prefiguring in a way the music of Victoria.

Just to confuse us, Missa L’homme armé a5 is probably earlier than the four-part version but Morales's treatment of the cantus firmus is more varied, often it is presented at different speeds and pitches, scattered over different voices. Kenneth Kreitner in his booklet note suggests that Morales might have been influenced by memories of Peñalosa’s Missa L’homme armé which he would have sung in his youth as a chorister in Seville. With five parts the writing is quite dense and then in the final Agnus Dei, Morales adds a second bass part to create real richness.

The performance here reinforces the bass line with a bajon (an early bassoon) in the Spanish manner and adds organ support. Certainly the opening Kyrie launches us into a richer, darker, more intense world than the four-part mass. Lacking the obvious structure of a tenor cantus firmus, Morales gives us a real sense of poise and sophistication in the writing. The Credo is seriously expansive, lasting over nine minutes then the steady pace of the Sanctus brings out the richness of the writing. The Benedictus features some wonderful flourishes passed around the voices in contrast to the focus of the same movement in the four-part mass. The Agnus Dei is also expansive, each verse taking its time and letting us enjoy the refulgent textures and way the voices circle each other. When Morales introduces another voice the result is not virtuosity but intensification of the sheer richness and darkness.

In between these two, there is the Magnificat secundi toni, one of the settings Morales created when he was in Rome. This is in four parts, though one verse is in three and the final verse expands to six parts. Morales's Magnificat settings are relatively unusual in that he set all verses rather than having them performed alternim. Not that we lose sight of the chant entirely as each verse begins from a single, focused line. The overall effect, with the stopping and starting of verses, is to create a remarkable kaleidescope of textures within the confines set. Hollingworth keeps things moving, and we are able to admire Morales's imaginative manipulation of his material.

L’homme armé (Phyrgian mode)
Cristóbal de Morales (c. 1500 - 1553) - Missa L’homme armé a4
Cristóbal de Morales - Magnificat secundi toni
L’homme armé (Ionian mode)
Cristóbal de Morales - Missa L’homme armé a5
De Profundis
Robert Hollingworth (conductor)
Recorded St Jude-on-the-Hill, Hampstead Garden Suburb, 15-17 April 2024
CORO COR16221 1CD [65:07)

Never miss out on future posts by following us

The blog is free, but I'd be delighted if you were to show your appreciation by buying me a coffee.

Elsewhere on this blog

Unashamedly romantic: the music of the remarkably youthful Christopher Churcher on Resonus Classics - record review
Rising to the challenge: Britten's The Rape of Lucretia from Royal Academy Opera directed by Paul Carr & conducted by Lada Valesova - opera review
A mix of everything: The Celtic Tenors' eclectic repertoire with harmony-driven music sung by classically trained voices - interview
Sheer joy & plenty of welly: the marimbas of The Wave Quartet join the Academy of Ancient Music for Bach concertos & more - concert review
Richness & austerity: Morales, Vivanco, Kerensa Briggs's & James MacMillan's settings of John Henry Newman in The Sixteen's Choral Pilgrimage - review
The UK premiere of Du Yun's Angel's Bone - photo essay
From a circle of friends to worrying anti-Semitism: the strange history of Schumann's Neue Zeitschrift für Musik - feature
Siren songs & serenades: Ben Goldscheider, Laurence Kilsby & London Mozart Players in Anna Clyne premiere, Britten & Mendelssohn - review
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