Smiles all round as Swan takes flight
Oct 23, 2007
Orchestra of the Swan
at Birmingham Town Hall
Review by Christopher Morley
Sunday's inaugural concert from the Orchestra of the Swan, as associate artist at Town Hall Birmingham, was an absolute corker.
Smiling faces from an excellent audience - many of them tempted into the city by the convenience of a matinee - mirrored the enthusiasm and freshness of the players themselves, smilingly directed by the genial David Curtis.
" The CBSO had better watch out for this lot," someone said. But with much of the large orchestral canon beyond OOTS' complement, Curtis constructs instead themed programmes where appopriate works can be drawn together, as in this "Spanish for Beginners" sequence.
Actually there was only one genuine Spaniard represented here, Rodrigo, whose famous Concierto de Aranjuez was given an elegant account by the personable soloist Morgan Szymanski. Discreetly miked in this remarkable acoustic (such true wind clarity, and space for string tone to bloom), all the dynamic nuances and eloquent colourings of a reading which otherwise might have impressed for technical brilliance alone came through.
The famous cor anglais solo in the slow movement was beautifully delivered by Louise Braithwaite, just one of many OOTS players who made valuable individual contributions during the afternoon.
Chief among these was concertmaster David Le Page, the scintillating violin soloist in Astor Piazzolla's Four Seasons of Buenos Aires, baroque meeting Argentinian tango with plenty of homage to Vivaldi. Curtis and Le Page cast a sinuously flexible spell, and the orchestral strings tackled the famous "mosquito-bite" glissandi with style and panache.
Elgar's Spanish Lady Suite brought some charming Restoration-style pastiche, and the hispanic flair afforded to Rossini's Barber of Seville Overture made us forget that he lifted it from an earlier opera about Good Queen Bess.
Musical flight into the past
Nov 8, 2007
Orchestra of the Swan
at Birmingham Town Hall
Review by Christopher Morley
It was just like the good old days on Tuesday, afternoon sun streaming through the magnificent Town Hall windows, illuminating a programme of overture, concerto and symphony which would have been the standard menu here for more than a century.
What would probably have been novel, however, was the amount of audience-engagement any event from the Orchestra of the Swan involves, from pre-concert conversations to introductions from the rostrum by conductor David Curtis, so friendly and embracing in his contact with the listeners.
His approach even extends to having his musicians play extracts to the audience to illustrate particular points, such as in the Fingal's Cave Overture by Mendelssohn, a composer whose spirit hovers so undeniably over the organ-loft of this building where he performed so often.
Though beautifully phrased (or perhaps because of it), this was a reading of this storm-blown music which lacked an essential element of ruggedness, and balances favoured wind instruments over what is an admittedly small-scale string complement.
No such problem in Mozart's Piano Concerto no.21 in C, K 467, where the composer's expert wind-scoring communicatively combined with neat, full-toned strings.
The young Taiwanese pianist Chiao-Ying Chang was the charming soloist, her fingerwork crisp and confident, her colouring rounded and rich without any forcing. She made highlights of the cadenzas (often yawn-stifling from some hands), and her collaboration with Curtis' sparkling woodwind in the finale brought fleeting awareness of passing clouds in an otherwise blue sky.
Theatr Hafren, Newtown
Tuesday September 11, 2007
Opera on a shoestring often scores highly on clarity and emotional impact and Mid-Wales Opera is one of those companies who do sterling work in bringing opera to people for whom the full works are beyond reach, financially and geographically.
MWO's new La Bohème is clearly chosen for accessibility and, with a strong cast singing in louder-than-life verismo mode, it generally succeeds. The milieu of the Henri Murger play Puccini set is firmly mid-19th century, but director Martin Lloyd-Evans makes his bohemians followers of Daniel Cohn-Bendit in the Paris student riots of 1968; the posters in their garret are emblazoned with the slogan "Sois Jeune et Tais Toi", also the title of Cohn-Bendit's more recent book.
The concept seems to work quite well until everyone repairs to the Cafe Momus to celebrate Christmas Eve, when it becomes clear that MWO's budget is as restricted as that of the impecunious students. No chorus means no crowd scene. Two tables are set with cloths and candle and no amount of high spirits can disguise the fact that this is still the garret set. Not only does this deprive audiences of the wider social context against which the students need to be viewed, but musically, too, there are problems, with motifs relating to the numbers that have been cut no longer making sense.
Musical director Keith Darlingon nevertheless pushes things on in brisk fashion and manages to allow Rebecca van Lipinski and Christopher Steele the lyrical expanse needed to express the bliss and, ultimately, the tragedy of Mimi and Rodolfo. The wonderfully comic portrayals by Ian Jervis of both the landlord Benoit and Musetta's sugar-daddy Alcindoro add an extra kick to the proceedings.
At Lawrence Batley Theatre, Huddersfield (01484 430528), on Thursday. Then touring.
From The Times
June 29, 2007
Clive Davis at the Albert Hall
Ask yourself this: what are the chances of Sean Combs or any of his peers holding the Albert Hall in the palm of their hand when they reach the age of 67? Even if the corporate cash registers are merrily ringing, we are not exactly living through a golden age of R&B. Which means that a rare visit by the grand old man of the Motown sound is all the more significant an event.
Having survived cocaine addiction, Robinson is now said to be hooked on golf. But what matters is that his voice shows astonishingly few signs of wear and tear: he is still God’s gospel choirboy on Earth.
Even if the Albert Hall’s notorious acoustics undermined the opening numbers, the evening turned into a triumphant mixture of classics and newer material, all held together by Robinson’s impassioned vocals. Two lissom dancers made occasional sorties from time to time. But this was otherwise a straightforward, unadorned performance underpinned by an ultra-tight band and subtle and unobtrusive string arrangements.
It was a pity, perhaps, that Robinson – who arrived, soul deity-style, in all-white knee-length coat and matching trousers – chose to rush through truncated versions of The Way You Do the Things You Do, Get Ready and I Second That Emotion. But this was, you might say, the price that an artist pays for writing so many memorable songs. Brief though they were, Robinson’s achingly beautiful phrasing was simply irresistible.
After a brisk costume change, he sounded equally at ease with the standards taken from the album Timeless Love, his band reconfigured into a cultured jazz quartet. To hear him glide through Fly Me to the Moon or Night and Day is to be reminded that his stablemate Marvin Gaye harboured a passion for Rodgers & Hart’s It Never Entered My Mind. This was no gimmick; the music had clearly been in Robinson’s bloodstream since his youth.
In all honesty, Being With You and the songs from the latter end of his career are not in the same league as the Motor City favourites. Even so, Robinson invested them with true class. Magical, absolutely magical.
From Jullian Haylock
Nos 11, 12 & 13
Mark Bebbington (piano),
Orchestra of the Swan/
Three of Mozart’s most enchanting piano concertos in performances that trip the light fantastic, relishing in the Austrian master’s effortless flow of golden melody. Mark Bebbington sings his solo lines with a velvety cantabile touch and unhurried vitality and warmth that is well-nigh ideal for these timeless scores, supported to the hilt by stylish orchestral playing under David Curtis. Particularly impressive is the way No.11 is given its full musical due, ensuring that it is not overshadowed by its more famous bedfellows. Full marks also to producer Siva Oke and engineer Gary Cole for such immaculately balanced, lucid sound.
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