Review: Quentin Blake’s Box of Treasures with the BBC Philharmonic Orchestra
Whimsy packed into two shorts
Undeniable style – perhaps best known for Quentin Blake’s illustrations in beloved classics such as The BFG, Willy Wonka, and Matilda – his free-drawing characters are instantly recognisable and full of life. This performance was a true celebration of his whimsical world.
It was a pleasure to hear two original compositions tailored specifically for the visuals he created. 80 amazing musicians from the BBC Philharmonic Orchestra brought the stories of Jack, Nancy, and Mrs Armitage to life, under the precise and expressive baton of Robert Ames. The inclusion of subtitles was a thoughtful touch – making it easy to follow the narratives without missing a beat of the music.
Mrs Armitage on Wheels
It was refreshing and delightful to see a story centred around a woman in STEM – an inventor – and her loyal dog Breakspear. The tale was humorous and clever, filled with playful inventions and surreal turns, including skydiving while doing sudoku. The score by Stefano Cabrera was majestic and rich, complementing the action beautifully. The conducting felt very gentle and intuitive, allowing the orchestra’s dynamics to shine through in a warm and nostalgic way. This story resonated with both children and adults – showing how childlike wonder and technical creativity can coexist so naturally.
Jack and Nancy
A charming seafaring adventure, full of lovely, encapsulating sea shanties and the thrill of jungle magic. The South American-inspired rhythms by Cabrera added a layer of excitement and colour, bringing depth to the journey. The story was colorful and playful, easy for children to follow yet layered with clever humour and emotional nuance for adult viewers. Jack and Nancy, like all of Blake’s characters, were deep and relatable, with their own admitted flaws. The concept of accidentally travelling the world using only an umbrella was pure Blake – fantastical yet oddly believable. There was also wonderful attention to detail – such as the pirate whale with a missing fin replaced by a hook – which showed the loving craftsmanship behind both the animation and the music.
Both animations were a delight – even for a young(ish) watcher like me (though no longer a child). The orchestral performance was spot-on. Often with “movies in concert,” you find yourself choosing between hearing the dialogue or appreciating the score, but this production struck the perfect balance. The music supported the visuals without ever overpowering them, and the result was a moving, funny, and entirely magical experience.
Review: The Hallé and Chorus of ENO: Opera Favourites
“Always free, I must live from joy to joy”… now with a Mancunian ENO
It seems classical music is in safe hands in Manchester, and the announcement that the English National Opera (ENO) will establish its headquarters here is a welcome one for lovers of music and opera. As this programme marked the first performance of the ENO opera chorus since the announcement, it carried a sense of celebration and optimism for what’s to come. Manchester has long suffered from the lack of a consistent operatic presence, despite having ample venues for performance—even an opera house. This performance suggested that the future might finally match the city’s potential.
The evening featured a jam-packed programme that balanced well-known highlights with a few refreshing choices off the beaten track. Of course, it also included the classic soprano and tenor pieces that audiences expect and love in recitals of this kind.
The Verdi overture from La Forza del Destino opened the evening with drama and atmosphere, setting the tone beautifully. Under the dynamic baton of Alpesh Chauhan, the music came alive with a mix of joviality, subtlety, and command. Later, Madeline Boreham’s gentle but powerful voice soared in Mascagni’s Easter Hymn from Cavalleria rusticana, offering reverence and emotion in equal measure. In contrast, Luis Gomes was especially moving in Puccini’s Nessun dorma, bringing a personal touch to a famously towering aria—no small feat.
One of the more intimate and unusual moments came with the Humming Chorus from Madama Butterfly. Without the use of words, the choir created a world of softness and passion. They became almost like an instrument themselves, transmitting emotion through pure texture and tone.
The duet section from La Bohème—featuring Che gelida manina, Mi chiamano Mimì, and O soave fanciulla—offered a lovely interplay between Boreham and Gomes. Their voices met in a convincing, playful dialogue, with real on-stage chemistry that added charm to the vocal finesse.
Choral strength came through brilliantly in Verdi’s Libiamo from La Traviata, bursting with festivity and ensemble energy. Mozart’s Placido è il mar from Idomeneo brought serene precision, while Britten’s Choral Dances from Gloriana, conducted with elegance by Matthew Quinn, added a touch of modern drama and complexity.
Overall, this concert was a strong showcase not only for the soloists but also for the chorus and orchestra, each integral to the operatic experience. With performances like this, Manchester can look ahead with confidence—its operatic future may finally be catching up with its musical promise.
Manchester Collective: The Body Electric
Electric and visceral
Manchester Collective never fails to impress. Known for their distinctive style beloved by Mancunian music lovers and beyond, their performances are enhanced by atmospheric smoke and lighting, creating a fully immersive experience. They have a unique talent for bringing together pieces that might seem incompatible, but prove that music can transport us anywhere. The evening opened with a journey into outer space, setting the tone for an adventurous night.
The first piece, David Lang’s Mystery Sonatas, Movement 1: Joy, felt like flying—atmospheric, moving, and full-bodied, despite being performed on a single instrument. There was an eerie, almost spooky quality that captivated the audience.
Next came J.S. Bach’s Prelude from Cello Suite No.1 in G Major, a baroque masterpiece foundational to classical music. This piece is well-known even among TikTok audiences and is often likened to the Mona Lisa or Water Lilies of cello repertoire. Zoë Martlew’s performance was breathtaking, combining virtuosic skill with deep emotional expression.
Following Bach, Zoë Martlew presented G-Lude, a physical and cathartic response to the Bach piece. It was original and visceral, expressing struggle and peace simultaneously. The spirit of Bach seemed to guide her through a performance that was at once decomposed and reassembled, filled with powerful moments—including over 30 audible gasps that complemented the music.
Missy Mazzoli’s Vespers introduced a trippy, unsettling atmosphere. The use of technology to augment the instruments created strong echoes and beats, resulting in a big, immersive soundscape that evoked anxiety and fascination.
Returning to Bach, the Allemande and Sarabande from the same Cello Suite were beautifully performed—relaxing and melodic, showcasing the cello’s lyrical qualities.
The program closed with LAD by Julia Wolfe, arranged by Rakhi Singh. Originally composed for nine bagpipes and pre-recorded violins, the live arrangement made Singh feel like a rockstar. The piece felt like a physical rearrangement of the listener’s body and soul, combining drums, brass, and a deep cathartic energy. The music moved through three distinct parts: a loud, visceral cacophony of dissonant harmonies evoking the soundtrack of a horror movie; a slow, meditative second movement; and a fast, energetic finale that left a lasting impact.
Overall, The Body Electric was a thrilling and diverse journey: bold, innovative, and deeply emotional, confirming Manchester Collective’s status as one of the most exciting ensembles today.
Finale
Great way to finish the Manchester Classical
This was the fullest scene I have ever seen—a truly massive assembly featuring a full orchestra, a full choir, and an additional balcony packed with instrumentalists. The scale of the ensemble was breathtaking, creating an overwhelming and immersive sound experience that filled the entire venue.
John Adams – Short Ride in a Fast Machine
The piece perfectly captures the rhythm and exhilaration of a fast-paced ride. Its staccato yet melodic pulses, combined with a metronome-like precision, give a strong sense of time passing grandiosely. The music is rhythmic, triumphant, and exhilarating, setting a powerful tone for the evening.
Iain Farrington – Street Party (world premiere)
This new work brilliantly evokes Manchester’s industrial past, bringing it to life as a vibrant street party. The joyful rounds spotlight different instruments, symbolizing a community coming together. The music acts almost like a rallying call between various groups of instruments, with the choir adding simple “nah”s that immediately engage the listener. The melody is cleverly passed between groups, and then the party is humorously interrupted by police sirens, ending with a playful “arrest” of the composer. It’s a genuinely funny and jovial piece that had the audience smiling.
Borodin – Polovtsian Dances
This powerful, multi-voiced piece sent chills down my spine. The combination of voices and orchestra is rich and full, sparking a desire to see the full opera. The music’s combative and tactical nature is full of character, bringing intense drama and energy to the program.
Respighi – Pines of Rome
A joyful and fitting conclusion to the concert, Pines of Rome blends uplifting and somber moments with chilling passages that build toward a triumphant, full-bodied sound. The violin adds delicate touches of color, while the recorded birdsong provides a charming natural element. The peaceful ending wrapped up the evening beautifully, like a bow tying together an unforgettable gift.
Conducted by Alpesh Chauhan, this remarkable performance brought together musicians from the Hallé, the BBC Philharmonic Orchestra, RNCM, The Chorus of ENO, and the Hallé Choir, showcasing incredible talent and coordination.
While the performance was impressive in scope and quality, I would have appreciated a more cohesive setlist to enhance the overall flow and narrative of the concert.