Tag: concert

REVIEW: Philharmonic Sessions: The Augmented Orchestra

Published on by arrankemp71 Comment

Rating: 2 out of 5.

A stilted, numbed showcase of what orchestral performance shouldn’t be

Orchestral music is constantly in pursuit of reinvention; for something that will maintain its relevance and unlock the interests of new audiences. There is no doubt there isn’t much that can capture awe like a live orchestra, but with digital consumption of music the mainstream, developing new ways of experiencing the live orchestral experience is essential to keep it alive. This is exactly what heavyweights of the orchestral music world like the BBC Philharmonic attempt to do. 

For one night (and matinee) only, the orchestra took up a residency in Aviva Studios, arguably the most exciting, ambitious, and versatile venues in Manchester. Performing a myriad of pieces (from Swan Lake to Anna Clyne via Greensleeves) in the venue’s sprawling South Warehouse, the performance’s second half included the world premiere of Clyne’s new work PALETTE. This used Augmented Orchestra (AO), a compositional technology developed by Clyne herself, which we learnt enhances the live sound with direct responses to the orchestra’s tone, dynamics and more via a sound engineer.

In the first half, we see John Adam’s ‘A Short Ride in a Fast Machine’ which provides a palatable and bitesize beginning to the show. However, it isn’t until Tchaikovsky’s Swan Lake that we are witness to the Philharmonic’s prowess. Although this is some of the most dynamic and beautiful music ever, it is still a pleasure to see such proficient musicians perform it. This is followed by Vaughan William’s take on Greensleeves and then Thomas Adès’ Dante opera in a setlist described as extraordinary but far too ranged to provide any sort of cohesion. Instead of enjoying each piece for its merits, I was met with musical whiplash by the jumps across centuries. 

The orchestra were laid out in three elevated sections with walkways and audience spaces dissecting them. The audience were encouraged to walk as close as they could to the musicians, which, to its merit, did deconstruct the conventions of orchestral performance. However, it was too cramped a space with too many uncomfortable shuffles to enjoy a fluid promenade-style performance. Couple this with the awkward (or, in some cases, terrified) eyes shot at us from the musicians, this innovation was rendered futile. The conductor took his position on a raised plinth in full view of each section, which meant we as an audience found ourselves dropped almost amidst the musicians, and it was difficult to resist the intrusive urge to stand in-between the conductor and musicians’ eyelines, in turn derailing the entire performance. 

The lighting design was simple, with various washes and spotlights of block colours illuminating sections of the warehouse. The sound design was imbalanced, which was the point, and this did effectively contribute to the interesting dissection of orchestral sections. I wish the performance had used projection or at least some form of video design, as a main selling point of the publicity was the paintings Anna Clyne had done alongside her new composition. These were consigned to the outside screens as we queued and had no impact on the actual performance. With a venue that no doubt had the capability to accommodate for projection, these being screened while the orchestra played would have provided an intriguing extra dynamic.

It was this lack of ambition that hamstringed the performance for me. Aviva Studios has such versatility, and it wasn’t used at all. If the event had been more daring it would have achieved a leap forward in orchestral performance that would have felt refreshing to a regular visitor to these kinds of events, and exciting for newcomers. Instead, we saw a stilted, numbed showcase of what orchestra performance shouldn’t be – dull, uninventive, and safe.

REVIEW: Punk Off: The Sounds of Punk and New Wave

Published on by fbalchinLeave a comment

Rating: 3 out of 5.

“Part eulogy, part love-letter; this high energy tribute to Punk and New Wave leaves you longing for a moshpit that will never come”

Punk’s not dead. But it sure felt like it at the Dominion Theatre. Rounding off a mammoth UK tour, Punk Off: The Sounds of Punk and New Wave hurtled its way through about two decades worth of nostalgia.

The Dominion Theatre is no stranger to titans of memory lane, having successfully hosted We Will Rock You for more than a decade. However this show felt like a requiem bell with a riff. Narrator Kevin Kennedy (Curly Watts from Coronation Street) would periodically pop out on stage, urgently yell exposition at us then pop back in as the next song started. I don’t really think his character added anything, though he was clearly enjoying himself. He was at pains to keep asking the audience “remember when?” like a Peter Kay gag. “Remember Bill Grundy?” No Kevin, I don’t. The show felt like an obituary to an era that wouldn’t let me connect to it, despite my efforts and familiarity with the genre and songs. 

That is not to say I did not enjoy aspects of the show individually. The lighting rig used just about every button and preset humanly possible- adding a visual complexity to an otherwise bare stage with Camden Lock Bridge backdrop. The choreography led by Louisa Clark was slick, authentic to the period and fun to watch with boundless energy. The songs themselves are dynamic, with hits from The Clash, Sex Pistols and Siouxsie Soux all demonstrating their crowd-pleasing credentials. The first act delves into the origin of punk whilst the second examines new wave such as The Blockheads and Plastic Bertrand. Rather ironically though, at one point in trying to explain punk’s evolution into new wave as being “intelligent”, the very next line is the lyric from The Stranglers’ Peaches: “Walking on the beaches lookin’ at the peaches” as the cast awkwardly show a scene where two men sexually objectify a bikini clad woman and she kicks him in the groin. Yikes.

Where the show truly excels is the band. I have absolutely no notes. 10/10.  Phil Sherlock on bass, Ric Yarborough on drums, Adam Evans on guitar , with vocalists Reece Davies and Lazy Violet. I could have watched a whole show with these performing just about anything from any genre; such was their skill, energy and immersion to theme. 

What the show needs is an identity and a character to connect to. Bring the band front and centre of the stage, not hidden away at the back. Get rid of the narrator and make the anonymous busker more central. The audience had more connection to this one side character who quietly mumbled into a microphone before being told to f*ck off twice, than any platitude mentioned by Kennedy. And finally, add a dancefloor. I saw multiple times the audience wanted to just get up and let loose but the confines of a seated auditorium was at odds with the way the audience was trying to connect with their favourite songs. It needs to decide whether it wants to be a full-on tribute concert, or if it wants to lean into a proper theatrical and historical narrative.

Do I think this show is aimed at young people? No. Do I think they could enjoy it? Yes, but bring a parent- they’ll probably enjoy it more. You’d think punk died in 1985 the way the show lamented it, but all you have to do to know it lives is head on over to the many current venues hosting excellent contemporary punk and post-punk artists such as Bex, Wargasm, St Agnes, Fever 333 and Nova Twins. Punk’s not dead at all: it’s at The Black Heart, Underworld and Dublin Castle. 

REVIEW: Picture at an Exhibition

Published on by Maria Mădălina IfrimLeave a comment

Rating: 5 out of 5.

“Fairytale and darkness, all in one celebratory night for Ravel and Boulez”

The night started on a high note with Pierre Boulez’s Notations 1–4 (orchestral version), a piece that showcased a rich accretion of orchestral detail. Notation 1 felt childlike and whimsical, its complexity manifesting through an intricate interplay of sounds. Notation 4 was a cacophony of accelerating, repeated six-note motifs, creating an electrifying tension. Suspense and rhythmic precision shone through in Notation 3, with the percussion adding a martial character. Meanwhile, Notation 2 made its mark with a sharp, mechanical opening that developed into something almost hypnotic. Boulez’s mastery of texture and orchestration was evident, setting an engaging and challenging tone for the evening.

Maurice Ravel’s Mother Goose ballet transported the audience to a world of childhood wonder, its bedtime story-like quality beautifully rendered by the orchestra. The delicate spinning wheel introduced us to the fairy-tale world, followed by the serene Pavane of the Sleeping Beauty. Tom Thumb conveyed curiosity and whimsy, with bird-like sounds fluttering through the hall before sharply transitioning into the exotic textures of Little Ugly, Empress of the Pagodas. The Conversation between Beauty and the Beast carried a heavy, foreboding presence, adding depth before the ethereal conclusion of The Fairy Garden. The celesta’s delicate tones added a layer of enchantment, making for a truly immersive experience.

The highlight of the evening was Maurice Ravel’s Piano Concerto for the Left Hand, performed by Bertrand Chamayou. A masterclass in precision and technique, Chamayou delivered an astonishing performance, demonstrating the sheer depth of sound and color achievable with just one hand. The concerto’s dark premise was mirrored in its brooding orchestration, mechanical echoes, and sudden shifts in mood, making for an intense yet captivating listening experience.

The concert concluded with Modest Mussorgsky’s Pictures at an Exhibition, orchestrated by Ravel. This final piece was grand and regal, infused with emotion and dynamic contrasts. It traversed through somber, solemn passages before culminating in a triumphal and resounding conclusion. The orchestra brought the work vividly to life, embracing its multiple tonal shifts with impeccable precision and energy.

Under the baton of Ludovic Morlot, the orchestra delivered a truly outstanding performance, bringing out the full brilliance of each piece. The evening was a remarkable journey through orchestral textures and emotions, leaving a lasting impression on all in attendance.

REVIEW: Guildhall Jazz Orchestra & Choir: Emboldened

Published on by Temi AkandeLeave a comment

Rating: 4.5 out of 5.

A joyful and comforting performance by a talented group of young musicians

I had the pleasure of attending the Guildhall Jazz Orchestra & Choir’s performance of Emboldened. Composed by Steve Banks and arranged by Jonathan Silk, this collaboration was a brilliant fusion of jazz and choral elements that brought Banks’ composition to life.

Opening with ‘The Mancunian Candidate’ there was an immediate warm and inviting atmosphere. The lights switched to this autumn yellow/orange and the best way I can describe what it felt like was as though we had stepped into a field of sunflowers. The Guildhall Choir was absolutely wonderful, their voices blending seamlessly with the jazz orchestra and lifted the music to another level.

Each soloist brought their own unique flair to the performance, and while there were hints of nerves in the beginning, it was clear that as the night progressed, the performers grew more comfortable and their confidence flourished. There was something magical about the chemistry between the piano and bass players, it was electric seeing them almost bounce off each other’s playing. When the choir accompanied them, it was as if you could close your eyes and visualise the very places Banks described in pieces like Staunton Sands.

One of my favourite moments was when the first trombone player came forward for his solo. It was such a memorable entrance as he came in all guns (or should I say all trombones) blazing! You could see the smiles coming from the audience as well as his fellow musicians on stage. While the mood shifted after the interval, as the tone of the ‘Emboldened Suite’ evolved, the great playing continued. The performance remained engaging and each section had great musical detail, a testament to Scott Stroman’s directing and again Steve Banks’ marvellous compositions. 

There was so much joy in the room. Overall, Emboldened was an wonderful show. The Guildhall Jazz Orchestra & Choir delivered a performance that was as colourful as it was vibrant, and I would implore everyone to attended a performance of theirs. 

IN CONVERSATION WITH: Alex Tay

Published on by Tabitha JamesLeave a comment

We sat down with Alex Tay who has curated a concert at Wigmore Hall, London, on the 22nd February. Featuring pioneering ensembles EXAUDI and GSBR Duo, anyone attending will hear cutting-edge music about frostbitten giants, manic delusion, and ethereal lighthouses, composed by Alex and some of today’s most exciting experimental artists – Joe Bates, Cassie Kinoshi, and Linda Catlin Smith. Tickets here

Your upcoming concert explores themes like frostbitten giants, botany of the mind, manic delusion, and ethereal lighthouses. What drew you to these vivid, abstract concepts, and how do they shape the emotional landscape of the music?

The concepts have come from each composer taking part in the concert – it was more exciting to see what the lineup inspired in each of us! If I can expand on each image given a little, my piece draws from the life and death of Tony Hsieh, venture capitalist and ex CEO of Zappos, who believed he was turning into a crystal towards the end of his life and made nitrous oxide a regular habit. His death by fire (it’s unclear whether it was suicide) is a tragic irony considering he was the author of Delivering Happiness. I probably wouldn’t have noticed the news story if Hsieh didn’t have Taiwanese heritage – skin deep but my mum’s from Taiwan so it struck me. I kept reading and thought about everyone lost in my life, the isolation of feeling culturally or socially other and the need to self-validate by being the most successful (in Hsieh’s case money seemed to have been the validating factor, hence the title of the piece money & yes) but also the deep intoxicating desire for acceptance and communal love and this inner contradiction forcing out explosive, violent escapism. Oh and the piece is dedicated to my m8 and incredible violinist Enyuan Khong, shoutout 2 https://www.instagram.com/khongenyuan?igsh=NWw2cm96eXMwb254 .

Alterity is a theme in Joe’s piece too, which augments Exaudi’s voices with live electronic wizardry. His piece draws on passages of Rabbelais’s Gargantua and Pantagruel, 2 titular giants. In the novel, shouts, cries and other battle sonorities are thrown up in the sky and frozen as shouts and this metaphysical psychedelia is totally infused through Joe’s fantastical sonic conjuring of the text.

The front of our programme is another literarily informed piece, written by the true headliner of our gig, Linda Catlin Smith. The Lighthouse draws on Virginia Woolf’s, To the Lighthouse (it’s just come into public domain!), which evokes the vibrancy and glory of everyday life, the stillness and decay in tragedy and sudden loss. We’re so lucky that Linda’s been able to gift us her beautiful rendering of such an influential text.

The collaboration between EXAUDI and GBSR Duo brings together two dynamic ensembles. How did you approach composing for such a unique pairing, and what do you hope their combined sound will bring to the performance?

It’s almost too perfect a combo! The attack of piano/percussion, the sustain of voices, who can deny that fantastic colour, proved in Stravinsky’s Les Noces! And then there’s the character of the ensembles themselves: both Exaudi and GBSR bring such a focus and intensity to performance, the presence on stage is going to be electric. What both ensembles have achieved individually in the realm of new music is so inspiring, they’re fans of each other! Precision, virtuosity, conviction, they have it all! It’s just so dreamy.

You’ve included works by experimental composers Joe Bates, Cassie Kinoshi, and Linda Catlin Smith alongside your own. How did you choose these collaborators, and what connects their music to the themes of your concert?

I’m fans of all their work! And honestly just riding the coattails of their clout. I saw Joe put on a concert in St Martin-in-the-Fields with Sansara, 8 voices, live electronics, microtones, mesmerising. Cassie’s a pure musician, musicality’s popping off out of every neuron in that brain. Kind of just wanted a chance to see what I can learn from her. Oh, and we met when we were both writing for the LSO so I’ve been following all strands of her work ever since! And then Linda what else can you say about such an experimental music titan? I know both Exaudi and GBSR are fans of her stuff, so why not put people who really want to work together together?

I also picked really contrasting vibes! I have a really short attention span and find gigs which do one thing (often really amazingly) just aren’t quite my cup of tea. There’ll be at least one minute of music for everyone! Or 30 seconds? Whatever is cooler.

Anyway tl;dr im a fan 

Your piece, described as a ‘meditation on the mania of solitude,’ seems deeply introspective. Could you share how personal experience or broader societal themes influenced this work?

Well you know contrary to popular belief I’m a pretty sad guy, I listen to caroline polachek I go on short walks I make eye contact with cats I drink soy milk. Just kidding, if I can be real for a second (mews), we’re never alone and always alone nowadays blah blah phones social media etc. So much art nowadays talks about the commonly transitory, illusive, immaterial (shoutout 2 Sophie) nature of self-image. Not since the invention of the mirror have we had such a clear grasp on (in a very specific sense) what we are/what we think we are/what we’d like to be. It’s too real, too much, and too honest I have to run away. And now there’s a hall of mirrors too dizzying to fully comprehend ourselves, so we have to outsource to others: validate me by giving me a like or follow please! It’s not original to point this out and its not even original to feel this way. AND YET it’s all I can think about, either directly or indirectly. It would be so great to be anything other than this utterly unoriginal homunculus, can I just have one original thought i my life PLEASE?! Anyway come see our gig on Feb 22 13:00 Wigmore thanks.

Promoting contemporary classical music to new and young audiences is central to this concert’s mission. What do you think makes experimental music accessible, and how do you hope this performance will resonate with younger listeners?

YES, IF YOU ARE NEW AND YOUNG BE THERE PLEASE. There’s £5 for under 35s! If you’re under 35 you’re officially new and young! Seize your youth! Seize the cash discount! Be young and have money! (Just if the discount doesn’t seem to be applying log out and back in again).

I just want to say things to people who might get them and I want to say things which are relevant to people’s lives. Like a conversation! That’s not to say old things can’t be relevant, the Roman Empire lives on through Paul Mescal. But I want to make/curate things that people can see themselves in because you have to step into something to be transformed.

I don’t know if this concert is accessible! I’ll be surprised if everyone tells me it is. But I do know that I and every other artist involved in this concert is bursting at the seams. We have so much to give! Don’t you want to hear it?

REVIEW: Khatia Buniatishvili and Academy of St Martin in the Fields

Published on by chelseajina1 Comment

Rating: 5 out of 5.

 Khatia Buniatishvili and Academy of St Martin in the Fields grace Barbican’s Hall with a captivating performance of Mozart 

Pianist Khatia Buniatishvili is no stranger to the Barbican. A frequent face on their stage, she returns as an Artist Spotlight performing two Mozart pieces that make an appearance on her recent album, accompanied by the always impressive Academy of St Martin in the Fields. Buniatishvili frequently graces the Barbican stage, and performing in London is said to hold a deep significance for her. She says, “I love performing at The Barbican. I find the public is so relaxed… there’s always a new wave of people coming. England always feels like a surprise to me, and I love that. It’s refreshing, and I feel that energy when I play there.” 

This energy, the playful comfort, was profoundly noticeable in Buniatishvili’s performance. She walks onto the stage in glittering dress, drawing the audience closely in. She seems to shimmer, not purely by means of her literally shining dress, but by her confident and joyful spirit. She commands the stage and the orchestra, playing front and centre, leading the musicians in a profoundly enjoyable piece of music. Starting with Don Giovanni Overture (7’), the sombre yet quirky tone offers a grand and intriguing entry point to the work. Buniatishvili couples this with Piano Concerto No. 23 in A Major K488 (26’), a multifaceted experience that moves from elation to unabating pain with shocking seamlessness, reflecting the similar experience we are all bound to have as people, highlighting the core human values that transcend time. This is followed by Mendelssohn: Hebrides Overture (10’) and Haydn: Symphony 104 (29’), in which the Academy of St Martin in the Fields truly shines. 

Like many people in their twenties, I do not frequent classical performances. They seem inaccessible, an artform that circumvents my breadth of understanding. If I were to envision an evening watching two of Mozart’s concertos, not to mention Mendelssohn and Haydn, I would picture an older, wealthier, pretentious crowd and a performance that I might enjoy but would probably not understand. What was so exciting about this performance was that I was proven wrong. Khatia Buniatishvili’s talent and adoration for what she does speaks volumes. She truly embodied the music, almost dancing while she played, literally putting-her-hands-in-the-air-like-she-just didn’t-care during the short bursts in which her hands weren’t occupied by the piano. The organic nature with which she truly felt what she played was reflected by the Academy of St Martin in the Fields, who bounded behind her with abundant passion. This evening highlighted the need to democratise classical music culturally, allowing for a younger audience to have the chance to enjoy this transcendent artform, particularly if someone as talented and excited as Khatia Buniatishvili is gracing the stage.

REVIEW: The Overtones Good Times Christmas Tour

Published on by Alice WoodhouseLeave a comment

Rating: 5 out of 5.

“This is a show like no other and one of the best party nights out you’ll ever have with your friends and family”

Let the good times roll with the Overtones. These boys know how to put on a show. If this performance doesn’t get you in the festive spirit I don’t know what will. After a hugely successful Christmas season in 2023 the boys had to return to audiences across the UK for a second year of their Good Times Christmas Tour and I am so glad they did. This was my very first time seeing them live in action and at one of my favourite London music venues, the O2 Indigo, I promise you it certainly won’t be my last. If you are looking to literally have the time of your life then look no further, this is the ticket for you.

The Overtones dazzled us all with their showcase of originals to smashing out the classic’s from the 60s and 70s, plus getting us all in the festive spirit with those Christmas hits. The Overtones are known for their seamless harmonies which were typically flawless on Saturday night. Something I wasn’t expecting though was their level of dance skills and their synchronised choreography throughout the entire show. These moves complimented their whole set and I was amazed at how slick they each were. Their physical strength and vocal control is quite profound, as a singer and a dancer myself I know just how hard it is to master this combination and these guys seemed to have this down to a T. It is clear to see how hard they have all worked to bring such a high energy spectacle to audiences across the UK.

Darren, Jay, Mark and Mike are clearly four genuinely kindhearted souls, as well as dazzling us all with their performance they also shared some personal stories that were so engaging and drew the audience in. They personally inspired me to keep on chasing my dreams and reminded us all that with hard work and dedication and never letting go of that self belief anything is possible.

I took my Mum to see them on Saturday and we were both on our feet with the rest of the audience singing and dancing the night away. This was 100 percent a highlight of my whole year and a moment I will never forget. Dancing to the hits I grew up on that my Dad would always play on the records at our family parties and seeing my Mum live her best life to the Overtones as they stunningly harmonised these classics from her era was something truly magical. I could see how she was taken back to her party days as a teenager in the 60’s dancing at the Mojo in Sheffield to all these chart toppers. That’s the thing about the classics they never grow old and they bring friends, family and strangers together. The Overtones have given us all a space to reminisce, live our best lives and also take in some amazing brand new material of their own.

A few artistic highlights for me were towards the end of the show where the remarkable 4 performed a stunning stripped back version of the well known song 500 Miles by The Proclaimers, this was a gorgeous rendition and was matched perfectly with the story they shared with us about their journey thus far. One of my favourites to dance to was I’m still standing by Elton John and lastly their magical festive original, Christmas everyday which they released last year for an amazing cause, Diabetes UK.

The only one thing I would have liked to see and maybe the boys will add to their future tours is backing dancers. I know this is an additional cost and why many acts out there don’t have backing dancers these days. For me personally it is what sets the stage on fire. These boys brought that flame themselves with their unbelievable vocal ability, dance skills and charisma not forgetting their impeccable dress, lighting and their Hollywood red curtain back drop, every detail was perfectly executed. The whole show was a real spectacle. I just feel backing dancers would bring an additional layer to the magic they have already created and make for a powerful extension of their artistry and finesse.

I have to mention the remarkable Tom Ball, Tom is currently on tour with the Overtones as their support act. He is the perfect match to warm up the Overtones audience. Tom reached number 5 on the official charts independent albums this year it was clear to see why. Tom’s vocal ability is extraordinary and I look forward to streaming his music and potentially catching him live again on his 35 day tour in 2025 as he celebrates songs from stage and screen.

These guys have it all from their perfect harmonies and synchronised choreography to their individual vocal power moments and the fun filled energy that they brought to the entire audience. I’m looking forward to checking out their brand new album next year. These guys are the real deal and know how to take care of their fans. It was clear to see how immensely grateful they were to every single one of us who had come down to party with them on Saturday. Thank you so much boys for giving it your all and for being a true highlight of our year this 2024 Christmas season.

This is a show like no other and one of the best party nights out you’ll ever have with your friends and family. They still have a few days left of this years Christmas tour so get yourself down to Ipswich, Cambridge, Stoke or Birmingham for a night you’ll always cherish.

REVIEW: Scottish Chamber Orchestra: Prokofiev and Brahms

Published on by Claire McArthurLeave a comment

Rating: 5 out of 5.

A sparkling evening between light and darkness

The Scottish Chamber Orchestra and Edinburgh’s Usher Hall are always an excellent combination, and this concert was no exception. Split in two – the first half was devoted to Sergei Prokofiev (Symphony No 1 in D major, Op 2, followed by Violin Concerto No 2, Op 63), and the second half to Johannes Brahms and his Symphony No 2, Op 73. 

Before the arrival of the conductor Maxim Emelyanychev, we opened with some charming remarks from cellist Eric de Wit, who was celebrating being with the orchestra for 15 years. He spoke touchingly of his colleagues, of what we were about to hear of Prokofiev, and of his fondness for the Brahms second half and the nostalgia for his early days with the SCO. 

Onward into Prokofiev’s Symphony No 1, and the playful strings of the orchestra take the lead in the Allegro, through the emphatic swells of the second movement Larghetto, the rousing Gavotta, and a bold Finale. Tonight’s theme of light and dark, with one being unable to exist without the other, was evident throughout – with the frequent changes in pace and volume, and various orchestra sections taking the lead at different times, before coming together as a swaggeringly harmonious unit, energetically conducted by Emelyanychev. The whirling Finale was a particular favourite here, big and bold, and a fitting conclusion to the compact Symphony.

Next, we were joined on stage by violinist Aylen Pritchin for Violin Concerto No 2, a darker, richer entity, with frenetic energy and shadowy, twisting elements. Whilst the orchestra were wonderfully proficient in these evocative movements, the star quality of Aylen was mesmerising, performing with skill and panache (and notably, no sheet music) throughout the Concerto. Dreamy and sinister elements went hand-in-hand, with trepidatious timpani building suspense. Following Aylen’s well-deserved ovation, we were treated to a skilled solo performance, where it almost felt like he was playing multiple instruments at once, such was the force of sound produced, and the audience kept in rapt attention. The orchestra looked on, and it was very touching to see Maxim watching too, perched up in the seats behind the orchestra. 

After the interval to take a breath and recover, we were back into brighter, sunnier, climes, with Brahms. The clever programming here meant that the brighter movement here was not anticlimactic after the dramatic violin concerto, but served as a reflection of the first Symphony, thus retaining the balance of the concert, and finishing with aplomb. Whilst the entire orchestra deserve plaudits, George Strivens on horn was particularly dazzling. Cellist Su-a Lee’s gloriously sequinned trousers also deserve a mention, and added a festive sparkle to the proceedings.

Where there might have been darkness through the concert, only lightness remained as evidenced in the final applause.  It was particularly lovely to see the individual ovations for various sections, in addition to the whole orchestra, and the volume of applause befitting the performance we’d just witnessed. It is also worth noting the effort that the SCO put into their insightful and accessible programmes, which is a real testament to their belief that access to world-class music is not a luxury, but something everyone should have an opportunity to participate in. It’s also worth seeking out their Spotify playlists, perfect for reliving your favourite concert moments. With the sparkling form on show that evening, I can’t wait to see what 2025 brings for the SCO. 

REVIEW: Aurora Orchestra: The Wolf, the Duck and the Mouse

Published on by nancynewberry1 Comment

Rating: 2.5 out of 5.

The concept of opening orchestral music to younger audiences is great, but often overly complex execution reduced the accessibility

The Wolf, the Duck and the Mouse is a sweet, slightly quirky children’s story about a mouse and a duck that live in a wolf’s stomach. The story by Mac Barnett and the wonderful illustrator Jon Klassen is brought to stage by the Aurora orchestra and composer Martin Suckling.

Giving children the opportunity to learn about orchestral music is so important and the format of using known storybooks gives the opportunity to highlight the joy of music. It is clear that the Aurora orchestra, whose mission is to open up orchestral music to everyone, and Laura Stubbs, the narrator of this performance, have undertaken their Kodaly or Orff training to cleverly use sounds and interactivity to capture children’s imagination, however, I am unsure if this was ever truly tested with children. 

The performance started with the attention grabbing “sounds of the forest.” Firstly, they asked the audience to stand and silently act out leaves falling to the ground, perceptively leveraging the silence to create anticipation and suspense. Next, the audience was split into sections and asked to replicate the sounds of different instruments by clapping or tapping their knees. The issue with this exercise was the timings were quite complex and because Stubbs was acting the activity out rather than explaining it, it wasn’t initially clear that  different sections of the audience were doing different actions. Although there was a lead for each section on stage, it wasn’t an obvious rhythm which meant the satisfying cohesion of these types of clap along exercises was not achieved across the audience. 

A number of similar interactive audience elements were introduced at different stages of the performance, which is important for a younger audience. However, each one had the similar issue that it was a bit too challenging for the target age group. The dance moves were rhythmically challenging and when asked to sing different parts of a chord, the chosen chord was quite discordant. Whilst this was in keeping with the tone of the music, it meant that, again, the audience participation didn’t easily make sense for ages 4-8, thus feeling more frustrating than fun. 

Suckling’s composition cleverly captured the different characters in the story. The mouse being portrayed by a piccolo, the duck by an oboe and the wolf by a trombone. Each instrumentalist dressed in line with their character to help the imagination on these points. The conversational sections between the piccolo and the oboe personified the story well. The talent in the orchestra of being able to act along to the narration whilst playing instruments was fantastic. At a later point in the story a bassoon was used for the hunter, and the performer stalking around the stage pretending his instrument was a gun and then going on to play his accompanying melody was very enjoyable. 

Whilst the composition emulated the quirky storyline well, I felt that more could have been done to draw in the audience to the fact this was a musical accompaniment of a story. The show dived straight into the story telling without acknowledging the excitement of the ensemble to entertain the audience. By not taking time to acknowledge the orchestra at the beginning, other than a cursory introduction of the conductor, the music felt like an afterthought instead of a focal point. At the end of the performance Stubbs introduced each member of the orchestra and if time had been taken to do this at the start, it would have shifted the tone, and helped to draw the audience in to the piece of music. 

The additional element to this performance was the projection of Klass’s illustrations on a screen above the stage. It felt odd that there were only about three of these images across the performance at sporadic points, rather than having them throughout. The illustrations are so interesting that it felt the audience were short changed by not having them throughout the performance. Again, because of the younger nature of the audience, visual prompts alongside the other elements are so important, and it felt like these were really missing.

Overall, it was clear that all of the performers were talented and wanted to engage the younger audience. However, the complex nature of the participation, the challenging music that lacked explanation, and the missing visuals meant it didn’t quite achieve what it set out to do. Simplifying and slowing down the performance would do a lot to truly show children how brilliant orchestral music can be. 

In Conversation with the London Community Gospel Choir

Published on by Tabitha JamesLeave a comment

Get ready to celebrate the festive season with the London Community Gospel Choir. Expect Christmas tunes and gospel classics, plus a host of special guests. We sat down with the team and asked them some questions ahead of their show on 20th December at Royal Albert Hall.

The London Community Gospel Choir has become synonymous with uplifting and powerful performances. What can audiences expect from this year’s festive concert that makes it stand out from previous seasons?

So every year it’s our thing to invite special artists to the stage, usually someone everyone knows and loves, A list celebs you know, but this year we wanted to show off all the great talent we have worked with, recorded and performed with this year. Some really special talent and friends of LCGC. It’s going to be a vocal masterclass, emotional, musical and the most uplifting way to celebrate Christmas this year. 

With the addition of The Heritage Orchestra and the guidance of conductor Tom Richards, how does this collaboration enhance the overall experience of your holiday performances?

All you have to do is listen to the layers, texture and spirit the orchestra bring to the show. They are the wins on the Angel bringing life to the arrangements. 

You’ll be sharing the stage with special guests like Clinton Jordan, Mo Brandis, and Katie Coleman. How do these collaborations influence the energy and diversity of your show?

The energy from all of these artists will no doubt fill the room. They are all unique and have something special in their style and character. Mo is from Germany but has spent some time relocating across the world and you can hear the experience in his music. Very soulful and it’s all feel good vibes. Katie, Essex through and through with such a powerful voice. I can’t wait to hear her vocals bounce off the walls. Clinton who is an ex LCGC member has been with us since he was a teenager, true home grown talent that has gone on to do amazing things in his career. His style reminds me of Stevie, so skilful and soulful. It’ll be the best version of this show yet. 

What is your process for selecting the Christmas tunes and gospel classics that will be performed, and how do you ensure a balance between traditional favorites and fresh arrangements?

The plan this year is to get everyone up and dancing from the go. We usually warm the audience up and keep the energy until further down the set list but this year is different. We want to celebrate. all the songs and arrangements will reflect this mixed with some of our favourite singalong traditional Christmas songs. 

What message or feeling do you hope audiences take home after experiencing a night filled with the soulful harmonies of the London Community Gospel Choir during the festive season?

We want to remind everyone how sweet it is to be loved and love, encourage our audience to embrace the human touch and spirit that the festive season brings. Life is beautiful with us all in it living in unity and peace. Enjoy the music, the atmosphere and message that Gospel brings and let it be the soundtrack for your days to come.

Get your tickets here for this special Christmas concert here: https://www.royalalberthall.com/tickets/events/2024/london-community-gospel-choir-at-christmas/