choral music
alexandra.coghlan
Monteverdi’s 1610 Vespers are something of a musical enigma. Neither their true pitch nor order of movements, their origins, nor even whether they were intended as a complete sequence is known for certain, prompting scholar Denis Arnold to conclude that, “to perform it is to court disaster”. Such a grim augury however has done little to discourage musicians, and in this, their 400th anniversary year, Monteverdi’s Vespers have been ubiquitous. Crowning a year of performances across the country, John Eliot Gardiner and the Monteverdi Choir – pioneers of the work, and the first ensemble to Read more ...
Ismene Brown
We should lie down to listen to music much more often. Gravity pulls away the thought and frown lines, smoothes the intellectual tracks and folds on the face, while you feel the blood in your head pumping lushly to dreamier parts of your brain. Joanna MacGregor’s If-A-Tree festival at the Royal Opera House this weekend may well be hitting some fey bases along its way, but Earthrise: The Lying Down Concert - was a spectacularly enjoyable opening event.The Floral Hall became, aurally and visually, something more of an Arboricultural Hall, dark-lit, a black carpet throughout on which hundreds of Read more ...
alexandra.coghlan
Every year there are a couple of Proms that have a haphazard look about them, as if a fire had suddenly broken out in the BBC archives, and the programming committee grabbed whatever came to hand – a piano quartet, a couple of choral odes and a concerto for mandolin – and made for freedom. Though there had evidently once been a clear architecture to Sunday’s concert by the BBC Symphony Chorus and friends, in practice things were somewhat confused; endless personnel shiftings and a stuffed-to-bursting programme blunted the impact of music which demanded altogether simpler treatment.Bookending Read more ...
stephen.walsh
The Three Choirs Festival is with us again, for the 283rd year – almost as many, it seems, as The Mousetrap: this year we are in Gloucester. Nowadays, though, this great festival is no longer imprisoned, Barchester-like, in the cathedral close, but ranges all over Gloucester city and Gloucestershire, with concerts also in Tewkesbury, Cheltenham, Highnam and Painswick; and its repertoire is likewise much broader than of yore, with plenty of new music, young artists, children’s concerts, and even, quaintly, a pipe and tabor workshop, to go with the familiar Elgar, Finzi, Vaughan Williams and Read more ...
Jasper Rees
I once sat in a rehearsal room in a brick-box theatre on the outskirts of Cape Town. The cast was warming up for Carmen. First, the choreographer put 40 mostly black South African singers through a gruelling physical warm-up. Opera singers are rarely slender, and they were all in a muck sweat by the time the vocal coach stepped forward to lead them through a vocal warm-up. But when they opened their mouths it was as if someone has strapped you to a chair in a wind tunnel. The noise was transforming, majestic, all-powerful. So I knew roughly what sound to expect in Singing for Life, a Read more ...
Jasper Rees
We love Gareth Malone, don’t we? We are big fans of the Pied Piper of primetime. And so we should be. The youth of today seem impressively eager to down tools, put away childish things like knives and drugs and safe-cracking equipment, and follow this slightly weedy and totally uncool choirmaster out onto the concert platform. Our glorious new coalition should be using him to tackle crime. No sooner does he move into a tough working-class ‘hood wielding nothing more than a Michael Jackson songbook than the figures for shootings, muggings and moochings about on street corners drop through the Read more ...
fisun.guner
Lift music is given a conceptual twist by former Turner Prize-winning artist Martin Creed this week. As part of the Southbank’s Chorus! festival, Creed has recreated his Work No. 409 especially for the Royal Festival Hall’s glass lift: as visitors go up and down the six-level lift, their ascent and descent will be charted by the rising or falling pitch of professional choristers Voicelab.Creed’s voice installation is one of a number of free events and performances that are taking place to celebrate two years of choral activity in the RFH’s foyers. The public will be able to join choral clubs Read more ...
David Nice
As one who came to know the B minor Mass singing in a clogged, 150-strong choir, I welcomed the authentic-movement rush in the 1980s to whittle it down to What Bach Might Have Wanted (if, indeed, he had lived to hear his ideal religious compendium performed in its entirety). For a while, it shrivelled to anorexic dimensions in the shape of Joshua Rifkin's one-voice-per-choral-line hypothesis. Last night, though, showed how far we have come: a well-tempered Mass from Christophers' ensemble, with thankfully more than 16 in the chorus (26, to be precise), the occasional unexpected murk Read more ...
Jasper Rees
The career of Simon Russell Beale (b. 1961) needs little introduction. It took wing with the Royal Shakespeare Company but, give or take the odd foray into other buildings, including work with Sam Mendes at the Donmar Warehouse and more recently with the Bridge Project, he has made the National Theatre his home. Of all the Hamlets seen in the past 20 years, his seems to be the one that more than any remains unforgettable in the collective memory. Meanwhile, anyone who saw him as a camp King Arthur in Spamalot may not have guessed that long before Russell Beale took acting seriously, he took Read more ...
jonathan.wikeley
In taking on a new name last year, Retrospect Ensemble and director Matthew Halls were aiming to get rid of the “early music” label that had been stapled on to them in their previous incarnation as the King’s Consort. When I spoke to Halls last April he was positively a-tremble at the thought of putting on Brahms and Schumann with his newly rebranded group. If you think that sounds like what a lot of these so-called “early music” conductors have been doing, you’re right – it’s very much the done thing to have an illicit romp on the leather sofa of romanticism. And why not? If it works it’s Read more ...
paul.bradshaw
As we gathered in St John’s Church in Waterloo last Thursday to hear The London Lucumi Choir perform, on the same day people in their thousands were making the pilgrimage to the Church of San Lazaro in Cuba. In that church, just outside Havana, pilgrims walk or sometime crawl the few miles to the Church, often bearing gifts of rum and cigars as penitence. It is a sign of the times that songs to the orishas – the deities that populate the Yoruba religious pantheon, who all have their own distinctive, trance-inducing rhythms – can also be heard in a Christian church in London. Our presence Read more ...
jonathan.wikeley
There are so many ways a dramatic production of Messiah can go wrong it is almost unbearable to think about it. Certainly, there was a palpable buzz of nervousness in the Coliseum about last night’s audience as they took their seats. Did English National Opera really think it could pull it off? Could it avoid the pitfalls into triteness that surely lurk at every corner? How would the chorus manage it? And please God, let it be better than Glyndebourne’s 2007 St Matthew Passion.How do you go about staging Messiah anyway? It hardly provides a rip-roaring narrative stream, and there’s a danger Read more ...