Bridgewater Hall, Manchester, September 22 2018

BBC Philharmonic with John Storgårds

Respighi – Fountains of Rome
Walton – Cello Concerto
Sibelius – Symphony No. 2

I was thoroughly looking forward to this concert, especially to hear cellist Truls Mørk, but there was a last minute change of soloist due to ‘unforeseen circumstances’ and so the German cellist Alban Gerhardt stepped up to the plate, a new name to me.

What a superb looking programme! There is actually an Italian connection here - Respighi was, er, Italian, whilst the Walton was written during a stay in Ischia and the Sibelius was inspired and partly written in an Italian town. But the more important link is the tonal shading of these works. When diligently performed, they should all be hugely evocative works, of wondrous colour and atmosphere …

We started with the Respighi which sadly to my ears was performed in ‘rehearsal mode’. It felt very flat from the off and even when the music picked up a gear, some of the orchestra were still left in 1st. I neither felt an appropriate cohesion in the playing nor great inspiration from the podium. Looking around, I also didn’t sense an innate passion for the work on the stage and the very gentle vibrato from the strings felt a little lazy and uninvolving. I wanted more. I needed to be transported to a different world but instead was moved to look at my watch. It was very much going through the motions and it turned out the audience wasn’t particularly enthused either, as I noted a very lukewarm applause at the end. Disappointing.

I was now desperate for the Walton to really come alive and show its profound sensual pleasures. I was minded of the performance by Laura van der Heijden in the final of Young Musician 2012 - is it really that long ago? She managed to portray the swirling emotions of this work with such stunning depth and passion; see below. But again, disappointment was to prevail from the very start. For the first 10 minutes, and at other times, there was a distinct balance issue. I was sitting in row G but was really struggling to follow the cello above the orchestra. It didn't help that throughout the work, whilst there was an honest lyricism about the performance, the tone was rather too light. Even during the solo sections I would have preferred greater depth of tone. Technically good and for the most part played with very secure intonation, more importantly I wasn't taken on a journey deep into the emotional core of the music. It needed someone prepared to be more spontaneous and a little 'on the edge' … I also didn’t feel the greatest support was offered, as though nobody was quite convinced this was going to be something special.

Naturally I feared the worst for the Sibelius, but how wrong I was! Arguably the brightest jewel of Sibelius’s concertos and the most popular along with the 5th, this is a work whose charms should have you enthralled from start to finish.  I’m delighted to say it really did. The orchestra decided to play, and was taut and alert right from bar 1 to the end; the tension very rarely slipped. The trademark Sibelius massed string tone was suitably thrilling whilst the brass was in splendid form, with some very stirring flourishes. With such nobility I could be easily converted to the cause of Finnish nationalism, as we enjoyed the most miraculous climax in the final movement with its swirling vortices of deeply hypnotic repeated bass lines quite overwhelming. The orchestra surely showed what it can do with bit between teeth under relentlessly heroic leadership and inspiration from the Finn, John Storgårds; you could tell that this music really meant something to him.  And what applause they enjoyed! The audience knew that they had heard something rather special.

Did anything spoil this performance? Well just one little thing. From start to finish, and perceptible during every quieter passage, was the shrill high-pitched wining of a rogue hearing aid that had been left switched on but unattended! Never mind, just something else to remember the performance by.

Royal Philharmonic Orchestra, Cadogan Hall, 26 September 2018

Beethoven - Leonore Overture No. 3
Bruch - Violin Concerto No. 1
Brahms - Symphony No. 2

Barry Wordsworth, conductor
Esther Yoo, violin (RPO Artist-in-Residence 2018)

What a way to open the season this was!
And in Esther Yoo, a (super)star is born?

Conductor Barry Wordsworth gave us a warm welcome with his brief introduction, which I thought was a nice touch. And in this curtain raiser, he set the bar exceptionally high with an entirely cohesive and compelling orchestral performance, at the heart of which was a deeply virtuosic solo performance.

The Leonore Overture was a new work for me which I thoroughly enjoyed. In terms of composition, what impressed me most was the sheer breadth of emotions on display. These were all brought fully to the fore by an orchestra who were on song right from the off, as Barry Wordsworth shaped the music with deft tonal shading and some scintillating dynamics. Particular praise is due to the principal flute (notably superb throughout the evening) and woodwind - the charming ‘call and answer’ between the two was so delicately handled, the theme then picked up by the violins. A fine way to lead us into the main event.

Esther Yoo is currently the 'artist in residence' at Cadogan Hall and on on this evidence, a shrewd acquisition I can say. I had endured two disappointing readings of the Bruch previously from two prominent soloists but the best compliment I can give to Ms Yoo is that her performance really said everything that needs to be said about this work. She played with a profound depth and a physical attack that reminded me very much of the legendary Kyung Wha Chung - they certainly share far more in common than their nationality. Here was a soloist playing for her life - every note was played with total and utter commitment. But the sheer physicality of her performance reminded me of Nicola Benedetti at times. Ms Yoo however appears to have a trademark 'flourish' in which to mark the end of the most potent passages she unleashes her bow high into the air whilst arching her back in a highly gymnastic style!

At times the support Ms Yoo received from the orchestra was utterly thrilling as well. She was fortunate in this and also enjoying such an attentive and supportive conductor; indeed Mr Wordsworth impressed me deeply throughout the evening. The audience afforded Ms Yoo a very generous reception after which we were treated to an encore of a Korean folk song. What a clever choice this turned out to be, as it started in a disarmingly gentle fashion and much to my surprise gradually metamorphosed into a heroic and virtuosic display.

We all then needed to catch our breath and Brahms 2 was just the job. The 2nd movement I found especially touching with the strings revelling in its warmly lyrical themes. Also memorable was the cello tone that opened the third and the woodwind of the fourth. The bold finale was strikingly full blooded.

I'm sure you would have loved it Martin!  

The Sixteen Choir & Orchestra
Harry Christophers

Bridgewater Hall, Manchester

23 November 2018 

Vivaldi Sinfonia from La Dorilla RV 709 (5’)
Handel Dixit Dominus (30’)
Handel Overture, Grand Chorus: The Lord Our Enemy Has Slain from Esther (16’)
Vivaldi Gloria in D major RV 589 (25’)

This was to be a game of two halves as they say in football parlance. Bridgewater Hall was busy enough but still plenty of seats left for The Sixteen who I understand are fairly regular visitors to Manchester.

The first thing I noted about the orchestra was that they were all playing period instruments. Nice. But when the Vivaldi got going I felt the somewhat softened sound that they were producing was struggling to really fill this auditorium - whilst much is made of the acoustics there, it is nonetheless a very big hall indeed, with a very high ceiling. The other issue I had was that I get a bit irritated when orchestras treat their opening work as a 'warm up'. It was all a bit too sedate, like a walk in a Venetian park on a sunny day, with lots of jolly smiles and knowing looks exchanged between the musicians. I prefer my baroque to have a bit more bite and zest about it,  but nothing to get too worked up about over 5 minutes!

And so to Dixit Dominus. This sadly suffered in the opening movements. Firstly, the combined sound of voices and orchestra was distinctly mushy. It was difficult to follow individual parts and almost sounded like notes were strangely blending into one another. I wasn't sure whether the acoustic had something to do with it but two things were for sure - voices and orchestra were not quite on the same page yet and there were clear balance issues at times. Also to be frank the singing had not hit its stride yet both in terms of solos and ensemble. It was all a little messy. But as the work progressed and became more serious in content, the artists all grew in confidence; I very much enjoyed the last few movements, whilst noting that the male voices tended to be more successful, both artistically and in terms of the sheer projection required in this hall.

After some half-time refreshment I was hoping to be rewarded by a slightly more thrilling second half and I'm delighted to say that I heard an immediate difference. Both singers and orchestra went about their music with much more cutting edge - one could see in their faces that the earnest business of the evening had begun. And what a pleasure it was to see the addition of both baroque bassoon and oboe to the orchestra! Both supremely musical performers with the oboe in particular having a host of chances to impress with solos.

As much as I enjoyed the strident and confident Handel, it was the immortal Gloria that will linger long in the memory. Whilst I could have wished for stronger sopranos at times, everyone was 'on it' from the start and fully committed to this joyous celebration. I had completely forgotten about any questions about the acoustics and was thoroughly engrossed in the performance. It was entirely obvious that time had been spent in the rehearsal room with Mr Christophers finessing the phrasing of certain vocal passages and overall there was a wonderful cohesion to the sound. Not only did these period instruments have the guts to fill the hall, one could easily follow individual instruments in the 'soundstage'. For me the standout performance was for sur e  the countertenor whose deftly handled solo was most moving and beguiling, especially with the exquisitely expressive accompaniment of the plaintive solo cello. This combination I found utterly irresistible.

I'm glad you enjoyed it, Jules. I will listen to more of his performances for sure.

Funny you mention that Paul - my mother heard him play the Elgar in Manchester not so long ago.
Was very impressed with his playing but said there was often a problem with the orchestral balance which rather spoilt it for her.

I would look forward to the Bach when it surely arrives.

My cello "first love" was du Pré's Elgar and I now tend to measure everything against the feeling that that gave/gives me.

Chaps, look what I’ve found - the ‘Midwinter’ encore was recently released as a single.
Enjoy. I think his arrangement is quite wonderful; it also shows off both his musicality and technique.