This delightful and entertaining concert at Leeds Town Hall begins with Kern’s lively Overture for Showboat. It skillfully takes the themes of the show (largely romantic) and threads them in an alluring medley. Already the Airedale Symphony Orchestra are proving their high status. This is followed by another Showboat excerpt, namely Ol’ Man River featuring baritone Neil Balfour and the Leeds Philharmonic Chorus. While this is a splendid start, Balfour’s vocals do not manage to shine out above the orchestra as they clearly should.
The full chorus and orchestra really pull all their weight for Aaron Copeland’s The Promise of Living from the 1954 opera The Tender Land. For this the chorus really shine brightly and carry the uplifting themes exquisitely. But for me the highlight of the show has to be Agnus Dei, the choral adaptation of Samuel Barber’s Adagio for Strings. Rarely performed in this form Leeds Phil really prove their worth with exquisite and exacting tone and pitch.
Then just when you think that the mood cannot get any higher on comes soprano Sarah Power. She is simply gorgeous with the soaring notes of Korngold’s Marietta’s Aria (from Die tote Stadt) held perfectly. The Chorus continue the beatific mood with Randall Thompson’s Choose something like a Star which is a poetic masterpiece.
A more sustained piece comes in the form of Gershwin’s wonderful An American in Paris. It comes replete with three saxophonists, solo trumpet and, yes, four car horns! It has a metropolitan feel throughout and can be tempestuous with pounding percussion, or softer with sublime strings. The multiple false endings really keeps the audience on their toes. And the end of the first half is Bernstein’s witty Make our Garden grow from Candide.
After the interval we have another Broadway smash, the Suite from South Pacific which the orchestra perform with great confidence and aplomb. But the real meat of the evening comes in the form of Gershwin’s Porgy & Bess in an arrangement by Robert Russell. Power belts out a sonorous Summertime with exquisite beauty, we are really hanging in her every word and blends perfectly with the orchestra.
Despite my earlier reservations about Balfour one has to admit his voice is a treasure, just not suited to the role. Leeds Phil really excel themselves in the second half with the ability to be both boldly brash and subtly subdued. There are just so many fabulous numbers we are really spoiled for choice to name the concert version’s peak. But I will plump for It ain’t necessarily so for the highlight, as much for it’s irreverent lyrics as the catchy tune.
A final note must go to the mastery of conductor John Anderson with a match made in heaven between Airedale Symphony Orchestra and Leeds Philharmonic Chorus that is simply a very fine feast for the ears.
Reviewed by Rich Jevons at Leeds Town Hall on 29 February 2020.
The annual New Year festivities by Orchestra of Opera North kick off with the bombastic overture to Dvořák’s Carnival. Conductor Paul Daniel really brings out the best for this rousing and invigorating piece.
Korngold’s Straussiana pays homage to Johann Strauss II with some sublime strings and conjuring up sparkling chandeliers above a dance floor of an exquisitely dressed audience. Tenor Gavan Ring brings great passion to Franz Lehár’s Gern hab’ ich die Frau’n geküβt from Paganini. The libretto sees the protagonist as rather decadent and wild but still does worship the fairer sex. Ring has an exquisite voice and really sets the piece alight.
Ring then turns his supreme talents to Paolo Tosti’s L’alba separa dall luce l’ombra which expresses more of a deathwish despite the poetic description of the world as it appears to be.
But of course we all wait with eager anticipation for the Strauss polkas and Johann II doesn’t disappoint with the lively and flamboyant Tritsch-Tratsch (Chit-Chat or Tittle Tattle). Continuing with Strauss II’s work we have Frühlingstimmen (Voices of Spring) which is a playful and cheeky composition. The last of the Strauss II trilogy is Elektrophor which reflects the Strauss family’s interest in electricity with a lively pace.
After the interval comes another trilogy of Johann Strauss II’s wonderful work: there is the spritely overture to The Gypsy Baron; a taste of Hungary in Éljen a Magyar! (Long Live the Magyar!); and Vergnügungszug – Polka Schnell (Pleasure Train Polka), a tribute to Austria’s expanding railways.
Ring returns to belt out Franz Lehár’s Dein ist mein ganzes Herz (You are my heart’s delight) from Das Land des Lächelns. It is a touching love ballad with a real sense of romantic reverie. Another real delight is Ernesto de Curtis’ Torna a Surriento, half a tribute to the beauty of Sorrento, half a paean of unrequited love.
Perhaps the best known work of the concert was the Pizzicato Polka, a collaboration between Johann Strauss II and his younger brother Josef. It is a dainty delicate piece that is a pure gift for the strings. In contrast to this polka follows Unter Donner und Blitz (Amid Thunder and Lightning) which gives the percussion in particular a chance to display their genius skills.
The evening was the perfect tonic for our hopes and fears for the new decade and also encourages us to book early for a fantastic Leeds International Concert Season.
Reviewed by Rich Jevons at Leeds Town Hall on 29 December 2019.
Rich Jevons talks to St Peters Singers Music Director Simon Lindley about the Good Friday concert of Bach’s St John’s Passion at Leeds Minster.
RJ: Firstly, for those not already familiar, could you tell us about St Peters Singers and your role with them?
SL: SPS is a choir around forty voices strong founded in 1977 by Harry Fearnley who appointed Dr Simon Lindley as Music Director – a position he still holds. Since formation the Choir has held weekly rehearsals at Leeds Minster (formerly Leeds Parish Church).
What particularly appeals to you about Bach’s St John’s Passion?
The vivid portrayal of Christ’s last week on earth beginning with the procession into Jerusalem on the morning of the first Palm Sunday and taking us through to His death on the Cross of Calvary and subsequent burial. Bach’s music is hall-marked by a wonderful use of drama and pathos; traditional Lutheran Chorale Hymns heighten the experience and beautiful vocal solos adorn the musical textures. Major male roles are taken by a tenor (described as the Evangelist or narrator) and a Bass who sings the words of Christ.
Could you place it in the context of Bach’s life and work?
Bach had just moved to Leipzig and the important post of Kantor or Director of Music. He was to hold the office for 27 years until his death in 1750. The St John Passion of 1723 was the first of its creator’s major choral works – to be followed by the St Matthew Passion in 1729 with the glorious Christmas Oratorio and immortal Mass in B minor following much later.
How was it received in its day?
The work formed the major part of the main church service on Good Friday so it would have been received with a degree of devotional response and much respect.
How does the work tell the Passion narrative?
By means of narrative recitative, choral involvement and commentary by means of reflective vocal solos.
Is the libretto Biblically based?
Most certainly – being based almost exclusively on the Gospel of St John. For wholly dramatic ends, the composer sets a couple of verses towards the end of the work representational of the tending in Twain of the Veil of the Temple from the top to the bottom – these verses come from St Matthew’s gospel account rather than St John’s.
What place does sacred music have in a secular world?
Bach used the same elements of Baroque musical style whether setting sacred or secular texts. The strength of the sacred is hugely significant.
Do you have to be a Christian to appreciate its power?
The power is of universal appeal, whether you are a believer or not.
What would you like your audience to take away with them?
The sense of humanity shot through with beauty and pathos shown throughout by music and words alike.
St Peters Singers perform St John’s Passion on 19 April 2019 at Leeds Minster. See St Peters website
Coldplay’s new release further marks their significance as one of the greatest British pop artists of our time. Tracks like Midnight use novel and absorbing digital effects on the vocal tracks alongside a hypnotic bass and superb sequencer segments.
Magic is simple but instantly catchy and is a paean to fidelity and the preciousness of love. The flipside of love is dealt with too though on Another’s Arms, a ballad of jealousy, loneliness and longing.
Oceans is also a bittersweet love song, plaintive and melancholic with a fine guitar and synthesiser backing. While Always in My Head again deals with absence and memory and check out the second single, A Sky Full of Stars, full of wonder at the cosmos. Simply their best yet.
Damon Albarn’s debut solo album, Everyday Robots, is a reflective and introspective exploration of the artist’s inner self. It combines his interest in the esoteric, mentioning ‘the standing stones’ and the ‘Green Man’, with his mastery of the latest technology, always used lovingly, by no means tech for tech’s sake.
A case in point is Aitor Throup’s video for the title track where Throup aims to use the symbols metaphors and visual systems that could get to the core of what Albarn was trying to get across and at the same time focus on him as an individual.
There is an ancient aspect to this and a connection to nature, whether it be the timeless essence of the universe, mother Earth or pagan rituals. But also the robotic, with the video creating a digital Albarn using software and facial reconstruction techniques.
One minute it is just a skull, then gradually layers of virtual ‘skin’ are applied, appropriate given the cerebral nature of Everyday Robots and the idea of getting beneath the surface too.
Matt Cronin has edited a video of Albarn’s tablet footage for the lilting melancholy tune that is Lonely Press Play. Somehow you cannot ever imagine Albarn being lonely, especially given the number of his collaborators, but anyhow this is spiked by the idea that you could lift out of this mood with ‘click’.
More akin to his Gorillaz work is Heavy Seas of Love, as ever beautifully produced and here in a more optimistic mood but still esoteric though: ‘radiance is in you’ certainly sounds rather Rosicrucian.
Mr Tembo is a funky catchy number inspired by a baby elephant Albarn met in Mkomazi, Tanzania and features African backing accompaniment. Similarly, You & Me has what sounds like an African steel drum and has a wonderful flow that drifts on with some great guitar work. It has an end-of-the-days feel ‘when the twilight comes’ and ‘it all goes round again’, the autumn of life’s cycle. There is a verse with a drugs reference that much of the press have picked up on but as Albarn told the Guardian reporter ‘Do we have to there?’ which of course they did!
I’m not sure if The Selfish Giant, which starts with the line ‘Celebrate the passing drugs’ may deal with this too, an unconscious fear of what he may have lost if the habit took over. ‘Freedom taking cocaine’ is mentioned in Photographs, a track which conjures up wild fantastic cityscapes.
Hostiles continues the spiritual quest, ‘trying to find the key..’ and magically ‘fighting off the hostiles’ for protection.
The most nostalgic track is Hollow Ponds which refers to the heat wave of 1976 when he would have been an adolescent, and then when ‘half my road was now a motorway’ in 1991 and other significant events and dates.
While the slowest and most pared down track is The History of a Cheating Heart, anad again nostalgic: ‘I always go back to the moment / I fear the most’.
So this is an exceptional album that you can explore and have adventures with your self.