Iryna Ilnytska: 'Dido & Aeneas' Mary Harris Chapel Saturday 25 January 2025 (and news of 'Orfeo ed Euridice' St Stephen's Church Saturday 1 February)

DIDO & AENEAS
Mary Harris Memorial Chapel
Saturday 25 January 2025
Lee Andraea is Dido's husband AENEAS
Kara Malton is Dido's sister BELINDA
Iryna Ilnytska is QUEEN DIDO OF CARTHAGE

Ukrainian operatic mezzosoprano Iryna Ilnytska and a group of like-minded musical friends have been putting on regular short concerts of operatic highlights for some years now. The theme of love often features. (Their collection 'Aspects of Love' will be presented at a special lunchtime concert at Exeter Cathedral on Valentine's Day (15 February) this year.)

For ten years now, Iryna has also joined Jane Anderson-Brown and the 'Red Earth Opera' company for full opera productions. She was Idomenea in 'Idamante' and Lola in 'Cavalleria Rusticana', and more recently joined Jane in directing Gaetano Donizetti's 'Elisir d'Amore'. Conversely singers from Red Earth have joined many of Iryna's recitals.

In 2024 work began on an opera directed by Iryna, with Nick Lawrence from Somerset Opera. Jane Anderson-Brown joined the cast along with Melanie Mehta, Kara Malton, and Lee Andraea and Susan Gunn-Johnson who are members of the St David's Players (famous for their Gilbert and Sullivan productions at the Barnfield Theatre), all to the accompaniment of John Draisey's virtuoso piano playing.

Their choice was the most famous opera composed by seventeenth century Gentleman of the Chapel Royal, Henry Purcell - 'Dido and Aeneas'. This story follows the brief marriage of Dido, widow of King Sychaeus of Tyre, and Aeneas hero of the Trojan wars, as imagined by the pre-Christian author Publius Vergilius Maro (Virgil) in his epic poem, 'The Aeneid', dramatised in the libretto of Purcell's contemporary, Poet Laureate Nahum Tate.

Piano Orchestration: John Draisey

Central to the production is Purcell's orchestration. The reponsibility for this music fell, in this instance, to a single accompanist, John Draisey, on the piano. Much credit goes to John for all his work in rehearsals and his flawless performance at the two performances - one at St Nicholas' Priory on Saturday 18 January and a second at the Mary Harris Memorial Chapel on the University of Exeter Streatham Campus on Saturday 25 January.

Not only was John hard at work throughout the opera, but also accompanied arias from other Purcell operas in the second half of the concert.

"Shake the cloud from off your brow."
Belinda: Kara Malton

For the sake of brevity the prologue was omitted and John opened the performance with the overture, a delightful musical summary of the story which also allowed time for the supporting performers and chorus to assemble on stage and process to the rear of the audience. En route there was time for some beautifully choreographed baroque dancing in the nave, between the two banks of pews where the audience were sitting. One suspects the hand of St David's Players' choreographer Susan Gunn-Johnson at work here.

As the players returned to the stage Queen Dido herself appeared, played by Iryna Ilnytska, and accompanied by her sister Belinda (Kara Malton).

"I languish till my grief is known."
Queen Dido: Iryna Ilnytska

Queen Dido is extremely downcast, despite Belinda's attempts at levity, recounting the Queen's triumph over the tragedy of the murder of her husband Sychaeus, and the usurping of her throne in Tyre by the murderer, her brother Pigmalion. In the intervening time Dido has managed to establish another empire for herself in North Africa, in the ancient city of Carthage (part of modern Tunisia).

Dido cannot shake off her despair, however, and responds with the very moving aria describing her overwhelming grief, and the pain of having to keep it secret from her new subjects. Belinda encourages her sister to share her sadness, and to embrace the compensatory prospect of the visiting Trojan hero Aeneas presenting the possibility of marriage and a new happiness.

A scribe records all: Sara Trumper

In a familiar operatic tradition, a silent mime is present to observe and record the entire interaction. a member of chorus, Sara Trumper, in clerical robes sits at a desk and makes a record of everything with quill and parchment.

Although the story is pure supposition by Virgil, the idea of written records reminds the audience of the possibility that they are witnessing a performance which is the enactment of real events from the past.

"The hero loves as well as you."
2nd Woman: Melanie Mehta

To counter the Queen's adamant insistence of the hopelessness of her situation, further voices are added to Belinda's entreaties. Another well-known local operatic soloist, Melanie Mehta, appears as the strangely unspecified '2nd Woman' and, joined by the voices of the chorus, reinforces Belinda's optimistic vision of Dido's future in a new marriage.

"Aeneas has no fate but you!"
Aeneas: Lee Andraea

Right on cue a royal retinue approach and Belinda introduces the Queen's suitor, Aeneas. Lee Andraea, in his light high tenor voice begins his ardent declaration of love. Dido, still reluctant to abandon her widow's melancholy, initially remains aloof and impervious to his blandishments.

"If not for mine, for empire's sake . . . "

However, Aeneas redoubles his efforts and tries to elicit Dido's sympathy, arguing that he will be equally distraught without her and perhaps lose his own kingdom. Dido is finally persuaded and diffidently accepts his marriage token, somewhat dismissively passing it to Belinda for safe keeping. Iryna demonstrates that impossible combination demanded of all operatic performers - perfect pitch and diction combined with masterful dramatic expression.

"Harm's our delight, and mischief all our skill."
Sorceress: Jane Anderson-Brown
Imps: Emily Grossman, Susan Gunn-Johnson

Of course, Greek theatre never limits itself to a mere romantic relationships. There always have to be malign unseen forces at work. Here these take the form of three mendacious sisters, evil spirits determined to turn the happiness of the new couple to despair. Jane Anderson-Brown is the leading sorceress, accompanied by her two enchantress minions played by Susan Gunn-Johnson and Emily Grossman, who compete to be the more villainous.

For reasons which are not explained they hatch a 

"Hark! how thunder
rends the mountain oaks asunder."

sadistic plot to deceive Aeneas into unnecessarily sailing for Troy to defend his kingdom, in the confident expectation that the separation will bring about Queen Dido's final desolation and demise.

In a masterpiece of dramatic irony the witches attend Dido and Aeneas' hunting party unseen, except by the audience, and revel in the cruel plan they have devised for the unfortunate couple. First they must conjure a storm to get Aeneas back to court . . .

"Jove's commands shall be obey'd."
Hermes: Emily Grossman

The two imps now begin an elaborate bit of 'business' attempting to fit golden wings to Emily Grossman's head-dress in order to pass her off as Hermes, the messenger of the gods. The wings do not fit and Emily ends up holding them aloft in a very unconvincing way. By these means it is made clear how gullible Aeneas is, to have been taken in by such a transparent ruse.

"Come away fellow sailors."
Sailor: Cressida Whitton

Another familiar feature of Greek theatre is the inexorability of the tragic outcome. However, Aeneas' spurious mission introduces the prospect of a sea voyage and there is the opportunity for a little comic relief as the sailors assemble for the forthcoming journey.

"Silence their mourning
with vows of returning."
Sailors' Dance: Megan Debenham

Cressida Whitton invades the stage to regale the audience with the bawdy song of a carefree sailor. The chorus join in, dressed in duffle coats and toting seamanlike coils of rope. Their selfish song of how they will promise their sweethearts to return, with no intention whatever to keep that promise, painfully echo the fate that awaits poor Dido.

"To death I'll fly if longer
you delay. Away, away!"

But that is more than enough levity. The fiendish sisters join the dance, crowing about the storm they'll call up to convince Dido that Aeneas has been drowned at sea.

The story resumes with a brief scene between Dido and Aeneas. He rebuffs her plea that he stay by insisting that he has been commanded by the gods to leave. But then he vacillates, offering to defy the gods in order to stay with Dido. However, she is now resolute and insists that the die is cast and he must leave.

Remember me!
Queen Dido: Iryna Ilnytska

Now the scene is set for Purcell's most famous aria. Poor Dido, utterly bereft and without hope, sings of her own death and how her only hope is to be remembered well.

'Dido's Lament' is unforgettable: "When I am laid in earth, may my wrongs create no trouble in thy breast. Remember me! But, ah! forget my fate."

"Death is now a welcome guest."

Iryna has often performed this aria for us as an extract for a recital, but here the full import of her words are made clear by the dramatic build up. As she sings so beautifully Iryna also gives a stunning performance as the heart-broken heroine unable to bear her grief any longer. She and the audience weep in response to her hopeless desperation.

"When I am laid in earth"

Suddenly, as the lament closes, the Queen produces some container of poison and quickly swallows it. As

"Forget my fate."

she dies her sister Belinda and the 2nd woman come forward and draw a funeral shroud over her face. As this devastating scene plays out the chorus return to sing her elegy.

"With drooping wing ye Cupids come,

"And scatter roses o'er her tomb,

"Soft and gentle as her heart;

"Keep here your watch, and never part."

"With drooping wings
ye Cupids come"
Summer Bindley-Carr

Rather than scattering roses, one of the chorus - Summer Bindley-Carr - honours the dead Queen by kneeling at her throne and holding up an outline of a heart in the colours of the Ukrainian national flag. A fitting memorial to the troubled love of our heroes.

"Keep your watch
and never part."

As John Draisey played the final phrases of Purcell's concluding music the cast withdrew leaving Summer alone standing reverently in memory of Dido - and Aeneas.

All that remained was for the cast to return to the stage to receive the appreciation of the audience, while Cressida distributed posies in recognition of the contributions of each singer, down to Summer herself, for her final appearance - and especially the hardest working member of the entire company, the piano accompanist John Draisey.

Bouquets to express gratitude to the stars
Dido & Aeneas: Iryna Ilnytska & Lee Andraea

 . . . and all the cast

especially the pianist: John Draisey

Many thanks to the two Directors, Nick Lawrence and Iryna Ilnytska, and everyone involved in creating this performance. Thanks also to the University of Exeter for the use of such a magnificent venue with its memorable atmosphere and excellent acoustics. One performer not mentioned above was regular participant in Iryna's recitals, tenor Michael Smith who was the fourth member of the chorus.

The team will be performing again this Saturday 1 February. This time it will be the music of Cristoph von Gluck - 'Orfeo ed Euridice' at St Stephen's Church in Exeter High Street.

Iryna Ilnytska will be Orfeo, and Anna Townhill will be Euridice. Other familiar voices will join the cast. Melanie Mehta will be Amore while sopranos Cressida Whitton and Clare Gilbert and altos Megan Debenham and Gabbi Humphries will fill other parts. The pianist this time will be Richard Lucas, and there will also be flute accompaniment provided by Ruth Molins.

Leo Pellegrino at the Phoenix: "Too Many Zooz" Exeter Phoenix Sunday 13 August 2023

Too Many Zooz
Trumpet: Matt Muirhead
Drums: Dave Parks
Baritone Saxophone:
Leo Pellegrino

The evening of Sunday 13 August was a very special one for Exeter Phoenix. A trio of musicians from the Manhattan School Music celebrated the tenth anniversary of the formation of their busking 'brass house' collaboration 'Too Many Zooz'. This reference to New York's policy of having a zoo of some kind in every borough is also a great name for a band - and rightly so.

For many years now the founder members, Leo Pellegrino (baritone saxophone), Matt 'Doe' Muirhead (trumpet) and Dave 'The King of Sludge' Parks (portable drum kit) have performed for passing audiences at stations on the New York underground system. The resulting videos have attracted a large audience online, and great demand to see the performances live. We are very fortunate that they chose Exeter Phoenix as on of the venues on the anniversary tour.

Apart from Matt's blistering trumpet solos, and Dave's mesmerising drum and cowbell accompaniments, the main feature is always Leo's virtuoso baritone saxophone compositions and improvisations - always combined seamlessly with his hypnotic dance style. Early performances of 'Flightening Live' in the Union Square subway station led on to the fabulous 'Bedford' video which features the trio boarding and subway train in Brooklyn in the middle of the night and astounding the passengers with their explosive performance before disembarking, still playing uproariously, on the opposite platform at the next station.

On 24 August 2017 Leo was invited to the Royal Albert Hall for a Charles Mingus retrospective with the Metropole Orkest, conducted by Jules Buckley, and a second soloist, trumpeter Christian Scott. In a mauve whistle and trademark pink mohican, Leo gave an absolutes sensational performance with an amazing repertoire of masterclass classical, classic brass house, and wildly impossible sounds - all combined with the magical footwork for which he was already so well known.

In 2023 as the start of the British tour approached Leo regrouped with his 2006 colleagues in 'Lucky Chops', a fabulous multi-instrumental ensemble where Leo is joined by two other baritone saxophonists, Adrian Condis and Daro Behroozi (Rogerst Charles alto), Joshua Gawel provides the exhilarating trumpet plus Ben Holcomb and Cyzon Grifffen drums. Nora Nalepka's sousaphone adds something 'unusually different' and the unexpected star turn is the casually dapper Josh Holcomb stealing the show with his outrageous trombone solos. Their subway set at 34th & 6th was legendary, and their cover of the Lipps Inc hit 'Funkytown' is unforgettable.

When Leo, Matt, and Dave arrived at the Exeter Phoenix that wonderful Sunday evening a sell-out crowd were waiting in excited anticipation for what was guaranteed to be a night of non-stop joy and excitement. Even the no-show of support act 'The Showhawk Duo' could not dampen the audience enthusiasm.

The Zooz did not disappoint. All the energy and invention of two decades of innovative busking in New York translated into a non-stop set of overpowering sound and fury which had the entire audience dancing in a fever. To have such an exclusive line-up providing that wall of magnificent sound was surely one of the best high points of the Phoenix calendar for the year.

After nearly three hours of the very best dance music the trio were finally allowed to leave a hugely satisfied and grateful audience. The band also provided copies of their latest triple album including tracks from 'F Note EP', 'Fanimals' and 'Brasshouse Volume 1 - Survival of the Flyest'. Tracks regularly feature at the close of each 'Classical Journey' programme on Phonic FM (alternate Fridays 2-4pm) to welcome Pat Bensberg and his extra helping of the 'Eccentric Selection'.

All the performances mentioned above are available as online videos, and many more - including the delightful 'Lucky Chops' cover of Gloria Gaynor's "I Shall Survive", which opens on Franklin Avenue in Brooklyn (leading appropriately to the Prospect Park Zoo) with Leo, Matt (with full beard), and Dave Parks playing as they walk along. Then, one by one, the other 'Chops' players join the peripatetic players, including not only Josh Holcomb's trombone, but also a special appearance by Kevin Bernstein playing melodica.

Do listen out for 'Too Many Zooz' on Phonic FM, and their ever increasing online catalogue. These Manhattan graduates are truly a sensational new musical phenomenon.

The Return of Sundays@6 Shephali Frost Ensemble Gidleigh Parish Church Sunday 30 July 2023

Poet and Vocalist
SHEPHALI FROST

'Au Lapin Agile'
James Boyd, Chris Caldwell
Susie Hodder Williams

It was in February of 2022 that 'Music on the Edge' stars, clarinetist and saxophonist Chris Caldwell and flautist Susie Hodder Williams, were at the Church of the Holy Trinity at Gidleigh to present their regular monthly 'Sunday@6' performance - a recreation of the early twentieth century Montmartre cabaret, 'Au Lapin Agile' - with guitarist James Boyd. (Full details on this blog - 20 February 2022.)

Live at the Long Room
Chris Caldwell
Trevor Taylor
Susie Hodder Williams

More recently, in addition to their extensive orchestral and session work around the world, Chris and Susie have been collaborating in a new project with musicians including their long time colleague, percussionist Trevor Taylor (who appeared with Chris and Susie at Drewsteignton - 29 January 2012).

Zak Barrett
(RedShiftParty)

Trevor, a fellow Guildhall alumnus, and founder of Future Music Records and the Jazz 825 Club in Southend-on-Sea, now works with saxophonists Zak Barrett and Martin Hathaway, 'cellist Shanti Jayasimha, Pianist David Lee, sitarist Jonathan Mayer and tabla player Aslam Ali to form a new ensemble to showcase the singing and poetry of Chelmsford vocalist Shephali Frost.

The 'Shephali Frost Ensemble' line-up varies from one concert to another, as does the format and style, with all these wonderful musicians adding to an ever-evolving musical experience to delight their audiences.

Shah Hussain Faqir
Sufi Poet
16th Century Punjab

Shephali came to the UK from Uttar Pradesh to study at Bath Spa University and Cardiff University Film School. She trained as a classical Indian singer. Later she broke through to new musical horizons when she encountered the Urdu Kalam, poetry in the Islamic tradition of Pakistan and India. Moving to Essex six years ago, she now lives in Chelmsford.

During 2020, when musicians were forced to experiment with virtual rehearsals and performances, Shephali began to experiment with her own poetic compositions in combination with traditional poetry and song. One by one the other musicians joined the project bringing together western classical and jazz sounds with Sufi mysticism. The non-denominational Islamic tradition of Sufism employs the ecstasy and transcendence of music and poetry in pursuit of a closer experience of God. A good description of Shephali's creations with the Ensemble.

In their weekly meetings Shephali and Zak Barret try out new possibilities for the combination of disparate musical styles. (Zak is also well known for his tenor saxophone playing with 'The Zed Collective' and Guthrie Govan's 'Erotic Cakes'.)

Luke Jerram: 'Gaia'
Chelmsford Cathedral

For three weeks in October 2022 Luke Jerram's colossal earth sculpture 'Gaia' was on display at Chelmsford Cathedral and the Shephali Frost Ensemble performed their 'Earth Sound Concert' including  'bhajans' (hymns) to Lord Krishna written by devotee Saint Meerabai in the sixteenth century. (Gaia was also at Exeter Cathedral in February 2023, and there will be another chance to see the sculpture at Truro Cathedral from 6-28 October this year.)

Shephali's reach also extends to international festivals. She performed at the 'Metaphor' Literary Festival in Lucknow in December 2022, and also the 'Jashn-e-Rekhta' (Celebration) International Urdu Festival in New Delhi. Shephali is also a contributor to a new project 'for a new approach to world literature' supported by the London School of Oriental and African Studies (SOAS) and London Museums with the intriguing title, 'Mulosige' (MUltilingual LOcals & SIgnificant GEographies).

Compère: Chris Caldwell
(Note shoes!)

Last Saturday, 22 July, Shephali was at the Finch Café in Hackney with Trevor, Susie, saxophonist Martin Hathaway,  keyboard player David Lee, sitarist Jonathan Mayer and violinist Philipp Wachsman, for a concert inspired by the plight of refugees crossing the English Channel, 'Lifejackets'. Even as that concert was happening, the team were also preparing for this Sunday's performance at Gidleigh Parish Church.

In a strange echo of the 'Au Lapin Agile' evening eighteen months before, a wild Dartmoor rain lashed the church as an eager throng arrived for the evening's experience. Inside the church Trevor Taylor had set up his percussion instruments, and the space was crammed with all manner of bells, gongs and cymbals - not to mention a full drum kit and vibraphone. Seated nearby with his own audio setup was guest guitarist Jerry Crozier-Cole. Susie Hodder Williams had both her regular and alto flutes and Chris Caldwell had come prepared with a soprano saxophone and splendid bass clarinet.

Percussion: Trevor Taylor

Guitar:
Jerry Crozier-Cole

The first piece was a merging of Shephali's modern English poetry with the Punjabi 'Qissa' of Shiv Kumar Batalvi (winner of the 1967 Sahitya Akademi Award for his setting of the Puran Bhagat legend in his epic poem 'Loona'). Jerry's incredibly subtle electric guitar improvisation and Trevor's ever-shifting percussive soundscape perfectly framed the moving words of the poetry, and the electrifying intensity of the Punjabi singing. The audience were instantly transported to a magical and captivating world of musical emotion.

Alto Flute:
Susie Hodder Williams

As the sound softly faded, Shephali introduced a familiar theme, A bhajan written by Saint Meerabai in praise of her beloved Lord Krishna. Shephali explained that Meerabai was a Rajasthani Princess who flouted convention by singing her devotional songs in the street with the poor and homeless. Shephali's poem 'My Forest Love' was combined with Meerabai's "I have been given the richness of God's name blessing". The introduction this time was Susie's alto flute with just the haunting and mesmerising continuo of Jerry's subtly fluctuating guitar chords. An incredibly sad and deeply moving experience.

'City of Rats':
Lewis Frost

In an unexpected change to the advertised billing, Shephali then introduced the Ensemble's creative consultant, theatre director (and video cameraman for the evening) Lewis Frost. Lewis is currently working on a theatre production involving the music of the Ensemble. For this evening's performance Shephali had asked him to recite her own composition, 'The Night in the City of Rats'.

Bass Clarinet:
Chris Caldwell

Lewis stepped forward from the shadows to take centre stage and was introduced by an eerie and unsettling series of achingly excruciating notes from Chris's bass clarinet, and a disconcertingly staccato accompaniment from Trevor's bells and drums. With prepossessing assurance and calm, Lewis recounted in verse a terrifying account of a traumatic night spent in a rat infested hotel room. An odd subject, but quite in keeping with the intense emotional theme of the evening.

'Moringa Tree':
Trevor Taylor
Shephali Frost

Shephali was a little concerned that we wouldn't have enough time for all the musical delights that had been prepared, but Chris was quick to reassure her of what we were all thinking: this is 'Dartmoor Time' - ample time to share all these delightful experiences. So Shephali moved on to a composition by Trevor Taylor which Shephali has updated with original lyrics. This 'Sunrise Raga' is now called 'The Moringa Tree' after the drought resistant malunggay (moringa oleifera) native to southern India.

'Moringa Tree':
Shephali Frost & Chris Caldwell

Trevor's gentle vibraphone melody, with swelling guitar sound from Jerry,
was joined by Susie's flute in a delightful evocation of a shady woodland scene. The combination of vibraphone and flute was delicate and delicious. Shephali slowly and seductively introduced the words, recounting a moonlit dance under the moringa tree. Every line was echoed by the sweet combination of musical sounds from flute and vibraphone - and, latterly, soft but increasingly urgent interjections from Chris' bass clarinet - leading to a moving cadenza in the upper range of the instrument. A splendid confluence of styles.

'High Heels for a Holiday':
Shephali Frost & Chris Caldwell

As a diversion and a reminder that, despite the rain, it is holiday season. Chris had chosen a poem with a light hearted theme, but more serious undertones, 'High Heels on a Holiday'. Chris opens with his unmistakeable soprano saxophone style which leads to a phonetic conversation between speaker and saxophone. Occasional uncommon words like "Fuchs-i-a" (describing toenail-varnish) are corrected with amusing pedantry by the saxophone.

Chris himself comes into the story, as the characters' shoes are like his - but smarter! The response from Chris' clarinet is appropriately offended. The interaction becomes increasingly flirtatious, with tacit acknowledgements to Susie (Chris's wife), before ending abruptly in the midst of a surreal holiday scene. A very different, and beautifully crafted composition.

'To the Home of my Beloved':
Shephali Frost

Returning to a serious vein, the next piece was by thirteenth century sufi poet and saint, Shah Hussain Faqir. Shephali was quick to point out the contradiction even in his name, 'King Hussain the Beggar'. In Sufi philosophy a man who conquers himself is a king, because the world matters nothing to him. His song 'To the Home of my Beloved' is about this self-actualisation - and those things that stand in the way of fulfilment - as sung by a tribal girl.

Bowed Vibraphone:
Trevor Taylor

The opening of this very traditional song is slow and plaintive. Jerry and Trevor did everything with guitar and drums to enhance the sense of quiet foreboding. Now Shephali really began to demonstrate her classical singing skills. Initially a few words and phrases were given more strident emphasis, and explanatory English lyrics were interjected to clarify the mood. Flute and saxophone were joined by Trevor's vibraphone, which he now played with a violin bow, as Shephali's words and delivery became ever more pained and voluble - the exquisitely agonised cries of anguish filling the nave of the small church and overwhelming the audience.

'The Underwater City':
Shephali Frost
Trevor Taylor - Chris Caldwell

After this magnificent outpouring of emotion, something more mundane was needed to end the concert and bring the audience back to reality - the reality of a rainy Dartmoor evening. Susie chose 'The Underwater City'. Far from an Indian tradition, this organic interaction of brilliant musicians and Shephali's individual and unconventional style, evoked the tragic recent events in New Delhi - recently inundated by meltwater from the Yamunotri Glacier bursting the banks of the Yamuna tributary of the Ganges in India's capital. A very appropriate and respectful recognition of this shocking event - "The New Delhi Deluge". Flute, Bass Clarinet, guitar strings and every jangling percussion instrument contributed to the mood of this final piece.

Vote of Thanks:
Chris Caldwell

This was an extra special 'Sunday@6' event. An audience familiar and enamoured with the fabulous creations of 'Music on the Edge' had been treated to an extraordinary evening of musical expression and creativity. A grey evening had been completely forgotten in a total immersion in sound and emotion. Many thanks to all involved. We are indeed blessed to have such beautiful music on our doorstep.

And there is more to come! The Shephali Frost Ensemble, this time featuring Chris, Susie, Trevor, Jonathan Mayer (sitar) and pianist Dan Banks will be giving a concert in Wells Cathedral at 7pm on Friday 18 August. 'The Inheritance of Love' - 'Ancestral Voices' will feature English lyric with Persian, Saraiki, Hindi, Punjabi, Pashto and Urdu poetry in an hour filled with meditative songs and energetic dance music.

Flautist & Poet
Susie Hodder Williams
Shephali Frost

Chris and Susie's 'Music on the Edge' have another local engagement later in the year. The 'Corvus Consort' vocal group will be coming to Dartmoor for the Whiddon Autumn Festival in September and their first concert, 'Byrd Takes Flight', will be in Drewsteignton Church at 8pm on Wednesday 13 September - with Chris and Susie providing accompaniment.

There are twelve more events in the festival, in Chagford, Moretonhampstead and Throwleigh. (Details on their website - whiddonautumnfestival.co.uk)

Not forgetting, Chris is a founder member of the Delta Saxophone Quartet, now approaching its fortieth anniversary season. This autumn they will release their new album, 'Late Music' featuring new compositions by many of their collaborators over the years - including local musicians Paul Honey and Joe Duddell. Extracts will feature on upcoming 'Classical Journey' programmes on Phonic FM, with Chris joining us to fill in more of the details.

And Sunday night's music was recorded for us to enjoy on future 'Classical Journey' programmes too.

A splendid prospect all round!

"NOCTURNE" (The Romantic Life of Frédéric Chopin) Author & Pianist: Lucy Parham, Narrators: Alex Jennings and Dame Harriet Walter. Exeter School Sunday 6 November 2022 - Press Release from David Cornes

Lucy Parham
"NOCTURNE"
(The Romantic Life of Frédéric Chopin)
Exeter School
Sunday 6 November

Alex Jennings

Lucy Parham

On Sunday 6 November, at 3pm, the 1984 BBC Young Musician of the Year, Lucy Parham, will be at Exeter School to perform a recital from her 'Composer Portrait Series'. She will be joined by Royal Shakespeare Company actors Alex Jennings and Dame Harriet Walter.

The now-familiar format will be readings from the letters and diaries of composer Frédéric Chopin and novelist Amantine-Lucile-Aurore Dudevant (née Dupin), better known in the literary world by the pseudonym 'George Sand'.

Dame Harriet Walter

As well as being internationally acclaimed theatre and film actors, Alex and Harriet recently appeared together in the BBC Drama "This is Going to Hurt" which is an autobiographical account of the experiences of author Adam Key as a House Officer training in an NHS labour ward. Alex is the Senior Consultant, Mr Lockhart, and Harriet is his mother, Veronique.

Chopin and Sand were introduced to each other by Franz Liszt in 1837. An initially tentative relationship led to a 'honeymoon' in Mallorca. Chopin, despite severe pulmonary illness, which the locals suspected was caused by tuberculosis, used the time to compose his cycle of 'Préludes' for the piano in all the major and minor keys.

Frédéric Chopin

Sand spent five months of each year with Chopin at her country house at Nohant in the Indre Valley. She nursed him and helped him complete many of his compositions. In 1847 they separated and Chopin struggled to complete any further work, while his health quickly deteriorated. His last concert coincided with the 'Révolution de Février' in 1848, which gave rise to the Second French Republic.

Amantine-Lucile-Aurore Dudevan
a.k.a. George Sand

The event is part of the Budleigh Salterton Literary Festival, and is sponsored by Exeter School. Tickets are £28, with a concessionary price of £25 for students. Tickets are available from TicketSource - ticketsource.co.uk/booking/select/RdiEJKhzXNnT. Any disabled person needing personal assistance can obtain a free ticket for their assistant from the Festival organisers (email festival@budlitfest.org.uk).

Many thanks to Festival coordinator David Cornes for this press release.