Concert Run-Down from the Start of April

Romano Viazzani and Bethany Jameson
in 'The Accordionist' at the Bikeshed Exeter

London calling:


Vérité Theatre Productions
New End Theatre, Hampstead
Tue-Sun 5-24 April
7pm (Tue-Sat) 3pm (Sat & Sun)
'The Accordionist'
Soprano Bethany Jameson
Accordionist Romano Viazzani
following a run at the Bikeshed Theatre Exeter
Tue-Sat 1-5 March
(Which was outstanding!)
Tickets: £14 Box: 0870 033 2733
www.offwestendtheatres.co.uk

Hear Romano on MySpace
Bethany's blog
Photographs by James Marshall

Update: All the songs and music from 'The Accordionist' are available on CD
              Send £10 +£2 p&p to:
              Bethany Jameson
              45 Jumpers road
              CHRISTCHURCH
              Dorset
              BH23 2JS
              New material will be going to MySpace or Bethany's website


     And here in Devon:


Glenorchy Lunchtime Concerts
Glenorchy Church Exmouth
Wednesday 6 April 12.30pm
Soprano: Val Howels
Baritone: John Brindley
Admission Free


-     Soprano Val Howels
        with pianist Frances Waters
        on 24 November last year




Bournemouth Symphony Orchestra
Exeter Cathedral Thursday 7 April 7.30pm

Nationalist Stirrings

Sibelius: Karelia Suite

Schumann: Piano Concerto

Dvořák: Symphony No 6

Conductor: Owain Arwel Hughes

Piano Soloist: John Lill

Tickets: £9.50-£29 Box: 665885

http://www.bsolive.com/concerts/listings/concertdetails.htm?concertid=160541

Counterpoint
Exeter Cathedral Saturday 9 April 7.30pm
J. S. Bach: The Saint John Passion BWV 245
Divertimento Ensemble
Leader Brenda Willoughby
Conductor: David Acres

Evangelist (Tenor): Christopher Watson

Christus (Bass): Stuart Young

Soprano: Mary Bevan
Counter Tenor: Jonathan Peter Kenny
Tenor: Greg Tassell
Tickets: £12-18
Phoenix box office: 667080
purchase.tickets.com
http://www.counterpoint.org.uk/concerts.html

Opera Gala Concert
The Music Room Aeolian Court Chudleigh
Saturday 9 April 7.30pm
Soprano: Suzanne Manuell                   SOLD OUT
Tenor: Anando Mukerjee
Piano: Johathan Watts
Tickets: £20 Box: 01626 859333
Proceeds to The Dartington Hall Trust

Dartington Community Choir
Great Hall Dartington
Sunday 10 April 7.30pm

Spring Concert

Haydn: De Deum in C, Nelson Mass

Tickets £14 (student £5) Box 01803 847070

http://www.dartington.org/arts/dart-comm-choir

http://www.dartington-community-choir.co.uk/

Bournemouth Symphony Orchestra

Exeter Cathedral Monday 11 April 7.30pm

Exeter Festival Chorus

Conductor: Nigel Perrin

Handel's Messiah

Soprano: Sarah Tynan

Counter-Tenor: David Allsopp

Tenor: Thomas Hobbs

Bass: Janathan Lamalu

Tickets: 665885  http://www.bsolive.com/concerts/listings/concertdetails.htm?concertid=166111

Glenorchy Lunchtime Concerts

Glenorchy Church Exmouth

Wednesday 13 April 12.30pm

The Courtenay Players

Judith Belam

Angela Chapman,

Janet Drake-Law

Cath Palmer-Wills

Admission Free

The Courtenay Players    -

Exeter Music Group Symphony Orchestra

Exeter Cathedral

Thursday 14 April 7.30pm

Elgar: Sea Pictures

Mezzo-Soprano Alison Kettlewell

-   Mezzo-Soprano Alison Kettlewell

Mahler: Symphony No 2 "Resurrection"

Soprano Catherine Hamilton,
Mezzo-Soprano Alison Kettlewell

with the Exeter Music Group Singers

Conductor: Marion Wood, Leader Clare Smith (q.v.)

Tickets: £8-15 Phoenix: 667080

http://www.emgsymphonyorchestra.org/tickets.html

Soprano Catherine Hamilton      -

Take a look at these remarkable photographs taken by local photographer Nigel Cheffers-Heard at the Marion Wood's rehearsal of Mahlers 'Resurrection' Symphony with the Exeter Music Group Symphony Orchestra last Thursday - ! ! !

Solo soprano Catherine Hamilton and conductor Marion Wood

Leader Clare Smith

Woodwind and . . .

Brass! (Tony Hindley 2nd from left)

I once had a whim, and I had to obey it ...

The extraordinary voice of Catherine Hamilton

A very important member
of the orchestra

Edward Scull: Marimba

The Helen Foundation
5th Anniversary Concert

St Peter's Church Shaldon
Friday 15 April 7.30pm

Romance of the Marimba

Marimba: Edward Scull

Exeter Chamber Choir: Andrew Daldorph

Monteverdi, Lauridsen, Gorecki, Daldorph

Tickets: £10 Box: 01626 872308

contact@thehelenfoundation.org.uk

http://www.exeterchamberchoir.co.uk/Forthcoming_Concerts.htm

http://www.shaldon-devon.co.uk/Leisure_&_Events.html

Newton Abbot and District Society of Arts (nadsa)

Courtenay Centre Newton Abbot Friday 15 April 7.30pm

Heath Quartet

Mozart: Quartet No 9

Britten: String Quartet No 1                                                       CANCELLED

Dvořák: String Quartet in E flat

Tickets: £14 (students £2)

Opus Classical (Exeter Guildhall) 214044

Newton Abbot and District Society of Arts (nadsa)

Courtenay Centre Newton Abbot Friday 15 April 7.30pm

Fitzwilliam String Quartet

Violins: Lucy Russel, Jonathan Sparey

Viola: Alan George  'Cello: Heather Tuach

Barber: String Quartet Op 11

Shostakovitch: String Quartet No 11

Mozart: String Quartet No 17 (The Hunt)

Delius: Late Swallows

Works by Grainger and Dvořák

Tickets: £14 (students £2)

Opus Classical (Exeter Guildhall) 214044

Ottery St Mary Choral Society
Ottery St Mary Parish Church
Saturday 16 April 7.30pm
Mozart: Mass in C minor
J. S. Bach: Magnificat
Mezzo Soprano: Carolyn Harries

The Torbay Singers

St Matthias Church Torquay

Saturday 16 April 7.30pm

Torbay Singers Chamber Orchestra

Conductor: Tina Guthrie

Divertimento

Leader: Brenda Willoughby

Soprano: Héloïse West

Mezzo Soprano: Louise Mott

Tenor: Rupert Charlesworth

Baritone Alex Poulton

Handel: Coronation Anthems

Mozart: Coronation Mass

Tickets: £10 (U16 free)

Box: 01803 867872

St Peter's Singers

Exeter Cathedral Palm Sunday 17 April 5pm

Service of Music for Palm Sunday

Solo Soprano: Mary O'Shea

(An Anglican service, not a concert)

-   Soprano Mary O'Shea



Music on the Edge (q.v.)

The Art Room Topsham
Sunday 17 April 6pm

Chris Caldwell
Clarinets/Saxaphones

Susie Hodder-Williams
Flutes/Marimba

Rich Bolton
Guitar/'Cello

(Artwork: Benedict Rubbra
12 March -24 April)

Tickets: £10 including wine (U21 free)

Box: 0795 292 3318
(booking recommended)

BRING YOUR OWN
FOLDING CHAIR!

http://www.theartroomtopsham.co.uk/

www.musicontheedge.com

Heard about this one?
??? Handel's Messiah at St Margaret's Topsham Sunday 17 April. No details. Contact Tony Yeates.



Glenorchy Lunchtime Concerts

Glenorchy Church Exmouth

Wednesday 20 April 12.30pm

Josephine Pickering 

Frances Waters

Piano Duets

Admission Free

Glenorchy Lunchtime Concerts
Glenorchy Church Exmouth

Wednesday 27 April 12.30pm

Alex West

Piano and Organ

Admission Free

St Boniface Concert Society

Crediton Parish Church Thursday 28 April 7.30pm

Alexander Sitkovetsky: Violin

Qian Wu: Piano

Brahms: Sonatas 2 & 3

Grieg: Sonata No 3

Prokofiev: Sonata No 1

Season Ticket (5 concerts) £50

Tickets: £12 (child £6)

Box: Opus Classical (Exeter Guildhall) 214044

http://www.bonifaceconcerts.co.uk/april.html

Ballet Black

Northcott Theatre Exeter

Friday and Saturday 29/30 April 7.30pm

Henri Oguike: 'Da Gamba'

Antonia Franceschi: 'Shift, Trip ... Catch'

Will Tuckett: 'Orpheus'

Tickets: £10-18 (Concessions 1/2 price)

http://www.exeternorthcott.co.uk/ballet_black  493493

http://www.balletblack.co.uk/history.html

-      Chantelle Gotobed

         and Jazmon Voss

         performing Da Gamba

         by Henri Oguike

Clyst Valley Choral Society
& St David's Singers
St Margaret's Church Topsham:
Saturday 30 April 7.30pm
Holy Trinity Chruch Exmouth:
Sunday 1 May 3pm
Mendelssohn: Elijah
Conductor: Paul Stock
Soprano: Janet MacDonald
Mezzo Soprano: Carolyn Harries
Tenor: Christopher Hunt
Bass: Julian Rippon
Organist: Mark Perry
Tickets: £8 (advance £7)
from Joel Segal Books 877895
http://www.clystvalleychoral.org.uk/

Glenorchy Lunchtime Concerts

Glenorchy Church Exmouth

Wednesday 4 May12.30pm

Piano: Joyce Clarke

Baldassare Galuppi: Sonata in B flat
(early 18th Century Venetian composer,
born on the island of Burano)
Brahms: Intermezzo in A op118 no 2
Chopin: Impromptu No. 1 Op. 29
Chopin: Fantaisie-Impromptu Op. 66
Harold Noble: Chanson d'Amour
Mendelssohn:Venetian Gondola Song
                      in F sharp minor Op. 30 No. 6
Mendelssohn: Rondo Capriccioso in E Op. 14
Admission Free

Bournemouth Symphony Orchestra 

Exeter Cathedral Thursday 5 May 7.30pm

A Festival of the Ukraine
Mussorgsky: St John's Night on Bare Mountain
                     Pictures at an Exhibition
Lizst: Mazeppa
Reinhold Glière: Concerto for Coloratura Soprano & Orchestra

Conductor: Kirill Karabits            Soprano: Ailish Tynan     -

http://www.bsolive.com/concerts/listings/concertdetails.htm?concertid=160875

'1769 Organ Restoration Fund'
James Wyatt Music Room, Powderham Castle
Friday 6 May 7.30pm
Music for Flute, Strings and Organ
Flute: Judith Hall  Organ: George Pratt
Divertimento:
Violin: Mary Eade  Viola: Andrew Gillett
'Cello: Vicky Evans
Mozart: 2 Quartets for Flute & Strings
Reger: Serenade for Flute & Strings
Panufnik: 'Homage to Chopin'
Dvořák: Five Bagatelles for Harmonium & Strings
(on the Bryce Seede organ, naturally)
Tickets: £14  Box: 01626 890243

East Devon Choral Society

Conductor of  'Gerontius'
and Director of Exeter Chamber Choir
Andrew Daldorph

Exeter Chamber Choir
St Paul's Church Tiverton
Saturday 7 May 7.30pm
Sir Edward Elgar: The Dream of Gerontius

Full symphony orchestra
conducted by Andrew Daldorph

Mezzo-Soprano: Frances Bourne
Tenor: Iain Milne
Bass: James Arthur
Tickets: Main Aisle £15, other £10 (U16 £6)
EDCS Box Office: 01884 840054
Tiverton Information Centre 01884 255827
Details: 01884 253494
http://www.exeterchamberchoir.co.uk/Forthcoming_Concerts.htm

EXMOUTH Choral Society and Orchestra
Holy Trinity Church Exmouth Saturday 7 May 7.30pm
Haydn Creation
Conductor: Laurence Blyth
http://www.exmouthchoralsociety.org.uk/concerts.html



EXETER Choral Society and Orchestra
St James's Church Exeter Wednesday 11 May 7.30 pm
C. P. E. Bach: Magnificat
Haydn: Missa Sancti Nicolai
Soprano: Harriet Jones
Counter-Tenor: Jake Arditti
Tenor: David Webb
Bass: Matthew Cann
Conductor: Laurence Blyth
Tickets: £9 (U16 free)  Box: 832474
http://www.exeterchoral.co.uk/

Chris Gradwell and Friends
in the basement of Kennaway House Sidmouth
Mike Thorne, Andrew Daldorph, Chris, Andrew Barret

Chris Gradwell & Friends
Kennaway House Sidmouth
Saturday 14 May 7.30pm
Music Poetry Actors
Saxophone & Clarinet: Chris Gradwell
Keyboard: Andrew Daldorph
Guitar: Andrew Barret
Double Bass: Mike Thorne
Character Actors: Wally Cotgrave
                            Rowland Moloney
Authors: Barbara Farquaharson
              Kairen Hooker
              John Torrance
Tickets: £7  Box: 07583 796855
                            






South West Music School
Ship Studio Dartington Sunday 22 May 3pm
Young Artist Showcase: Classical Music
Haydn: Divertimento in D
Freya Hicks: Beethoven Romance No 2
Rossini String Sonata NO 2
Louise Farrenc: Piano Quintet No 1
Tickets £3 (free for students)
http://www.dartington.org/arts/young-artist-showcase-classical-music







Exeter Philharmonic Choir

Rebecca Smith Singing Elgar and Britten

Coffee and Music at Broadclyst Parish Church

Last Saturday (26 March)

Exeter Cathedral Thursday 26 May 7.30pm
Bach & Beethoven
Organist: Andrew Millington
Mezzo Soprano: Rebecca Smith
Beethoven: Mass in C
J. S. Bach: Magnificat in D
Tickets: £9,11,14,17,20 (student subtract £2)
Supper Club £40
http://www.exephil.org.uk/book-tickets

Orchestra of the Age or Enlightenment
Dartington Great Hall Sunday 29 May 3pm
Musical Director: Alison Bury
Soprano: Elin Manahan Thomas
George Frederic Handel:
Concerto Grosso Op 6 No 1
Guilio Desare: 'Da Tempesta'
Rinaldo: 'Lascia ch'io Pianga'
Alcina: 'Tonami a Vagheggiar'
Concerto Grosso Op 3 No 2
Concerto Grosso Op 6 No 7
Cantata for Soprano and Orchestra:
'Silete Venti'
Tickets: £18 (student £5) Box: 01803 847070
http://www.dartington.org/arts/oae  http://www.totnesearlymusic.org.uk/programme.html








The Piazzolla Duo
Lympstone Parish Church
Saturday 4 June
Flute: Ruth Avis
Guitar: Clive Betts
Tickets available from Sun 1 May
Lympstone PO: 01395 263928
http://www.lympstoneentertainments.co.uk/events/2011/piazzolla-duo.php


The Piazzolla Duo     -

Coffee and Music - Evening Concert
Broadclyst Parish Church
Saturday 11 June 7.30pm
Flute: Denise Deter
(distinguished flautist & teacher
Woodlawn Arts Academy,
Sterling Illinois)
Piano: John Scarfe
Admission Free
-   Flautist Denise Deter

Shaldon Festival

St Peter's Church Shaldon

Thu-Sun 16-19 June

Thu 16: English Touring Opera

Fri 17: South West Music School (q.v.)

Sat 18: Choral Workshop with Sir Neville Mariner

Piano: Peter Adcock, Organ: Jonathan Watts,

Soprano: Héloïse West, Alto Rebecca Smith (see above),

Tenor: Gitai Fisher, Bass: Julian Rippon (q.v. & q.v.)

Sun 19: Innovation Chamber Ensemble

(Strings of the City of Birmingham Symphony Orchestra)

Shostakovich, Brahms, Mendelssohn

http://www.shaldonfestival.co.uk/

Exeter Recorder Orchestra  St James's Church Exeter Saturday 18 June 7.30pm

Denis Bloodworth: Arr. of renaissance dances                G F Handel: Concerto Grosso Op 6 No 1

William Mundy: O Mater Mundi                                    William Byrd: Ye Sacred Muses

Steve Marshall: Symphony No 4                                   http://www.pinwood.net/ero/futureconcerts.htm

(Concert repeated at United Reformed Church Dawlish Sat 16 July 7pm)

A Little More Information About Juliet Curnow, Mezzo Soprano

Many Thanks to Juliet Meadowcroft of the Exeter Bach Society for this lovely picture and biographical details about tonight's mezzo soprano for the performance of Bach's B minor Mass at St David's Church.

Juliet Curnow

Mezzo–soprano

  

On finishing a four year undergraduate course in performance at the Guildhall School of Music and Drama, Juliet spent two years on the Opera Course.  During that time she sang the roles of Lucretia (The Rape of Lucretia), Mere Marie (Les dialogues des Carmelites) and Ernestina (L’occasione fa il ladro).

After leaving college in 1995, Juliet joined English Touring Opera for whom she sang Rosina (Barber of Seville), Cenerentola and Maddalena (Rigoletto).  Since then her roles have included Rosina and Nicklaus/Muse (Tales of Hoffmann) with Central Festival Opera, Rosina and Nancy (Martha) with Castleward Opera, Dorabella (Cosi fan tutte) for Opera Holland Park and Orlofsky (Die Fledermaus) with London City Opera.  She has also been a member of the chorus at Garsington, Glyndebourne and the Royal Opera.

Whilst no longer pursuing a solo operatic career, due to the demands of two young daughters, Juliet still accepts bookings for oratorio, recitals, weddings and other functions.  Her most recent engagements have included Haydn’s Nelson Mass & Durufle’s Requiem for Exmouth Choral Society, Vivaldi’s Gloria at Powderham Castle and Mozart’s Requiem in Exeter Cathedral.  She also teaches singing privately and at Exminster Primary School, and is a member of the respected Exeter based choir, Counterpoint.

(So we shall be seeing Juliet again at the Cathedral on Saturday 9th April for Counterpoint's performance of Bach's St John Passion - in German.)

Update on Saturday's Bach B Minor Mass

The good news is . . .
local opera mezzo soprano
Juliet Curnow will take Cátia's place.
Here Juliet sings 'Pie Jesu'
(in Duruflé's 'Requiem' at
Holy Trinity Exmouth Sat 5 Feb) 

There has been a last minute change to the line-up for Exeter Bach Society's 'Mass in B minor' which is taking place at St David's Church in Exeter tomorrow night (Sat 2 Apr 7.30pm).  Unavoidably the wonderful Guildhall soloist, mezzo soprano Cátia Moreso, is not able to join the choir and other soloists for the concert.
However, at very short notice, the very talented local opera mezzo soprano, Juliet Curnow, has stepped in to take Cátia's place.

Juliet is a familiar figure in and around Exeter.  Notably she was soloist in the Nelson Mass and Duruflé Requiem at Holy Trinity Church in Exmouth on 5th February this year. More recently Juliet was alto soloist in Vivaldi's Gloria Mass at Powderham Castle on Friday 25th February (details in the post for the 'Classical Journey' programme on Tuesday 1st March).


The B minor Mass promises to be a wonderful spectacle.  Three other soloists are coming from the Guildhall School of Music and Drama, together with the Exeter Bach Society Choir and an orchestra led by Anna Cockroft and conducted by Nicholas Marshall.



Exeter Bach Society
St David's Church Exeter Saturday 2 April 7.30pm
J. S. Bach: Mass in B minor
Conductor: Nicholas Marshall
Leader: Anna Cockroft
Soprano: Raphaela Papadakis
Mezzo Soprano: Juliet Curnow (standing in for Cátia Moreso)
Tenor: Clement Hetherington
Bass: Ben McAteer
(all soloists from the Guildhall School of Music and Drama)
Tickets: £15 unreserved (concessions £11)
Exeter Phoenix: 667080

Opus Classical (Exeter Guildhall): 214044
Roger Churchward (Front of House): 468867
www.exeterbachsociety.org.uk

Springtime is Coming!, St Margaret's Church Topsham Saturday 2 April

SPRINGTIME IS COMING!
Soprano Janet McDonald
Clarinettist Phil Bonser
and Pianist Margaret Chave
at Glenorchy United Reformed Church
Wednesday 23rd March

On Saturday night this week there will be a free concert to raise money for the Shelter Box appeal.  In addition to their many projects around the world, providing basic survival equipment to disaster victims, Shelterbox has been providing much needed help in Japan since 15 March.  Enjoy a free concert on Saturday evening and hear how you can help the many victims of disaster around the world.

On Wednesday 23 March there was a lunchtime concert at Glenorchy United Reformed Church in Exmouth, also free to attend, to promote the charity and Saturday's evening concert.  Lunchtime concerts at Glenorchy are always of a very high standard and this was no exception.  A capacity audience enjoyed a preview of about half of what we can enjoy this Saturday at St Margaret's Church in Topsham.

The title of the lunchtime concert was 'Springtime is Coming'.  Instrumental music was provided by Margaret Chave at the Venables grand piano, Phil Bonser provided further beautiful sounds on his clarinet, and soprano Janet McDonald did the singing.

They started with Margaret's arrangement of Johnny Bannerman's Lewis Bridal Song, 'Mairi Bhan' ('Fair Mary'), dedicated to Mairi NicNaoimhin (Mary McNiven) and first sung at the Old Highlanders' Institute in Glasgow in 1935.  The following year it was translated from Gàidhlig into English by Hugh Roberton, and subsequently used as the basis for a highland dance in 1959.  Margaret's arrangement was very familiar, evoking the 'heel and toe' of highland dancing.  Janet's singing of the English words was high and light with just the right amount of Scottish accent added.

Next was a lovely song from John Rutter's collection of 11 traditional British and Irish songs  'The Sprig of Thyme' published in 1994, but based on much earlier folk songs.  The fourth song, also called 'The Sprig of Thyme', is from Lincolnshire and dates from 1689.  Janet and Margaret worked together well, with gentle piano and clear diction making it easy to follow the story.  Plants featured a lot, symbolising the dangers of false love.  The 'Maiden's Lament' recounts the visit of a gardener's son with a red rose (romance) and a blue violet (modesty) who steals the thyme (innocence) leaving only rue (regret!)

Gerald Finzi

Phil joined in with Margaret and Janet in turn for a series of pieces by early twentieth century British composer Gerald Finzi.  First Phil and Margaret joined forces for Finzi's only surviving chamber work, 'Five Bagatelles for clarinet and Piano'.  Despite the title this was a major work for Finzi, his Opus 23, which he finished during the Second World War after nearly twenty years work.  The Prelude and the concluding Fughetta are fast but the intervening Romance, Carol and Forlana are much slower.  Margaret and Phil limited themselves to the final Forlana and Fughetta.  The Forlana, soft and gentle as expected, gave way to a much more jazzy Fughetta with high trills in the solo clarinet passages.  There were also solo passages for Margaret on the piano, but Phil was given the real virtuoso work on his clarinet.  The last passage was played by Phil and Margaret together, with a conspiratorial wink from Phil to Margaret in recognition of an impressive collaboration.
Janet joined Margaret at the piano for three poems arranged by Finzi.
'Oh Fair to See' ( . . . 'Blossom-laden cherry tree'), written by Christina Rosetti in 1893, a year before she died, and set to music by Finzi in 1929, was slow and beautiful.  Other voices can be used for this, but Janet's soprano suited it well.  Janet's singing about that cherry tree was very pleasing.

Ivor Gurney

Ivor Gurney's songs definitely suit the male voice.  At the beginning of February this year Iain McDonald (no relation to Janet as far as I know) sang Gurney's 'Sally Gardens' and 'Walking Song'.   ( See Piano and Baritone at Glenorchy Wednesday 2 February )  During the time that Gurney was incarcerated in the Dartford Mental Hospital after the First World War, Finzi worked with Gurney's editor Marion Scott to preserve Gurney's works.  For the next number, Janet chose the one song by Gurney that Finzi set to music himself: 'Only the Wanderer'.  Finzi set this poem to music in 1925, without knowing that Gurney had made his own setting.  The long drawn out notes particularly suited Janet's voice and singing style and Margaret made the most of the lingering conclusion on the piano.  Piano and voice combined perfectly to evoke the rolling meadows of Gurney's home on the banks of the Severn - to which he clearly wished he could have returned.
Finally Margaret and Janet gave us Finzi's 1940 setting of Thomas Hardy's pre-industrial Victorian poem 'The Market Girl' (revised from the 1927 original).  The poem is very pessimistic, like many of Hardy's poems, describing the girl as being ignored by everyone, along with her honey, apples and herbs.  Pessimism turns to triumph in the last line, however, as the narrator, by talking to her, has won the prize.  The fact that Janet was singing the man's line did not detract from the beauty of the piece.

For classical instrumental music Margaret and Phil joined forces again for an extract from Mozart's Clarinet Concerto.  This was originally composed in 1791 for the Basset Clarinet (fore-runner of the Bassett-Horn) which the contemporary clarinettist Anton Stadler could then use to demonstrated the very bottom C.  Phil was playing  his soprano clarinet and managed to evoke all the emotion Mozart originally intended.  He played the gentle Adagio, which is usually sandwiched between the lively Allegro and Rondo of this three movement concerto.  The emphasis was, naturally, on the liquid and sensual sound of the clarinet, perfectly complemented by Margaret's piano.  The movement was a 'transport of delight' full of sweet trills and ending with perfect cooperation between the two instruments.

All three musicians got together for Geoffrey Burgon's 'Nunc Dimittis'.  Sadly, Geoffrey died at the end of September last year, so this performance was a very fitting tribute to his life and work.  Composed in 1979 this follows the standard text from the middle of the second chapter of the Luke Gospel which describes an old Jewish man, Simeon, holding the baby Jesus in his arms in the Temple and saying (originally in Greek): "Νῦν ἀπολύεις τὸν δοῦλόν σου, δέσποτα, κατὰ τὸ ῥῆμά σου ἐν εἰρήνῃ" [If you're just getting 'squares' that's "Noon appo-loo-ice ton doolon soo, despota, kata toh h-raima soo en aye-rain-ay" phonetically] ("Now you release your slave in peace, o Lord, according to your word") which was translated in the Latin Vulgate Bible as, "nunc dimittis servum tuum Domine secundum verbum tuum in pace".  The Nunc Dimittis can be sung in Greek, Latin or native language, and Burgon's version is in English and was composed as a theme tune for a television series - John Le Carré's 'Tinker, Taylor, Soldier, Spy' - and sung against film of clouds passing over the Bodlean Library in Oxford by schoolboy treble Paul Phoenix (now a tenor with the King's Singers - Cambridge!)
Janet's soprano voice was certainly comparable to the young Paul Phoenix, beautifully lyrical, with each line augmented by a little phrase on the piano with the clarinet joining in too.  The final 'doxology', "Glory be to the Father . . . " ("Δόξα Πατρὶ . . . " in the original Greek [Doxa Patri]) was beautifully augmented by high sustained notes on the clarinet - " . . . world without end. Amen."

The concert finished with the music of Franz Schubert as advertised.  Margaret got her chance to play some solo piano - the sixth of Schubert's 'Moments Musicaux', which were published in 1828, the year he died.  The sixth had also been published as a single piece in 1824, when it was called "Les Plaintes d'un troubadour" ("A Mediaeval Lyricist's complaints").  Now Margaret could use the full range of volume of the louder instrument - interspersing strident passages with softer ones of remarkable gentleness.  Now was the chance to observe the wonderful steadiness of her hands and the firmness of her chords.  Every note was gently but definitely played - a beautiful sound you would never tire of hearing.

Finally came Schubert's 'Der Hirt auf dem Felsen' ('Shepherd on the Rock'), also composed in 1828, the last year of his life.  This poem is a combination of the work of Wilhelm Müller with two verses by Karl August Varnhagen von Ense added just before the last.  Schubert's setting was created specifically for this special combination of piano, clarinet and soprano voice.  Although described by Schubert as a 'Lied' (song), it is really an aria.  It was composed specially for the early nineteenth century Austrian operatic soprano Pauline Anna Milder-Hauptman.  Schubert's aim was to allow Anna to express the full range of emotions during the performance - which he certainly achieved.
The version that Janet performed with Margaret and Phil was the English translation.  The opening was restful and leisurely on the piano and clarinet, with Phil's clarinet giving way to Janet's soprano voice - before taking over again.  The soprano parts builds to extreme emotion, pleading and urgent.  The meaning is clear regardless of the words.  The clarinet part also becomes increasingly impassioned - even plaintive.  But nothing is constant.  A harsh trill on the clarinet leads to a slow downward scale which turns suddenly into a light and jolly dance, with the piano and voice joining in to celebrate the delights of the coming of spring.  A series of upward exultant runs for clarinet and voice give way to the climactic finish by Janet - but the clarinet gets the last word.

There was time for a brief encore - again composed for piano, clarinet and soprano.  The first of Frances Cornford's 1919 'Two Nursery Rhymes' is 'The Ragwort' which was set to music by Arthur Bliss.  (The second, 'The Dandelion', he scored for soprano and clarinet without piano.)  The description of Ragwort standing proud among the thistles and other weeds, and distracting and cheering passers-by, was gorgeously embellished by Phil on the clarinet.  Margaret's piano part was full of fun and lovely grace notes, but Phil had the last word once again, with an incredible final trill on his clarinet.

£600 pays for one box of equipment to save ten lives

Despite being a lovely concert, last Wednesday's Lunchtime Recital at Glenorchy left the impression that there could happily be more music included.  The Mozart Clarinet Concerto has two more movements.  Finzi wrote three more 'bagatelles'.  The song cycles have several more songs.  The sense of potential was deliberate.  A full concert, of twice the length, and including the same music and much more, will be held at St Margaret's Church in Topsham at 7.30pm this Saturday, 2 April.  This promises to be a wonderful evening of music.  Admission is free, but all donations towards the work of 'Shelterbox' in the disaster-struck areas of the world will be very gratefully received.  Whether you can make it to the concert or not, any donation to Shelterbox is always welcome.  Full details about the work of Shelterbox, and how to help, can be found at www.shelterbox.org donations can be made to the Shelterbox hotline on 0300 0300 500.

SPRINGTIME IS COMING!

St Margaret's Church Topsham Saturday 2 April 7.30pm

Franz Schubert: 'Shepherd on the Rock'

Soprano: Janet McDonald

Clarinet: Philip Bonser

Piano: Margaret Chave, Mary Pickard

Tartini: Concertino

Mozart: Clarinet Concerto
'Ruhe Sanft' ('Gently Rest') from his 1780 opera 'Zaide'
(voice, clarinet and piano)
Bizet: 'Chanson d'Avril' ('April Song')
Fauré: 'Lydia', 'Après Un Rêve' (After A Dream')

and more songs by Finzi, Fauré and Mozart

Admission Free - but all donations go to 'Shelter Box'

to provide relief to disaster victims around the world
(Last year's total £711 - let's do it again!)

English Touring Opera at the Northcott Theatre "La Clemenza Di Tito" (Update)

LA CLEMENZA DI TITO
Philip Spendley as Publius, Rhona McKail as Servilia
Julia Riley as Sextus, Mark Wilde as Titus
Gillian Ramm as Vitellia and Charlotte Stephenson as Annius

This production was simply fabulous - in every way.  This English version of Mozart's classic (which was originally in Italian) was a visual and auditory feast, absolutely rivetting, amazing and emotionally draining from the very first moment.  All of the actors were outstanding - including the extras, many of whom are starring in other operas this week.  (Note Greg Tassell in the grey overcoat!)

The two main protagonists were Gillian Ramm as Vitellia, daughter of the deposed former ruler of Rome, Vitellius, and Mark Wilde as Titus, son of the new ruler Vespasian, and now ruler himself.  These two characters were rarely together, but between them they wove a compelling tale of miscommunication.  Despite the 'clemency' of Titus, Vitellia still tries to regain power by inciting violence.  Her devoted and misguided helper is an army officer called Sextus who, confusingly, is played by soprano Julia Riley.  His friend and fellow officer Annius is also played by a woman, mezzo soprano Charlotte Stephenson.  At the première in Prague in 1791 Sextus was played by male soprano castrato Domenico Bedini.  Strangely, even on that occasion, Annius was played by a woman, mezzo soprano Carolina Perini.


The female/male characters were not the only confusing aspect of this production.  Mozart wrote the opera in honour of the Holy Roman Emperor Leopold II whose coronation was in 1791.  The Emperor Titus, with whom Leopold was being compared, reigned from 79-81 AD.  This production however, was set in the 1930s.  This came as a surprise, as the publicity photos show the performers in what appears to be Elizabethan costume (see below).  The setting was perfect, however.  Using a relatively small chorus the crowd scenes evoked the feel of the familiar newsreel images of the pre-war era, which was very apt.  Although the ruler in Rome at that time would have been Benito Mussolini, there was no suggestion that the main character, Titus, bore any resemblance to the fascist dictator (although the real Emperor Titus probably did).


The singing was crystal clear throughout (and in English) so this opera was as easy to follow as a modern play.  Mark Wilde's exposition of Titus' reasoning was a masterpiece of semantics.  Those who slander him in error are blameless.  If their accusations are true he admits them.  If they slander him maliciously he forgives them.  Gillian Ramm is equally compelling in her conviction that intrigue and armed insurrection are the only reliable means of achieving her aims.  By convincing the hapless Sextus to betray his loving friend Titus - in return for her rather questionable love - she almost destroys their friendship and, as far as she is aware, makes Sextus liable to execution for treason.  Although it is only mentioned in passing, the armed uprising, which Sextus is persuaded to instigate, also involves the destruction of Rome, and it is further implied that civilians die in the chaos.


Vitellia is oblivious to these trivial details, clearly a very selfish and thoughtless person.  However, Gillian Ramm's portrayal is so realistic she actually evokes sympathy and even pity.  Rather than cruel and abusive, she appears a determined and persuasive woman who, sadly, is not all that bright and does not know which side her bread is buttered.


The plot is beautifully constructed to leave Titus in the quandary of wanting to forgive Sextus but unable to understand his motives.  (Sextus is determined not to implicate Vitellia.)  This scene is incredibly moving.  In the Northcott auditorium you could hear a pin drop.  When Titus pleads with Sextus to give him some  explanation which will allow him to be forgiven, his voice drops to a whisper.  Mark Wilde's whisper was, however, clearly audible right to the back of the audience.  Marvellous singing.


Regardless of the final outcome (you have to see the opera to find that out) the emotional intensity leading up to that crucial point was deeply moving, even for those who know the story already.  An amazing performance by the entire cast.  The scenery and costumes, though much less ostentatious than they might have been, are beautifully detailed and stunning, and the lighting, in true Northcott style, brought out every detail perfectly.


Many thanks to the English Touring Opera for bringing this wonderful production to Exeter.  Thanks also to Exeter University without whom the Northcott Theatre, and the opportunity to see wonderful outfits like the ETO, might have been lost.

If you did not see this production it may still be possible to get tickets for the repeat performance on Saturday.

Meanwhile, tonight, English Touring Opera are repeating their double bill of opera comprising Puccini's 'Il Tabarro' and 'Gianni Schicchi' - which were also performed last night (watch this space for a detailed account).  Don't miss it if you can help it!

English Touring Opera
Northcott Theatre Exeter

Tue-Sat 22-26 March

Tuesday 7pm:
Tobias Picker: Roald Dahl's
'Fantastic Mr Fox'
Wed&Sat 7.30pn:
Mozart: 'La Clemenza di Tito'
Thu&Fri 7.30pm:
Puccini: 'Il Tabarro'
        & 'Gianni Schicchi'

Tickets: £17-£30

(concessions 1/2 price)
Box: 493493

www.exeternorthcott.co.uk

www.englishtouringopera.org.uk