Idomeneo – review

Summed up, Buxton International Festival’s production of Mozart’s Idomeneo is a total triumph.

There were some niggling instances which can be put down to first night gremlins otherwise, it’s almost impossible to find fault in its three-hour duration, including an interval which couldn’t have been better placed.

Perhaps how Idamante manages to kill Neptune’s monster while he is patently on stage can be described as anomalous, while the interval is roughly mid-way through act two.

It follows Idomeneo’s scene and aria Fuor del mar, stunningly sung and acted by Paul Nilon with an intensity worthy of being witnessed on any opera stage in the world.

A break after it thus allowed the audience to recover its equilibrium and, the tenor, his composure!

Glitches aside, the whole opera is magnificently played and sung from beginning to end with Nilon, approaching the twilight of his distinguished career, simply tremendous and tireless as the tortured king in a show-stealing performance.

Not that he can be said to entirely achieve the accolade with three other singers on stage as contenders for it.

Madeleine Pierard is terrific as Elletra, a role regularly given to a dramatic soprano and she certainly has the vocal fireworks D’Oreste, D’Ajace at the end, but her softer grained singing earlier makes the character a trifle more believable.

Then there is the reason for Idomeneo’s woes, his son Idamante in a thoroughly engaging performance from fast-emerging mezzo-soprano Heather Lowe and possessor of a lovely, gently burnished chest register.

And there is Elletra’s rival in love with Idamante, Ilia, in what has to be one of Rebecca Bottone’s best role assumptions to date, the ultimate highlight here being her account of Zefferetti lusinghieri followed by the duet with Idamante in act three.

Nicholas Kok’s musical direction is a little lumpy at times while Stephen Medcalf’s stage direction round a simple uncluttered set by Isabella Bywater again proves that can convincingly stage opera without recourse to ego trips and gimmicks.

It is virtually all enacted in bright daylight, too – no fashionable dingy, dark scenes!

Wonder who sweeps the oceans of sand off the stage after curtain down!

Further performances: 11th, 14th, 21st and 19th of July

Alzira – review

Buxton International Festival’s final instalment of the Elijah Moshinsky-directed/Stephen Barlow-conducted trilogy of early Verdi operas proves to be least successful.

Sadly, it was the almost obscure Alzira that was in need of the greater championing as its level of inspiration on Verdi’s part was not as high as it was with the other two, a long way short in the case of 1847 version of Macbeth (seen last year).

It is, though, not without its inspired moments, including a novel overture of originality and much stirring ensemble work, not least the superb sextet, Nella polve genuflesso, with chorus towards the end of act one.

The solo vocal music for the three principal protagonists is a little more variable, some fine, some less so, but nearly always taxing in terms of tessitura in the arias and their inevitable showpiece cabaletta.

Kate Ladner (Alzira), Jung Soo Yun (Zamoro) and James Cleverton (Gusmano) give it their vocal all, but on the strength of the opening night performance only the South Korean tenor had the requisite vocal equipment for Verdi’s music.

Cleverton, though, displays an impressive baritone voice; however, it lacks ‘Verdian’ weight.

The supporting cast does nothing wrong, while the Festival Chorus again provides outstanding singing and the augmented Northern Chamber Orchestra plays Verdi’s score magnificently under the unerring beat of Stephen Barlow’s idiomatic baton.

Visually, the kindest thing is perhaps to say nothing the staging. Some will like it, no doubt; some will not.

It’s almost as if Elijah Moshinsky wants to make up for the “in many ways naive” music (his words) by bringing the “action forward to near present day revolutions in South America, finding its imagery in the bright colours of the score.”

The result is much revolutionary mayhem with an element of confusion and violence, at times gratuitous, such as Gusmano shooting dead Alzira’s father at the end of act one for some reason.

None of which is in Verdi’s score about Incas and Spanish Conquistadors in Peru!

Further performances: 10th, 13th, 16th, 18th and 20th of July

* ‘Melodramatic Happenings  in Lima’ for more on Verdi’s Alzira

Melodramatic Happenings in Lima

Verdi’s opinion of his rarely heard eighth opera, Alzira, late in life was hardly high describing it as: “proprio brutta” – downright ugly!

He appears not to have been exactly enamoured with it before its premiere in 1845, writing a few days before it first saw the light of day: “if it were to fail, that wouldn’t upset me unduly.”

Wonder what he had for breakfast on the two days he uttered and earlier wrote these words!

It really isn’t that bad. Rough and ready, yes; but so was his even more rarely (than Alzira) encountered original 1847 version of Macbeth which, in the final analysis, is in many ways superior to his later regularly performed 1865 version.

But, to stay with Alzira and a few words penned by perhaps the leading authority on Verdi’s operas, the late Julian Budden, who published a three-volume set on them, along with other Verdi tomes.

Having been present at a once-in-a-blue-moon staging of Alzira at the Rome Opera in February 1967 he said it “proved that the score is genuinely alive,” adding that it is “not downright bad” and, with pertinence, “no Verdi opera is totally negligible.”

Certainly not insignificant in Alzira is the opera’s wholly original and novel overture and most of its ensembles, the pick of which has to be the big sextet with chorus towards the end of act one.

There is some fairly demanding, tessitura-testing music for the three principal singers playing Alzira (soprano), Zamoro (tenor), who has a splendid scene and aria in the opera’s prologue, and Gusmano (baritone).

The love duet in scene two of act one is thoroughly engaging; however, Budden is not overly impressed with it saying Verdi “preferred to press swiftly ahead, sustaining a dramatic momentum which the text does not imply.”

So what’s all about, you may ask?

Well, it’s a far-fetched tale about Incas and Conquistadors over a prologue and two acts ostensibly set in Peru in the 16th century with a libretto by Salvatore Cammarano adapted from a play by Voltaire, Alzire, ou les Américains.

Alzira, daughter of a Peruvian tribe leader, Ataliba, is love with Zamoro, another Peruvian tribe leader. We first meet them housed as captives in the palace of the Spanish governor, initially Alvaro who hands the job over to his son, Gusmano.

He is smitten with Alzira who rejects his love until it comes to saving Zamoro’s life when she relents. Zamoro, who saved Alvaro’s life at the beginning of the opera and gets a pretty rough ride at the hands of Gusmano throughout the proceedings.

Gusmano gets an unwelcome surprise at the dénouement, though!

Voltaire anoraks will not like what Cammarano did to the great man’s play in his first libretto for a “highly delighted” Verdi. Julian Budden sums it up perfectly.

“Religion and politics, the two raisons d’être of the drama, are scarcely mentioned; and the confrontation of different creeds, different civilisations and different worlds becomes merely another variant of the eternal triangle.”

In its first major UK staging, Verdi’s Alzira can be seen at Buxton Opera House as part of this year’s Buxton International Festival when it is sung in its original Italian with English side-titles.

Performances are on 7th July, 10th July, 13th July, 16th July, 18th July and 20th July, starting at 7.15pm.

Tickets range from £20 to £78 – box office 01298 72190.

*Festival preview: ‘Ancient Greeks and Incas at Buxton 2018′


Mozart on Crete

Unlike Verdi’s Alzira, productions of Mozart’s Idomeneo, Buxton International Festival’s other major operatic staging this year, hardly fall into the realms of scarcity these days.

It has virtually become standard operatic repertoire since the early 1950’s when the Glyndebourne Festival was amongst its first champions.

Indeed, the opera’s title role has served the likes of Plácido Domingo and Luciano Pavarotti as a vehicle for their only excursions into Mozart.

Premiered in Munich in 1781, it took a while to reach these shores when an amateur Glasgow company gave the opera its first British outing in 1934. The work’s first American performance was in 1947.

Idomeneo is usually held up a Mozart’s first mature opera; Die Entfürhung aus dem Serail – The Abduction from the Seraglio, followed a year later. Stagings of this operatic jewel are scarcer than Idomeneo nowadays!

Mozart described Idomeneo as a dramma per musica – music drama, yet it is regularly referred to as opera seria, which it is not, beyond skeletal similarity.

Consciously or not, the 25-year-old Mozart emulated Gluck by giving the chorus a major role, unheard of in opera seria; the characters are dramatically believable and realism holds sway.

Continuo-led recitative is hardly in evidence, whereas there is lots of accompagnato, or orchestral recitative. Everything flows fluently with none of stop-start elements found in opera seria and there is not a da capo aria in sight.

And there is the ballet music (25 minutes of it spread out), totally taboo in opera seria, and usually omitted in stagings of the opera – nothing suggests Buxton’s production will go against the norm!

It is universally acknowledged that Mozart’s score is superb – Stephen Medcalf, stage director of Buxton’s production describes it as “extraordinary.”

What’s it all about…?

In a nutshell: Ilia, daughter of the defeated Trojan King Priam, and Elektra, daughter of the Greek King Agamemnon, both love Idamante, son of Idomeneo, King of Crete – where the action takes place – who has got himself into a spot of bother.

On his way home following the Trojan War, his ship runs into a violent storm and he vows to Neptune to sacrifice the first person he meets if he lands safely. The Sea God duly obliges and the first person he meets turns out to be Idamante, his son.

Idomeneo then spends the best part of two acts looking for ways to circumvent the outcome of his vow as Neptune gets ever more angry.

Highly promising young mezzo-soprano Heather Lowe plays Idamante, Mozart having written the role for a castrato before adapting it for a tenor five years later.

These days, casting the part is just about evenly divided between tenor and mezzo-soprano Idamantes, the latter probably shading it.

Vocally and dramatically, Idomeneo himself should be straight up Paul Nilon’s street, while Rebecca Bottone as Ilia and Madeleine Pierard as Elektra (Elettra, as Mozart would have her) similarly, looks like ideal casting.

Sung in its original Italian with English side-titles, Mozart’s Idomeneo is performed at Buxton Opera House on 8th July (3pm), 11th July (7.15pm), 14th July (7.30pm), 19th July (2pm) and 21st July (7.15pm).

Tickets range from £20 to £78 – box office 01298 72190.


Sheffield International Concert Season 2018 -19

Russian music features fairly prominently in the 2018-2019 Sheffield International Concert Season at the City Hall after it gets underway on the 5th of October with the first of six trips across the Pennines by the Hallé.

The Manchester-based orchestra actually gives the second of three all-Russian concerts (18th January) and features Rachmaninov’s multi-faceted Third Symphony, Tchaikovsky’s Violin Concerto and Mussorgsky’s Prelude (Dawn on the Moscow River) to his opera Khovanshchina.

An Italianate tinge may surface every so often as the conductor is the mightily gifted Daniele Rustioni, recipient of the International Opera Award for Best Newcomer of the Year in 2013, the no less gifted Francesca Dego (aka, Mrs Rustioni) being the soloist in the concerto.

Authentic sounds should be guaranteed at the other two all-Russian concerts with the Russian State Symphony Orchestra (18th October) offering Tchaikovsky’s Symphony No 2 – the Little Russian, Khachaturian’s Masquerade Suite and Shostakovich’s Violin Concerto No 1.

Yet a third violin concerto, Prokofiev’s No 2, is programmed by the Russian Philharmonic of Novosibirsk (10th May), the Siberian capital, with Rachmaninov’s Symphonic Dances, Rimsky-Korsakov’s nod to Spain, Capriccio Espanol, and Shostakovich’s Festive Overture.

Two highly rated and much-acclaimed violinists perform the concertos: Chloë Hanslip the Shostakovich, Alexander Sitkovetsky the Prokofiev, and the conductors are Valentin Uryupin and Thomas Sanderling, born in Novosibirsk and son of the legendary Kurt Sanderling.

Also performing music emanating from its own country is the Czech National Symphony Orchestra (30th November), striking up with Smetana’s familiar Overture to The Bartered Bride and rounding off proceedings with the even more familiar Dvořák Symphony No 9 – From the New World.

Still, no orchestra plays Czech music quite like a Czech orchestra and this is an extremely fine one which visited Sheffield in the mid-1990s soon after being established. There is also the bonus of hearing Nikolai Demidenko playing Chopin’s Piano Concerto No 1 and the conductor is Heiko Mathias Förster.

You could say the London Mozart Players (1st February) are home ground with the composer’s popular Piano Concerto No 21 and Symphony No 34 programmed for a 70th Birthday Concert under the direction of the orchestra’s conductor laureate Howard Shelley.

First and foremost, though, a much in demand pianist, he is also the soloist in the concerto with Haydn’s Symphony No 95 and a little-known tone poem for strings by Joaquín Turina making up the concert.

Three other celebrated concerto pianists appear at Hallé concerts, not least Benjamin Grosvenor with Beethoven’s Piano Concerto No 2 when the orchestra is confronted by a fiery young Hungarian conductor, Gergely Madaras, at the last concert in the season (7th June).

Mahler’s Symphony No 1 and Mozart’s Overture to Die Entführung aus dem Serail (Il Seraglio) make up the programme and it is orchestral excerpts from opera that fill out the concert when Francesco Piemontesi performs Beethoven’s Emperor Concerto (9th November).

Sir Mark Elder is the conductor and elsewhere is Weber’s Overture to Oberon and a sizeable chunk of Wagner: the Preludes to Act 1 and Act 3 from Lohengrin and a ‘suite’ from Die Meistersinger von Nürnberg – just about possible to cobble one!

Brahms’ Haydn Variations and Nielsen’s warlike Fifth Symphony bookend Mozart’s Piano Concerto No 22 from emergent young Russian pianist Pavel Kolesnikov and the Hallé under the baton of well thought of German-born conductor Johannes Debus (22nd March).

A fourth formidable violinist, Jennifer Pike, performs Mozart’s Violin Concerto No 3 and Vaughan Williams’ The Lark Ascending at a Royal Philharmonic Orchestra concert (8th March) which begins with Sibelius: Finlandia, and ends with Elgar: Enigma Variations.

The conductor is Estonian ‘maestress’ – in the absence of a female term for maestro! – Anu Tali.

Two well-known concertos are heard in the remaining two Hallé concerts: Mozart’s Clarinet Concerto and Dvořák’s Cello Concerto.

The first (16th February) is sandwiched between de Falla’s El amor brujo (Love, the Magician) and Beethoven’s Symphony No 7 with the orchestra’s outstanding principal clarinet Sergio Castelló López as the soloist and a Mexican conductor of some note, Carlos Miguel Prieto.

The Dvořák is in the season’s opening concert (5th October) and is performed by the 2012 BBC Young Musician of Year, Laura van der Heijden with the eminent German maestro Karl-Heinz Steffens conducting. Brahms: Symphony No 4 and Sibelius: Lemminkä¡nen’s Return, are elsewhere.

Christmas Concert aside (15th December), the Sheffield Philharmonic Chorus’ main involvement in the season is Bach’s B minor Mass (6th April) with the Royal Northern Sinfonia under the baton of Andrew Griffiths, a young conductor of considerable talent – it is said!

Admission prices remain unchanged, which means the top priced ticket for individual concerts is a bargain £21 for concerts of this calibre. It becomes 30% cheaper with a full season subscription, 20% with a 10-concert subscription and 10% with a 5-concert subscription.


Review: Katarina Karneus/ Joseph Middleton

This was French song, mélodie or chanson, with vocal beef!

The fashionable tendency of treating the genre with kid gloves as something fragile and delicate often leaves it sounding characterless and can regularly be allied to affectation and under-singing.

All of which was the last thing Katarina Karnéus could be accused of at her Sheffield Chamber Music Festival lunchtime concert in the Crucible Studio.

So, she could have been charged with sounding a little too operatic at times, not least when echoes of Herodias in Richard Strauss’s Salome surfaced, a role the Swedish mezzo-soprano was coming to end of in an eight-performance run with Opera North.

French song aficionados or purists may well throw fits, but it wasn’t so distressing. Hearing, for instance, Après un rève and Automne among four Fauré items sung with purpose and feeling was a refreshing change to the regular insipid renderings of them.

Four songs by Duparc, including Chanson Triste and the well-known L’Invitation au Voyage, gained enormously from forthright but subtle, meaningful delivery, the only thing missing being word clarity. A stumbling block, generally, was the need for sharper diction.

With it, the superbly sung Trois Chansons de Bilitis by Debussy would have been even more memorable with Joseph Middleton’s fabulous execution of the piano part which captured the composer’s myriad of tonal colours.

Satie’s La diva de L’Empire ensured that everyone had a smile on their face at the end.


Snapshots of Life

Two supreme song-smiths appear at the Crucible Studio over the course of this year’s May Festival, or Sheffield Chamber Music Festival, promoted by Music in the Round: baritone Roderick Williams and mezzo-soprano Katarina Karnéus.

The latter has a must-hear French song recital at lunchtime on the 15th of May while ‘Roddy’, as Music in the Round’s singer-in-residence is affectionately known, is heard twice on the opening day this Friday (11th of May) performing Mahler and Schubert song cycles.

Schwanengesang – or Swan Song, is the song cycle Schubert never knew he had written!

Whether he intended it to be is extremely unlikely, although there have been arguments that he did.

The songs, 14 of them, are settings of verse by three poets, for a start. Song cycles invariably consist of the work of one poet and, more often than not, have a linked narrative thread – Schubert’s Die Schöne Müllerin and Die Winterreise are examples – or a specific theme.

Schwanengesang is a collection, or compilation of two sets of songs, seven to texts by Ludwig Rellstab and six by Heinrich Heine, plus one by Johann Seidl to round things off.

Described as ‘snapshots of life’, Schubert committed the Rellstab and Heine songs to consecutive, untitled manuscript pages, leading to the implied suggestion of a cycle, three months before his death.

How, or if, he intended to combine the songs in cycle form is anyone’s guess. Worth noting, though, is that Schubert offered the six Heine songs, which include Der Atlas and Der Doppelgänger, to a Leipzig publisher a month before he departed this mortal coil.

The best-known Rellstab setting is the famous Ständchen – Serenade!

It became a song ‘cycle’ after Schubert’s death when the composer’s publisher Tobias Haslinger got hold of the manuscript, christened it Schwanengesang and published it in early 1829 having added Schubert’s setting of Seidl’s Die Taubenpost – The Pigeon Post, believed to be the last Lied, or song, the composer wrote.

Declaring the work a song cycle doubtless owed more than a little to the earlier financial successes of Schöne Müllerin and Winterreise!

The brochure blurb for the performance of Schwanengesang refers to ‘a sequence of 13 songs’ suggesting, in all likelihood, that Die Taubenpost will not be included. Perhaps performed as an encore, given its significance in Schubert’s vast Lieder output?

From very late Schubert to early Mahler some 60 minutes before Roddy launches into the Schubert with regular pianist Iain Burnside and Lieder eines Fahrenden Gesellen, or Songs of a Wayfarer, as it is inaccurately known in English.

One of Mahler’s most frequently heard vocal works; its composition history is complex with no small amount of hearsay and supposition. That it was born following the composer’s unhappy love affair with a soprano is probably the only cast iron fact.

Mahler is believed to have started composing the four songs to his own texts in late 1884 and completed them sometime in 1885. He later revised the score considerably and at some point in the early 1890s is said to have orchestrated the piano part.

A performance of the orchestral version in March 1896 was possibly the work’s premiere, although an earlier voice-and-piano performance, it seems, can’t be ruled out.

Mahler’s lyrics were heavily influenced by the prose style in Des Knaben Wunderhorn – The Boy’s Magic Horn, a collection of German folk poetry and songs to which there are regular references in much of the composer’s music.

Lieder eines Fahrenden Gesellen, in a chamber ensemble arrangement by Erwin Stein, forms part of an Ensemble 360 concert that also takes in Wagner’s Siegfried Idyll and Mahler’s Piano Quartet movement, the nearest he got to writing chamber music.

A shorter-again song cycle crops up in the programme presented by Swedish mezzo Katarina Karnéus, winner of the 1995 Cardiff Singer of the World competition who has gone on to forge an international career of enormous prestige.

Every mezzo-soprano worth her salt sings Debussy’s sensual Trois Chansons de Bilitis – Three Songs of Bilitis, settings of texts from his friend Pierre Louÿs’ collection of 140-odd erotic prose poems, The Songs of Bilitis – an alleged contemporary of Sappho in Ancient Greece.

Elsewhere are three Fauré gems: Après un rêve, the regularly heard first song of a set of three, Op 7; Automne, the third of a set of three, Op 18; and the slightly lesser known Fleur jetée, the lively second of a set of four songs, Op 39.

There are also three Duparc jewels, two to texts by Baudelaire: L’Invitation au Voyage, easily the composer’s most regularly heard song, and his last song in 1884, La Vie Antérieure, before mental illness ended his composing career. Chanson Triste makes up the three.

Unspecified songs by Messiaen and Satie are scheduled among the Gallic delights for which Joseph Middleton is the pianist. The latter’s La Diva de l’Empire, perhaps. That would add further icing to the cake!




Ancient Greeks and Incas at Buxton 2018

Buxton Festival, or Buxton International Festival as it was re-christened last year, opens its doors for the 39th time this year with some 120 events over a 17-day period between the 6th and 22nd of July.

Other than Donizetti’s The Daughter of the Regiment transplanted into the world of Californian biker gangs, most interest operatically will centre on a rare staging of Verdi’s Alzira.

It was the composer’s eighth opera in 1845 and completes a festival trilogy of early Verdi operas over the last four years directed by the distinguished stage director Elijah Moshinsky under the musical direction of festival artistic director Stephen Barlow.

The three all but followed each other in Verdi’s output, Giovanna d’Arco (seen in 2015) coming immediately before Alzira, while last year’s offering, the original version of Macbeth, is separated from them by Attila – yes, Verdi put him on the operatic stage, too!

Actually, it is easily the most frequently encountered of the four operas in question and a toss up as to the least frequently heard, Alzira or the original Macbeth, the latter probably having the dubious honour, despite its superior qualities over the usually heard later version.

Be all that as it may, Alzira, not without its own impressive passages, is what concerns us here.

It is a tale of Incas and Spanish conquistadors in which Alzira, the daughter of a Peruvian tribe leader, is in love – reciprocated – with Zamoro, an Inca warrior. So too is the despotic son of the former Spanish governor, Gusmano – not reciprocated!

Kate Ladner plays her third Verdian leading lady in the festival’s trilogy as Alzira and last year’s Macduff in Macbeth, South Korean tenor Yung Soo Jun, returns as Zamoro.

Although no stranger to Buxton, James Cleverton makes his festival debut as Gusmano and Graeme Danby sings the only other character of significance, Gusmano’s father Alvaro.

Sung in Italian with English side titles, Alzira gets six outings, one more than the festival’s other flagship opera this year, Mozart’s Idomeneo also performed in its original Italian.

More readily encountered than the Verdi opera, though hardly in danger of over-exposure, Mozart’s post-Trojan War scenario of finds the King of Crete, Idomeneo, vowing to Jupiter in a storm-ravaged sea that he will sacrifice the first person he meets if makes dry land safely.

Should you not know, he then spends most of the opera dissembling on how to get out of the vow because the first person he meets turns out be his son, Idamante.

Principal cast members are Paul Nilon as Idomeneo, promising young mezzo-soprano Heather Lowe plays Idamante (a trouser role) and, ‘with eyes for him’, Rebecca Bottone and the excellent Madeleine Pierard, both in last year’s Lucio Silla, are Ilia and Elettra (Electra).

Stephan Medcalf returns yet again as stage director and the conductor is Nicholas Kok with the augmented Northern Chamber Orchestra, which also accompanies Verdi’s Alzira.

Not specified is who or what is accompanying Donizetti’s Daughter of the Regiment, a festival co-production with Jeff Clarke’s Opera della Luna, again no strangers to Buxton in the days when the annual Gilbert and Sullivan Festival took over the High Peak town.

Clarke’s irreverent takes on G&S were often hilarious while retaining spirit of the work and it remains to seen if this holds true in slightly different fayre with resonantly named Australian soprano Suzanne Shakespeare as Marie and a Spanish tenor Jesús Álvarez as Tonio – wonder if he has the famous nine high Cs in his voice!

Sung in a doubtless suitably worded English translation, it gets two performances as does a much more obscure Italian opera and composer, Tisbe by Giuseppe Antonio Brescianello, this year’s offering from Italian Baroque specialists La Serenissima in a concert staging.

The festival’s opening night (6th July) is a gala evening of operetta, musicals and cabaret in association with Opera North as part of the 40th Anniversary Appeal for next year’s festival.

Among those giving vocal recitals are Roderick Williams – Winterreise! and Lucy Schaufer, last year’s Florence Pike in Albert Herring who offers an interesting programme of songs by American composers hinged on this year’s Leonard Bernstein centenary celebrations.

Some celebrated pianists put in an appearance: Joanna MacGregor, Christian Blackshaw and Stephen Kovacevich. Leading flautist Ashley Solomon sandwiches Telemann’s Six Fantasias between works by JS Bach and CPE Bach.

Among notable instrumental ensembles are the Fitzwilliam and Sacconi quartets, Fibonacci Sequence, Aquarelle Guitar Quartet, Ex Cathedra, while Ensemble 360’s flautist Juliette Bausor can be found in an attractive concert of flute, oboe and piano music.

Medieval music ensemble The Telling is involved in a words and music profile of the 12th century Benedictine abbess Hildegard von Bingen. An equally fascinating prospect is a similar evening with Purcell as the subject.

Full details of these and many other concerts in the festival can be found at

Unmissable Delights at SCMF

Music in the Round’s 34th annual May Festival has a new name this year – well, a new old name! – Sheffield Chamber Music Festival, occasionally used in its early days and what it has always been.

Also, this time round, it is easily the most eclectic in terms of content and programming over 39 events (including talks) between Friday, the 11th of May and Saturday, the 19th.

From Edgar Allan Poe to Mercadante and a silent Russian film, there is much to discover in nine jam-packed days, which carry an underlying theme of harmony. Venues vary, but most activity is at the Crucible Studio.

Chronologically, highlights can be said to include Roderick Williams performing Schubert’s Schwanengesang, the concert blurb referring to 13 songs – No 4 is the famous Ständchen (Serenade) – suggesting the 14th song, the solitary Seidl setting, is being omitted.

Earlier, the baritone joins Ensemble 360 for Mahler’s Lieder eines fahrenden Gesellen (Songs of a Wayfarer) arranged for chamber ensemble by Erwin Stein – Schoenberg came up with a more regularly heard version!

A concert headed When Death Comes to Call has Sheffield Theatres involvement for Pushkin’s one-act play Mozart and Salieri with an outing for Mozart’s K301 violin sonata during or after it.

Part two, so to speak sees appropriate works by Debussy and his disciple Florent Schmitt prefacing a super piece for harp and string quartet by another Debussy follower André Caplet, Conte Fantastique, a depiction in music of Poe’s The Masque of the Red Death.

Were you aware, incidentally, that Debussy worked on an unfinished double bill of one-act operas after two Edgar Allan Poe stories, one being The Fall of the House of Usher?

Ensemble 360 members are heard in Sheffield Cathedral with an irresistible programme of Elgar, Howells, Butterworth before an ad-hoc Sheffield Youth Strings Collective (not to be underrated!) tune up for Fantasia on a Theme by Tallis by Vaughan Williams.

Super Swedish mezzo-soprano Katarina Karnéus and pianist Joseph Middleton performing Debussy’s Chansons de Bilitis; three of Fauré’s best-known songs; ditto, by Duparc; plus songs by Satie and Messiaen, should make compulsive listening.

Music in the Round’s ongoing World of Strings strand in its spring and autumn seasons is invoked for what promises to be a beguiling evening in the company of virtuoso harpist Catrin Finch and Senegalese kora (it resembles large banjo) maestro Seckou Keita.

Peter Hill, quietly a Bach keyboard specialist, offers the composer’s Goldberg Variations – on the piano, obviously – to close a day investigating the significance of mathematics in music.

Among other concerts from the world-class Ensemble 360 is a thoroughly engaging affair of Dvořák, Martinů and Janáček; and there is a performance of Mozart’s six-movement Divertimento for string trio K563 four hours later.

The ensemble’s double bass player Laurène Durantel also calls on her talents as a pianist and singer for an improvised accompaniment to the 1929 Russian film Man With a Movie Camera (deemed a classic!) at the Showroom Cinema and a sell-out hit at Sheffield University 12 months ago.

O yes, Mercadante! Saverio Mercadante, a sort of Italian Gluck and virtually forgotten composer of some 60 operas, many highly successful, but had the misfortune to have Rossini as a contemporary.

He crops in a programme of Italian instrumental music from Ensemble 360 headed Young Rossini and ends with his William Tell Overture, penned to what was to be his last opera at the age 38 in 1829 – not really young!

Full details of everything in the festival at


Loudly Let The Trumpet Bray!

Conflict resumes between the House of Lords and Fairy Kingdom for the trillionth time on the 15th and 16th of March at King Ecgbert’s School, Dore to raise funds for Cavendish Cancer Care.

If that is a trifle cryptic, Gilbert and Sullivan’s perennially popular Iolanthe is being staged, with an uncommon slant!

Performing it is a group calling itself Vintage G&S signifying that its members are of a certain age and largely entitled to bus passes, as well as indicating the years of G&S experience and expertise within its ranks.

None of the performers are under any illusion that they are in the first flush of youth and age should not be seen as a deterrent, assuming you can accept an older person playing a younger one.

In fact, this would only really be noticeable with two characters, plus a third perhaps given Iolanthe herself never ages. No even after being banished to frog-infested watery realms for having married a mortal 25 years earlier before the action takes place.

The other two are the Strephon, an Arcadian shepherd, and his sweetheart Phyllis, the former being Iolanthe’s son with whom she has clearly kept in regular contact during her exile.

Unaware, Phyllis is none too pleased when she sees the two embracing and, not unnaturally, doesn’t believe it when told – “No girl could care for a man who goes about with a mother considerably younger than himself!”

Iolanthe’s age is mooted as 17, the age Elizabeth Birkby was when she first sang the role in a Sheffield Youth Opera production in 1967 and she will be re-creating it at King Ecgbert’s School in March.

Vintage G&S came into being following a chance meeting of some former South Yorkshire Opera (long memories needed!) members. As they reminisced, a shared love of Gilbert and Sullivan surfaced leading to a desire to perform G&S opera together again for pleasure.

Among ex-South Yorkshire Opera involvement in the production is Caroline Dyson who has played nearly all the leading G&S mezzo-soprano roles, including Iolanthe for SYO in 1990. Here, she plays the Fairy Queen for the first time – traditionally, a contralto role.

As the eventual object of her desire, Private Willis, the much-experienced bass Nigel Rothery reprises the role he played in the SYO staging.

Derby baritone and conductor Morris Fisher, a one-time SYO principal, knows all about the role of Strephon having played him many times before, marrying his stage mother (Iolanthe) after one production. Marion Fisher will be on stage with him again here, as a ‘vintage’ fairy!

A more familiar SYO name, Mary McCready, takes on Phyllis for the first time, the role having somehow eluded her during many years as lead soprano with Chesterfield G&S.

Having performed Gilbert and Sullivan around Wales and Yorkshire with considerable success, the only G&S opera to that has eluded Rotherham-based vicar Simon Copley so far is not the predictable Grand Duke, but Ruddigore.

He is the Lord Chancellor and more about him in due course.

Filling other roles are Geoff Fenwick, Jonathan Parsons, Vivien Carrack, Sheila Rothman and Penny Walker all supported by a chorus drawn from G&S societies such as Dore, Birley Carr and the former City Comic.

John Wade, founder of the John Wade Singers, re-surfaces to conduct proceedings, which are directed by Jan Ashford (SYO), and Jonathan Lazell is the accompanist.

Tickets, £12, can be obtained from Ian Ashford: 01246 415050, or Liz Blanshard: O1246 419830.