Archive for June, 2016

Review of ‘The Building of Ely Cantata Eliensis’ in The Lady Chapel Ely Cathedral on Sunday 26 June 2016

June 27, 2016

review 26 June 16 The Story of Ely CathedralThe Cantata Eliensis tells the story of the building of Ely Cathedral. The librettist, Nick Pitts-Tucker, used original sources as his inspiration and the music was well-designed to reflect the chants and  harmonies from the twelfth century while incorporating more contemporary effects that coloured events wonderfully. The three composers Anna Krause, Toby Young and Louis Mander produced some intriguing sounds which gave the story life and substance and which would not have been possible without the expertise of the very fine musicians. We could feel the mysterious eeriness of the Fens, we experienced the horror of battle and marvelled at the portrayal of quarrymen, layers, carpenters and masons at work. Although a modern instrument, the improvised nature of the saxophone part interwove within the texture fittingly.

Under the baton of Kate Bullimore Cantata Dramatica soloists and chorus expressed the music with accomplished conviction leaving the audience with a sense that it had indeed experienced what it must have been like to build such a magnificent building in those times.

It was fortuitous that the Director of Music at Ely Cathedral had heard the work before in Grantham and the Lady Chapel of Ely Cathedral was a most appropriate place for the powerful open harmonies resounding against the stark stone of the surroundings.

For more information contact http://www.cantatadramatica.com

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Review of ‘A Summer Celebration’ in Ely Cathedral on Saturday 25th June 2016

June 27, 2016

review 25 June 16 1 choristersreview 25 June 16 3 Lesley Garrett and Sarah McDonaldreview 25 June John Rutter‘A Summer Celebration’ in Ely Cathedral last Saturday must be one of the major highlights of the year and it certainly celebrated the 10th anniversary of the Ely Cathedral Girls’ Choir magnificently.

The performers included Ely Cathedral Girls’ Choir, Ely Cathedral Octagon Singers, The Ely Imps, The Ely Celebration Orchestra (led by Emma Gait) and famous guests Lesley Garrett (soprano) and John Rutter (composer and conductor). With a line-up like this, success was inevitable and it was no surprise that the cathedral was packed.

The quality of performance was undisputed and from the spine-tingling opening when the massed choir began to sing Zadok the Priest, there was not a moment that did not fill the cathedral with wonderful sound.

After Sarah MacDonald led the massed choir singing ‘Zadok the Priest’ the girls, boys and men’s choirs sang the other Coronation anthems: ‘The King shall Rejoice’ and ‘My heart is Inditing. Sarah’s conducting was exceptional.

John Rutter is an inspiring composer who writes music that is both delightful and accessible and the pieces he chose for The Ely Imps were ideal. They included ‘Magical Kingdon’, ‘Look at the World’ and ‘For the Beauty of the Earth’.  Under his baton the young singers sang beautifully, their voices clear and the music expressive and heart-warming. Asked what the secret of good composing is, John Rutter immediately replied: ‘Believe in it and study hard.’ This is wise advice from what must be one of the world’s most renowned current composers.

Equally famous Lesly Garrett joined the singers in ‘Laudate Dominum’ by Mozart and Stanford’s ‘Magnificat in G’ both of which were conducted by Sarah MacDonald. Needless to say, the effect was utterly stunning.

Beethoven’s ‘Mass in C’ was chosen to close the evening and the performers rose to the occasion wonderfully. Under Paul Trepte’s directorship they fully explored Beethoven’s quieter reflections, contrasts, intensity and changes of pace. The soloists were excellent and included Tara Bungard (soprano), Karl Read (alto), Mark Hounsell (tenor) and Jonathan Midgley (bass). For Tara this event was a real family affair for present in the audience was her mother, Sue Freestone, (Principal of The King’s School Ely where the choristers attend) who proudly admitted that her grandchildren were also performing as members of Ely Imps.

This was indeed a unique, splendid evening that would be nigh on impossible to surpass.

 

Review of the concert in the Corn Exchange on Thursday 9th June 2016

June 25, 2016

The Royal Philharmonic Orchestra’s classical concert on Thursday was a unique programme of traditional classical music, items  that highlighted the tremendous talent of percussionist Dame Evelyn Glennie, and an intriguing work created in a project with students from the Netherhall School.

The more traditional works were expertly conducted by Nicholas Collon and these included Fauré’s Pelléas et Mélisande: Suite and Sibelius’s Symphony no. 5 in Eb major, op 82. In the Fauré the orchestra’s exquisite control and emotional depth were immediately apparent. These skilful performers demonstrated amazing variations in expression, tone and articulation, ranging from potent richness to the gentle, sensitive touch in the very familiar ‘Siciliana’.

The Sibelius finished the programme splendidly, the majesty and expansiveness of the composition ever-present and especially noticeable in those unforgettable horn passages.

Taking central stage also was a real star of the evening; Dame Evelyn Glennie who wowed the audience with her amazing virtuosic technique and fantastic stage presence. In ‘Party Games’ by Debbie Wiseman, the attractive tones and rhythms of the marimba were beautifully explored.

In Michael Daugherty’s ‘Dream Machine (2014) for solo percussion and orchestra’ Dame Evelyn  excelled, giving full voice to the delightful and approachable ideas the composer presented. The watery effects of the ‘electrical eel’ were wonderfully enhanced with Dame Evelyn’s magical music and strong personal involvement – almost like a mermaid she was. The whole composition gave Dame Evelyn a chance to explore an amazing variety of instruments and the sounds fused between her and the orchestra created a fantastic range of images from flurries of flight, humorous claptrap, and serenity to demonic powerful forces.

Perhaps the most intriguing event of the evening was ‘Farm City, Found Sounds’ performed by the orchestra and students from the Netherhall School. This piece was the culmination of a project in which the students were encouraged to go back to basics, to explore sound for its innate qualities and create music that was as it definition implies – ‘organized sound’’. Any sound is valid created as an individual or en masse, as long as it is the sound that has been designed and expressed as intended. This was an excellent way of introducing the students to the excitement and reward that comes from being involved in the world of live music performance.

This was a very successful and enjoyable evening.

Review of ‘Much Ado about Nothing’  presented by The Lord Chamberlain’s Men in the Old Palace Gardens, Ely on Wednesday 08th June 2016

June 25, 2016

Much do The Lord Chamberlain's Men June 16 The Lord Chamberlain’s Men, a vibrant company of talented actors, entertained an enthusiastic audience in the grounds of The King’s School Ely, with a hilarious and witty production of ‘Much Ado about Nothing’ by Shakespeare.

The show was in fact ‘All about Everything’: love, war, humour, tragedy, loyalty, trickery, revenge … the list is endless. This was possible because it not only met the watchwords of the new Artistic Director, Peter Stickney, which were: authenticity, excellence and magic, it swept us off our feet with its clear quips, impassioned characterisation and amazingly swift costume and character changes.

As in Shakespeare’s time, all parts, including the beautiful ladies, were played by men and in this production they were played so well that it did indeed seem appropriate for the drama.

Benedick (played by Jordan Bernarde) and Beatrice (Oliver Buckner) were excellent opponents in the battle for the wittiest put down at the beginning of the play and finally passionate devotees at the end, when marriage plans were afoot.

The shenanigans relating to Claudio (Nathan Coenen) and his desire for the beautiful Hero (Jon Tozzi) created many antics on and off stage that led to a catastrophic cancellation of their marriage, much to the horror of hero’s father Leonato (Matthew McFetridge). The wicked instigator of a cruel injustice was Don John (James Lavender) and his lackeys Borachio (Jon Tozzi) and Conrade (Joshua Meredith). James Lavender also played a delightful constable Dogberry whose frequent verbal slips had the listeners roaring with laughter.

Other vital contributor to this fantastic production included Musical Director Alex Beetschen, Movement Director Darren Royston, Costume providers Polly Laurence and Katherine Newbury, Vocal Coach Jacquie Crago and set design Morgan Brind.

Review of Viva’s production of ‘Sweeney Todd’ on Saturday 18th June 2016 at the Brook in Soham

June 25, 2016

Viva’s production of ‘Sweeney Todd’ at the Brook in Soham was a fine production. Stephen Sondhiem’s musicals can be quite challenging and this was no exception, but as expected, Viva rose to the occasion magnificently. The plot had delightful twists, the characters were all credibly portrayed and the music, often quite complex, was splendidly presented. Sweeney Todd (played by Richard Dodd) was an imposing ex- convict obsessed with revenge and easily capable of multiple murders. MRS Lovett (Samantha Gallop) was an excellent partner in crime and Judge (David Tickner) was the very epitome of a high and mighty and corrupt judge. The Beggar woman (Angela Bocking) shaped her body into a figure I swear I have seen begging in London, even when among the audience she never lost the character. She managed to create a real sense of sinister insight touched with melodramatic madness. Joanna (Zara Minns) and Anthony (Daniel Lane) were notable stars in the show, their singing particularly impressive and their skilful acting readily portraying their courtship thwarted with mishap. Other believable characters included Beadle (Andy Ward), Tobias (Jordan Thorpe) and Pirelli (Charlie Gillett).

The ensemble supported the action particularly well with their strong unswerving voices and their wonderfully choreographed movements and the orchestra enhanced the singing and atmosphere admirably.

The Director Gail Baker and Musical Directors, Richard Hayward and Graham Brown and choreographer Jessica Clifford are to be congratulated for yet another real hit by Viva. This could not have been possible without the tremendous input of Joshua Schumann (producer), Dan Schumann (Associate Director), and the host of other contributors.

The next Viva show to look forward to is ‘The Little Mermaid’ at St. Andrew’s Church in Soham from Thursday 14th July to Saturday 16th July tel: Box office (01353) 722 228 http://www.wegottickets.com.

Review of the Cordia Wind Quintet playing for the King’s Ely Concert Society Series in the Hayward Theatre on Thursday 23rd June 2o16

June 25, 2016

review quintet June kse 2016kse concert series Jonathan Kingston Melody Day and Peter North yThe Cordia Wind Quintet entertained an enthusiastic audience in the Hayward Theatre on Thursday 23rd June. Amy-Jayne Milton (flute), David Hasler (Oboe), Jake Hinson (clarinet), Jack Pilcher May (horn) and Emma Westley (bassoon) are all undergraduate students from the Royal College of Music, London but their skill indicated that they are indeed already fully-fledged professional musicians.

The works performed were ‘Serenade for Wind Quintet’ by Karl Pilss, ‘La Cheminée du roi René’ by Darius Milhaud, Anton Dvorak’s ‘American String Quartet’ (arranged for Wind Quintet by David Walter) and ‘Three Shanties for Wind Quintet’ by Malcolm Arnold.

These excellent instrumentalists played with impressive agility, magnificent tonal control and true ensemble craftsmanship, highlighting the key melodic material clearly and balancing the combined sounds perfectly.

The work by Pilss contained most effective mood changes and jaunty passages; the Milhaud included many charming duet passages with the sound of the horn and bassoon blending particularly well. The galloping final movement left us feeling thoroughly entertained before the short interval.

After interval, the players tunefully brought out the charm of the music in the Dvorak, and in the Malcolm Arnold they really let their hair down causing a few laughs in the audience with their amusing exploration of sea shanties. The drunken swagger presented in the first movement based on ‘What shall we do with a drunken sailor?’ was particularly enjoyable.

The concert ended with a well-deserved encore containing amazing rapid passages that seemed no trouble to these magnificent performers.

This quintet should go far.

This was the final concert for this season of the King’s Ely Concert Society Series and the Director of Music at the king’s School Ely, Jonathan Kingston, was quick to point out that the next season starts with a concert on the 22nd September. Melody Day and Peter North have been the main organizers of the concerts and Melody will be sorely missed after she retires next month.

For more information contact: 01353653931 or music@kingsely.org

 

Review of Guy Johnston ( ‘cello)  and Melvyn Tan (piano) in Ely Cathedral on Saturday 11th June 2016

June 20, 2016

After the inaugural event of the Isle of Ely Arts Festival this year, when they presented a workshop to budding young cellists, these highly talented musicians gave a concert in Ely Cathedral.

The programme was varied but the performance was constant: a performance that can only be described as outstanding. Their phenomenal technique was immediately apparent as they varied the sound and touch very effectively.

Guy produced some of the most musical and precise sounds I havereview Guy Johnston and Melvyn Tan June 16heard from a ‘cello. His prowess was exemplified by agility and clarity in the Bach, amazingly powerful and well balanced double-stopping in the Turnage, sheer beauty and sonority in the Mendelssohn, notable intensity and sensitivity in the Schubert, potent bowing in the Chopin and very moving expression in the Fauré.

His talent was well matched by Melvyn Tan’s piano playing. Melvyn accompanied with real empathy as the need arose and in the Chopin particularly, his fantastic flair and virtuosic agility were unforgettable.

This was an excellent concert, giving the Isle of Ely Arts Festival a tremendous start.