Author: birminghamreview

Words by Jonathan Glen

Performed by Gabriela Montero & the City of Birmingham Symphony Orchestra / Conducted by Michael Seal

Tonight the Symphony Hall is witness to a duel between two great Russians. The City of Birmingham Symphony Orchestra (CBSO) is joined by Venezuelan-American pianist Gabriella Montero to take on Sergei Rachmaninov’s stirring 1901 Piano Concerto No. 2. It comes in stark contrast to Dmitri Shostakovich’s devastating 5^th Symphony that rails against Josef Stalin’s oppressive regime during the 1940’s. But to prove there is at least variety in the CSBO’s repertoire, Shchedrin’s light-hearted take on Bizet’s Carmen is added to complete an eclectic night.

Beginning with Bizet/Shchedrin, the sleepy, wistful opening soon gives way to Hispanic splendour. The piece exudes passion yet Shchedrin’s influence keeps the tone playful. Romantic themes unfurl, if only briefly, as this bombastic suite teases out the iconic moments from Bizet’s original.

Percussion is also key to this Latin affair, contributing significantly to the comical conclusion. Conductor Michael Seal is a man who seems to feel every moment of every movement but still finds time to jokingly goad his players, followed by reassuring smiles, to get exactly what he wants.

Rachmaninov’s 1901 Piano Concerto No. 2 is one of the composer’s more popular works and it’s easy to hear why. Opening with grand beginnings; the first movement instantly seduces the listener, occasionally threatening pomposity but swooning wonderfully in the maestro’s style.

The second movement swells immensely; raising hearts out of chests, before letting the delicate piano of Montero pluck the heart strings, sweetly punctuated by the wind section. From this moment on David Lean’s Brief Encounter floats through the mind, as this movement features extensively in a meeting of two great romances. The third movement dispenses with the sombre romance to liven up the concerto’s end; soaring themes playing perfectly with Montero putting not a foot wrong.

It’s at this point the virtuoso pianist reveals her love for improvisation, asking the audience to supply her with a theme to base a short solo upon. One hearty member screams out for Madonna’s ‘Like a Virgin’, greeted by a chorus of laughs and a steely resolve from Montero. What’s created is music that could only grace Madonna’s wildest dreams.

Finally Shostakovich’s 5th is begun; sadness and a bleak beauty become the themes of the moment. It is easy to feel the red hammer crushing hopes as the melancholy strings follow by the relentless march of machinery being produced by the able piano.

The 2^nd movement echoes a grand ballroom of the Winter Palace as the grandiose pomposity of the regime is mocked subtly by the brave composer. Pain and suffering are conveyed by solemn strings followed by an amazing build in the penultimate Largo section, echoing the long winter endured by Russia. An epic and immediately captivating climax ensues, using the grand horns so loved by the communist party; Shostakovich staying true to the themes he built from the beginning.

But tonight ultimately belongs to Rachmaninov and Montero, however the romance of Piano Concerto No. 2 never relents. The CSBO does full justice to a piece that lets the spirit soar yet reminds us of the sorrow of great passion; a rousing success.

For more on Gabriela Montero, visit http://www.gabrielamontero.com

For more on Michael Seal, visit http://www.michaelseal.com

For more on the CBSO, visit http://www.cbso.co.uk

For further listings from the Town & Symphony Hall, visit http://www.thsh.co.uk

Words by Althea Patterson / Production pics by Bill Cooper

One asks the question, is opera is accessible to all? I’ve loved it since I heard Luciano Pavarotti sing during the 1990 World Cup – and chances are many will first experience opera through a crossing of mediums; absorbing ringtones or advertising, then wondering why they’ve been humming a 200 year old Italian aria all day.

So when Welsh National Opera’s (WNO) production of Giuseppe Verdi’s La Traviata came to the Birmingham Hippodrome, I was interested to see who would be in the audience as well as the performers on stage. I love opera on a personal level, but went armed with very seasoned and critical opera-goers; it would be interesting to see how their reaction compared with mine.

WNO’s La Traviata is part of their Fallen Women series, telling the three Act story of Violetta Valery – the ‘woman who strayed’ in this production, played by Linda Richardson. Violetta is dying, due to her abusive life as a courtesan, and moves to the country to live and ‘love free’ with Alfredo – a man who loves her intensely.

But after an impassioned plea from Alfredo’s father, Violetta leaves her lover and returns to her old life – sacrificing her love for Alfredo for what she sees as her duty, only for them to be reconciled on her deathbed.

It’s a pretty sad story; one that needs strong, skilled actors to emphasise the point. If you watch, for example, Maria Callas in her famous 1964 rendition of Tosca, or more recently Angela Gheorghiu in this same role, this importance on delivery becomes clearer. I’ve grown up watching classic opera of the sixties so my expectations were pretty high tonight.

WNO’s La Tarviata opens with a vivacious ‘Libiamo’, the drinking song of frivolity; 19^th century high society informing us poor folk how much fun they’re having. I sunk into the beautiful Hippodrome surroundings and set for the evening.

I love the introduction of Ji-Min Park as Alfredo; I was expecting a tall suave Bond type, but this slim Korean chap playing the love struck male lead really brought a smile to my face. However on the duet ‘A, Fors E Lui’, I didn’t fully believe the love between the two principal characters, their acting both sometimes leaving a little to be desired and their duet off/on timing. Indeed my more opera learned friend commented “they subsidised form over content”.

Moving on through Violetta’s anguished meeting with her Alfredo’s father in the country, in a steady Act 2, I further enjoy the bawdy Matador dance in Act 3; much flirtation and sass bringing great humour and a touch of Follies Berges chic to the show, generating a deservedly loud applause.

During the interval I scanned the theatre, with the question of accessibility still in my mind. I went with (fairly) youthful friends and found ourselves dominated by silver haired folk. Although I did count a few groups of WAGs, and to my delight a gaggle of primary schoolchildren who were impeccably behaved throughout; their attention no doubt assisted by the surreal-to-see English subtitles (an LED board high above the stage relaying the words – very helpful for those not familiar with the libretto).

Coming back to Act 3, La Traviata’s finale was played out on a sparse but visually sumptuous set. I found Richardson’s rendition of Violetta’s deathbed scene, ‘Addio del Passato’, especially touching and delicate.

I enjoy the step out of life that opera brings me, and it is wonderful to hear arias tonight I’d been listening to for years, sung live and loud. But overall I feel there is more to be had form this company.

And in regards to accessibility, I think I need to keep asking the question. Tonight I dressed to the nines and didn’t feel a bit out of place given the ‘theatre’ of it all, but would I feel as comfortable (or indeed be as welcomed) in my Adidas and jeans?

To be continued, with both labour and love. Along with a circling attention to what Welsh National Opera, and other less prominent companies, will be bringing to Birmingham. Something I sincerely look forward to exploring.

Welsh National Opera’s La Traviata will be at the Birmingham Hippodrome on March 8^th, with further shows across the country until April 12^th.

For more details, alongside further info on the wider company, visit http://www.wno.org.uk/

For further listings from the Birmingham Hippodrome, visit http://www.birminghamhippodrome.com

Words by Matthew Osborne

With the rain persisting and the temperature no warmer than a fridge, I look forward to an evening of folk around a roaring fire in one of the many snugs inside the Prince of Wales. However I am dismayed to learn, upon my arrival, that tonight’s musical entertainment will take place in the beer garden. Outside.

Luckily the Prince of Wales‘ garden is blessed with outdoor heaters and a large canvas, shielding us from the elements. But the weather is not backing down, and as Mellow Peaches take to the stage puddles form around my feet; the heaters not making their presence felt at my front row vantage point.

Fortunately Mellow Peaches, opening with ‘Mayflower’ – from their debut LP I’ll Go Down with this Ship, immediately transport me to the Mississippi Delta; the heat and humidity of this imagined place enough to warm me through.

Although lead singer, Amit Dattani, appears a little more detached than I am used to seeing him; eventually warming up after a few songs with partner Rich Harris and some of the gently amusing between-song-banter that so endears this talented duo. I guess we all need some help to fight tonight’s cold.

Chris Cleverley follows with a display of dexterous finger picking, but a sound that’s more firmly rooted in the familiar soil of Albion turf. Romantically wistful songs about wanting to be a missing person in a fishing village in Cornwall, and a delightful cover of Joni Mitchell’s ‘Carrie’, beat back the sound of rain hitting canvas and almost complement the weather conditions. Tonight Cleverley‘s rich guitar and delicate voice epitomise the cold nostalgia of England’s green and pleasant land.

The evening’s headliner, David Campbell, is a wise man of heritage. After a long and cold wait for his arrival, he begins his set with a trio of a capella ballads; the third of which tells the lamentable tale of a man from Waterford who took up with a slave ship. Campbell’s songs, whether traditional or from his own family line, tell tales that feel a little like a history lesson. But rather than wanting to escape from the descending cold to huddle round the open fire I know to be inside, I find myself transfixed, certain that this man is teaching me something vital.

Accompanied by the gentle strumming of a ukulele or the delicate plucking of banjo strings, Campbell continues with stories of men who avoided the D-Day landing and took refuge in Italy, and of soldiers disillusioned with the First World War, before inviting us to join him in singing three spirituals, which we do. It is a moment of unison like friends gathered around a campfire.

For the finale Campbell brings on his son, Nathan Jervis – who plays an enchanting trumpet, and the rest of the night’s acts; performing, as an ensemble, a number of American roots standards which are only hindered by a poor sound mix.

It is only at this point I begin to wish we were in one of the Prince‘s smaller rooms, huddled together as the instruments merge acoustically without the hiss of electricity.

But whilst the Prince of Wales may not be an ideal music venue at the tail end of winter, most of tonight has built a warmth I can feel on the inside; that communal sense of sitting around a fire, trading stories and songs.

And some deserved attention to David Campbell, Mellow Peaches and Chris Cleverley, who held tight an audience who could just as easily have gone home to the warmth of their beds.

For more on Mellow Peaches, visit http://www.mellowpeaches.co.uk

For more on Chris Cleverley, visit https://www.facebook.com/chriscleverleymusic

 For more on the Prince of Wales (Moseley), visit http://www.theprincemoseley.co.uk