Why compose? After a career in film & TV, composer Gavin Greenaway is developing his own voice with Skylines, the new album from his Cloud Chamber duo with Caroline Dale

Cloud Chamber: Gavin Greenaway & Caroline Dale (Photo: ottantotto)

Cloud Chamber is the newly formed duo of Gavin Greenaway (piano) and Caroline Dale (cello), internationally renowned performers whose careers span film and concert music. As a composer, conductor and pianist, Gavin has worked extensively in theatre, film and television.

Cloud Chamber's debut album, Skylines featuring Gavin's music for the duo, was released on MVKA on 25 September. It is a project that has taken time to come to fruition.

Gavin explains, some years ago he was doing a recording of a film score with Caroline Dale and they commented how nice it would be to do more projects for themselves. Then during the long COVID period things seemed to shut down, and he wasn't creative. The spark came with the idea to write an album for someone he knew. Gavin has issued two discs of his own piano music (Woven and Il falco bianco) but felt that there was only so far he could go with solo piano. Having written the music he was nervous at playing the pieces for Caroline. He regards himself as a composer who can play the piano, but making music with Caroline seemed to come easily. 

They had plans to record the programme, but after conducting a World of Hans Zimmer concert in Toulon, Gavin was asked about performing is own music. The result was that he and Caroline gave a concert in Toulon and found joy both in performing and in the audience reaction. Gavin comments that in a big arena concert, it is difficult to judge the audience reaction, but in a small auditorium a concert can feel like a conversation.

Gavin loves the idea of travelling through the music, telling a story and going on a journey to a different place at the end at each performance. The story changes slightly each time they perform the programme, and invariably each time they play the pieces live they go on a different journey. As for the audience, Gavin would like people to close their eyes and let the music take them.

He describes the pieces on Skylines as largely introspective and gentle. He admits that there is a story behind each piece, but that this is very much conceptual and is for the audience to decide. All in all, this is very different to his film and TV work.

From the late 1990s he spent eight years in Los Angeles. He worked on lots of collaborations and did some ghost writing, but never had his own film score. He did not express a voice of his own in all that time, partly because he did not have the confidence to say this is what I sound like live. Partly, he attributes this to his classical composition background. He studied music at Trinity College of Music (now Trinity Laban) and his teacher had the view that atonal music was the thing, whereas Gavin wrote tonal music and harmony. It was this, Gavin thinks, that led to his suppressing his own voice.

Eventually he took a step away from writing for film and wrote music for theme parks. He wrote a piece for Disney, he scored for their fireworks show IllumiNations: Reflections of Earth and a parade called Tapestry of Nations at Epcot. He was told he could do whatever he wanted. The music was originally intended to run for five years but ran for over 20 years in Florida.

Gavin Greenaway & Caroline Dale in rehearsal

Over the last ten years he has been trying to discover his own musical voice, which he calls the sum of the interests he has. He loves Messiaen, but has no desire to emulate the composer and is searching for an honest expression of what he likes musically. He was recently commissioned for a work for harp, flute and viola which was challenging as he would not be playing the piece. He had to accept that it was only going to come up the way he can write it.

Asking himself the question 'Why compose?' he feels that it tells people who you are, and that he can have a conversation with listeners on that basis. If people copy other composers (which happens in film), Gavin feels that you are doomed as you lose who you are. Another answer is that writing music enables self expression and communication. Expressing yourself through the arts means that everything else follows, you know who you are.

But we are creating a whole generation who have not at the musical education necessary, so that making music becomes a niche art. The corrollary to this is, he feels, a whole generation who do not know who they are.

When planning a project, you think that the work is mainly in writing the music but he has found that there is as much work again to record it and get the pieces played. He laughs and comments on the amount of time they have spent making videos for Skylines. Some of the pieces flowed easily when writing them, he started and something told him where to go. But others took more time. On Rannoch Moor never quite worked until he added a traditional B section in the relative minor. He writes at the piano, then works the piece up in his head. He enjoys playing the music and enjoys the feeling of what his fingers are doing, making nice shapes with his hands. Bu whilst the physical aspects of playing his own pieces is satisfying and important, he has also written pieces that he can barely play. However, he admits that he wants to write music that people enjoy playing.

Cloud Chamber: Gavin Greenaway & Caroline Dale (Photo: ottantotto)

Looking ahead, he and Caroline have ideas for future projects together after this disc. His album of solo piano works, Woven (release 2018) was recorded at home and used multi-tracking including using prepared piano. He has now added a cello part to some of these pieces, so he and Caroline have played them in concerts. Also, Caroline wrote music for her own solo album, Such Sweet Thunder and they have ideas for working on these pieces too. But working together is also a matter of time, Gavin has a busy recording schedule whilst Caroline is playing and working as a session musician. However, they are now on the path and want to make more.

Four singles from the disc have been released and Gavin feels the signs are good. THey have had over a quarter of a million streams for the singles which suggests that people are enjoying the music. The disc is being issued by a Brighton-based boutique label, MVKA. There is a vinyl LP of the disc coming out too, and when I spoke to Gavin he had just received the test pressing. He took the vinyl disc along to a friend who runs a high-end hifi shop in New Malden and the results sounded glorious, bringing the music alive.

Gavin doesn't think particularly differently when writing music for the concert hall as opposed to film, though he admits he probably should. When he was writing his piece for harp trio, he was thinking about the venues where it would be performed. Whilst, when writing the pieces for Caroline, the process became more of a conversation with her. But they have had to think about the live concert experience, playing the pieces in a different order when they play live so that the more introspective numbers are broken up by the faster ones.

He is also interested in enhancing the live performance. So they use two microphones and a computer, which he controls via foot pedal which enables him to add reverberation and other aural effects. This is not strictly a classical approach but he feels that people are more open to a hyprid approach nowadays. That said, his music is fully notated and as a composer he is meticulous. In that way, it is classical, though the forms are not traditional. He sees his pieces are song-like, and here his style is affected by the film music he has written. For Gavin, mood and a sense of story-telling are important; in each piece, he wants you to feel an emotion.

The most recent single from the disc, 'Drift' was released on 4 September. Apple put it on their Classical Chill Strings playlist and it has been doing well. He comments that by putting yourself out there, you have nowhere to hide though being one of the performers means he does have some control.

Cloud Chamber will perform the album at The Stables, Milton Keynes (1 October), The Quarterhouse, Folkestone (9 October), The Horton, Epsom (10 October), and Everyman Theatre, Cheltenham (17 October), with more dates to be announced. Full details on the Cloud Chamber website.

Hear Skylines on MVKA. 

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Elsewhere on this blog

• Challenging genius: The Yellow Tie tells the dramatic story of Romanian conductor Sergiu Celibidache's rise to fame in a film written & directed by his son - film review 
• Britten's War Requiem: Edward Gardner takes an uncompromising & severe view softened by the poetic attention to the words from soloists in London Philharmonic Orchestra's season opener - concert review
• Relishing the challenge: mezzo-soprano Samantha Price on singing her first Dido in Purcell's opera on tour with English Touring Opera - interview
• Not quite the sum of its parts: starry casting with Carmen Giannattasio, Saimir Pirgu & Bryn Terfel fails to lift Oxford International Opera's debut with Puccini's Tosca - opera review
• A sassy Carmen from Katie Bray: Blackheath Halls Opera's celebratory 20th anniversary production of Bizet's opera - opera review
• Between Breath and Brass: Hearing the Sheng in Contemporary London  - guest posting
• Fogli d'album: Anna Bonitatibus & Adele d'Aronzo explore the barely tapped wealth of Rossini's occasional pieces - record review
• Unassuming charm & surprising sophistication: Bampton Classical Opera in the Italian version of Grétry's take on Beauty & the Beast - opera review
• Home

 

How does a composer disappear from history? And what does it take to bring her back?

French composer Charlotte Sohy (1887-1955) was the daughter of an industrialist. Her early teachers included a pupil (and relation) of Cesar Franck whilst in 1903, her parents installed a Cavaillé‑Coll organ in the living room! Her later teachers included Alexandre Guilmant, Louis Vierne, and Vincent d'Indy, and she studied with and was friends with Nadia Boulanger and Mel Bonis.

Sohy wrote masses, art songs, piano pieces, trios, string quartets, a symphony and the lyrical drama L'Esclave couronnée, and her work was performed by Paul Dukas, Maurice Ravel, and Gabriel Fauré.

So, why haven't we heard her music?

An evening at the Maison Française d'Oxford on 23 October 2026 aims to change that. The Rediscovery of Charlotte Sohy. An evening of film, music & conversation asks the question 'How does a composer disappear from history? And what does it take to bring her back?'

The evening is curated by pianist Reiko Fujisawa and will feature the UK premiere of new documentaryCharlotte Sohy: la consécration d'une compositrice; a live Q&A between documentary makers Matthias Weber (Weber is Sohy's great-grandson) and Laurence Uebersfeld, and music writer Peter Quantrill; and the evening culminates with a performance of Sohy's enchanting Petite Suite and her richly expressive Piano Trio Op. 24, performed by Gina McCormack (violin), Adrian Bradbury (cello) and Reiko Fujisawa (piano).

Full details from the Maison Française d'Oxford's website.

Challenging genius: The Yellow Tie tells the dramatic story of Romanian conductor Sergiu Celibidache's rise to fame in a film written & directed by his son

The Yellow Tie - Ben Schnetzer (Sergiu Celibidache) - director: Serge Ioan Celibidache, Oblique Media

The Yellow Tie; Ben Schnetzer, John Malkovich, Kate Phillips, Miranda Richardson, Sean Bean, Olivia Popica, Tamzin Merchant, director: Serge Ioan Celibidachi, written by Serge Ioan Celibidachi & James Oliver, producer: James Oliver; Produced by Oblique Media; Icon Film Distribution

With Ben Schnetzer oozing sexual magnetism and self-belief, and John Malkovich in compelling form, The Yellow Tie manages to tell a remarkable classical music-based story in a cinematic fashion. 

There has been a fascination recently for films based on the lives of some of the great post-war conductors, from István Szabó's film based on Ronald Harwood's play about Wilhelm Furtwängler's de-Nazification problems to Bradley Cooper's Maestro based on the life of Leonard Bernstein. The latest of these is The Yellow Tie about the life of the Romanian conductor Sergiu Celibidache which debuted last year in Bucharest (and became the most watched Romanian film of 2026). The Yellow Tie, however, has an intriguing advantage in that the film is directed and co-written by Celibidache's son, Serge Ioan Celibidachi (whose character even appears in the film played by Charlie Rowe).

The Yellow Tie (Romanian: Cravata Galbenă) is released in the UK from 9 October and the film received its UK premiere on Wednesday night (29 September) at the Odeon Luxe at Leicester Square. The film covers almost the whole of Celibidache's life with four actors playing him at different ages - Andrei Isarescu (child), Ewan Horrocks (teenager), Ben Schnetzer (adult), John Malkovich (older). Other cast included Kate Phillips as Celibidache's wife Ioana with Miranda Richardson as the older Ioana, Sean Bean as Celibidache's father, Olivia Popica as Sonia (Celibidache's sister), Tamzin Merchant as Ortancia (with whom he has a youthful liaison in Berlin), Anton Lesser as Martin Steinke (who introduces Celibidache to Zen Buddhism) and Robert Dölle as Heinz Tiessen with whom Celibidache trained in Berlin.

The Yellow Tie - Ben Schnetzer (Sergiu Celibidache), Kate Phillips (Ioana Celibidache) - director: Serge Ioan Celibidache, Oblique Media

Filming was largely in Romania but the film is in English (with a tiny amount of Romanian), though the scenes in Germany use a creditable amount of spoken German.

It's coming home! Elgar collection of New Jersey businessman Arthur Reynolds donated to the Hallé

Piano Quintet. Manuscript dated January 21, 1919, of passages and queries about the work, consisting of questions from Elgar addressed to Harold Brooke [Jaeger’s successor at Novello], both as printer and as pianist. JNM's comment: “This half-sheet of music paper, filled on both sides, shows more clearly than anything known to me the working relationship between the two men, especially close over this work.”

New Jersey-based businessman and Chairman of the North American Branch of the Elgar Society (and regular visitor to the Three Choirs Festival), Arthur Reynolds built up his Elgar collection over six decades. Now the collection has a new home in Manchester. Reynolds has donated it to the Hallé in recognition of their historic connections with Elgar – the composer was friends with the Hallé’s second Principal Conductor Dr Hans Richter and the Hallé orchestra premiered Elgar’s Symphony No 1 in 1908 at the Free Trade Hall in Manchester.

The collection consists of some 1,500 items which were flown from New Jersey to London, then driven up to Manchester: the 3,500 mile journey funded by the National Heritage Memorial Fund. The National Heritage Memorial Fund awarded the Hallé nearly £105,000 to support the legal aspects of the donation and enable its transport to the UK – a vital piece in the puzzle to save the archive and prevent it from being split up (Arthur Reynolds was keen that the archive remained together in full and become publicly accessible).

The archive will be housed in the Hallé's current archive facilities in The Bridgewater Hall and will be available for the public to view, by appointment, Mr Reynolds' detailed catalogue will be added to the orchestra's online resources on the Connecting Manchester's Music Archives website, enabling everyone to explore what the archive holds. Some items from the collection will be included in future exhibitions and the Hallé aims to create a permanent new, fully accessible archive in the future.

Arthur Reynolds said: "Edward Elgar’s music offered me sensations of reverence to the United Kingdom. When I came to study there in the mid 1960s, I was surprised to find my admiration for Britain’s greatest composer unshared by my contemporaries whose interest in Elgar’s music had reached a nadir of negativity. One consequence was a neglect that threatened to consign Elgar memorabilia to an undeserved oblivion. I decided then and there to make it my life’s work to prevent the disappearance of material related to Elgar’s creative life. The result is the archive that has now reached its final resting place with Hallé."

Spanning autographed manuscripts, first-edition scores, correspondence with his contemporaries and personal items that reveal glimpses of Elgar’s everyday life, the collection offers an unrivalled insight into the world and work of one of the UK’s most celebrated composers. The archive also shows how Elgar was one of the first composers to embrace new sound recording technology – going on to play at the openings of both the first HMV retail store and what would later become Abbey Road Studios.

Further information from the Hallé website, and from the National Heritage Memorial Fund's website.

 

 

 

Beyond Coppélia and Lakmé: Bru Zane to release premiere recording of Delibes's Jean de Nivelle

Léo Delibes in 1875

If you say the name of composer Léo Delibes, then people will immediately think of his ballet, Coppélia, and opera, Lakmé, as well as perhaps ballets La Source and Sylvia. But beyond, Lakmé, we tend not to think of him as an operatic composer. That is, hopefully, about to change as Bru Zane (the recorded label of the Palazzetto Bru Zane - Centre de musique romantique française) is about to release the world premiere recording of Delibes' opera-comique Jean de Nivelle. Jean de Nivelle was something like Delibes' 24th opera (of a total of 26), just preceding Lakmé.

As a boy, Delibes had a fine singing voice and he sang in the premiere of Meyerbeer's Le prophète at the Paris Opéra in 1849. He studied at the Paris Conservatoire including with Adolphe Adam for composition. His first stage work was a one-act comic piece Deux sous de charbon in 1856, then for the next 14 years he produced about one opera per year, many for Offenbach's Bouffes-Parisiens. In addition to composing he had various careers but in 1862/3 he became chorus master at the Paris Opera. This led to the commission for ballets.

His last comic piece came in 1869 and the following year his score for Coppélia brought him to wider notice. He resigned from the staff of the Opera and devoted himself to composition. Over the next decade he produced mélodies (including Les filles de Cadiz); a work for the Opéra-Comique, Le Roi l'a dit which had limited success; and the grand mythological ballet, Sylvia.

His opera Jean de Nivelle premiered at the Opéra-Comique in 1880. Reviewers found the piece too episodic but praised the composer for "the rare and precise quality" of his melodies and "the delicate style in his writing" for the public. The piece ran for more than a hundred performances and was revived in 1908. Though described as an opera comique, in many respects it is close to the grand opera tradition typified by Meyerbeer. After the premiere, Delibes created sung recitatives to replace the spoken dialogue, mindful of the work's international potential (between 1881 and 1882, it was performed at La Monnaie in Brussels, Saint Petersburg, Copenhagen, Budapest, Vienna, and Stockholm).

The opera's plot is based on a 15th century French nobleman, Jean de Nivelle, who became a byword for failing to fulfill filial duties and treachery as he failed to join his father in assisting King Louis XI of France in his conflict with Charles the Bold, Duke of Burgundy; de Nivelle instead allied himself with Burgundy and was disinherited as a "dog".  

Lakmé followed in 1883, also at the Opéra-Comique before being taken up internationally. However, Delibes had been intermittently ill for some time and died in 1891, with an incomplete opera, Kassya still on his desk (it was completed and orchestrated by Massenet in 1893) .

Conducted by György Vashegyi with the Hungarian National Philharmonic Orchestra, Bru Zane's recording of Jean de Nivelle features Cyrille Dubois in the title role with Mélissa Petit as Arlette. The version being performed is that with sung recitatives.

Delibes' Jean de Nivelle is released on Bru Zane on 23 October 2026.

War, politics, love, & brotherhood: Kieran Rayner & Gamal Khamis's What If? at the Bloomsbury Festival allows the audience to decide the narrative

Baritone Kieran Rayner and pianist Gamal Khamis have created a recital programme, What If?, that explores the World War I through song including music by Finzi, Butterworth, Schubert, Robert & Clara Schumann, Ethel Smyth and more. But What If? is a recital with a difference. 

It takes the form of a story about two friends in love with the same woman, who is a suffragette: one man is patriotic, the other undecided. He must choose between desire and loyalty, between his duty and principles. What will he do? What path will his river take to the sea?

And that's where the audience comes in. There are eight possible endings to the story, and the branching narrative is controlled by the audience: they vote on what happens, shaping the musical programme. Whichever paths are picked, the recital promises a fulfilling and uplifting experience: an entertaining script connecting a rich selection of German and English songs

"A story told well with fun characterisation and lots of genuine humour… genuinely affecting … a feast of joys" – Everything Theatre

We last caught Kieran Rayner as Tarquinius in English Touring Opera's production of Britten's The Rape of Lucretia last year [see my review]

Rayner and Khamis debuted the programme at the Royal Over-Seas League in 2024, going on to perform it at the Jermyn Street Theatre. Now they are presenting What If? twice at the recital hall in City Lit, Holborn as part of the Bloomsbury Festival on Sunday 18 October. There are two performances, at 3.30pm and 6pm, so you could take in both and see two different endings, with refreshments available between performances.

Full details from the Bloomsbury Festival website. 

 

Following its centenary celebrations last year, the Brighton Philharmonic Orchestra becomes resident at Brighton Dome

Brighton Philharmonic Orchestra, music director Joanna MacGregor

The Brighton Philharmonic Orchestra, music director Joanna MacGregor, opened its 2026/27 season at the Brighton Dome at the weekend with a programme mixing Rachmaninoff, Gershwin, Piazzolla and Janacek. This season marks a new development in the relationship between orchestra and venue as it has now been announced that the Brighton Philharmonic Orchestra has become the resident orchestra at the Dome.

Brighton Philharmonic Orchestra was founded in 1925 and first performed on Brighton Dome’s Concert Hall stage in 1928. It has been a fixture of the venue’s event seasons ever since, most recently celebrating its centenary last year. Sir Thomas Beecham became its first President in 1932, a position later held by Vaughan Williams and Benjamin Britten. The orchestra has a rich tradition of championing living composers; in 1946 Francis Poulenc performed his own concerto at Brighton Dome, while recent seasons have included music by James MacMillan, Gwilym Simcock and the upcoming premiere of Eric Vloeimans' new work.

Joanna MacGregor, CEO and music director of Brighton Philharmonic Orchestra commented: "To become Brighton Dome’s Resident Orchestra is a wonderful recognition of BPO’s vibrant performances over the last century, and cements an already close partnership. We’re looking forward to developing ambitious, world class programmes and exciting artistic collaborations for Brighton audiences."

Further ahead, the orchestra pairs Stravinsky's Symphonies of Wind Instruments, and Concerto for Piano and Wind Instruments with Mozart's Gran Partita (11 October).

Full details from the Brighton Philharmonic Orchestra's website.

The Continuo Foundation awards £108,000 in its 12th round of grants

The Continuo Foundation recently announced its 12th round of grants, awarding £105,000 to 28 Early Music Projects, supporting 68 concerts in 46 locations along with five recordings. Since being founded in 2020, the Foundation has raised and awarded £1.3 million, supporting 885 concerts in 289 different locations across the UK, alongside 63 recording projects, with 40 albums released so far.

Five emerging ensembles received first-time awards, and projects include a period-instrument Passion in Northern Ireland, a pioneering female composer of string quartets and music from Anne Boleyn’s manuscript.

All five of the first-time recipients are emerging ensembles, formed since 2020, and are among ten recently formed groups supported in this round which collectively received 40% of the total funding. Alongside opportunities to perform, the awards fund recordings and creation of video material that can help young musicians establish a professional presence and secure future work.

A grant makes possible the Ulster Consort's ambitious plan to performing Bach’s St Matthew Passion in Northern Ireland, where opportunities to hear this masterpiece are scarce and relatively few local period-instrument players are available.  Also in Northern Ireland, the grant awarded to Sestina Music will bring Monteverdi’s Vespers of 1610 to Belfast, combining Early Music specialists with its Next Generation Artists and, for the first time, local choristers from St George’s, St Polycarp’s and St Peter’s church choirs.

The Cambridge String Quartet’s Tales of Maddalena turns to little-known composer Maddalena Lombardini, whose six quartets appeared in 1769, while the genre was still taking shape. At King’s College, Cambridge, a display of first-edition parts will accompany the music. The grant will help pay for professional filming, giving the performance a further life as material with which the quartet can introduce its work to promoters and audiences. Fontanella Recorder Quartet’s A Falcon Fallen follows Anne Boleyn’s turbulent life through music from the manuscript associated with her, held at the Royal College of Music.

Ardour Baroque’s world-premiere recording of trio sonatas by Antonio Luigi Baldassini, will place the little-known Roman composer alongside Corelli and Handel. Queen Victoria’s Consort and the West Gallery Music Association will be recreating English parish music from around 1840, using instruments including the serpent, keyed bugle and English bass horn.

Full details from The Continuo Foundation's website.

Bass Brindley Sherratt to be artistic director of The Grange Festival following Michael Chance's retirement

Brindley Sherratt (Photo: Film and Star)

The Grange Festival (which is based at The Grange, Northington in Hampshire) has announced that the bass, Brindley Sherratt will be stepping up to take the reins as artistic director of the festival following the retirement of Michael Chance at the end of this year's festival. Michael Chance had led the company since its formation in 2016 (in succession to Wasfi Kani's Grange Park Opera which was founded at The Grange in 1998, departing after the 2016 season). 

The Grange is a country house in the style of an ancient Greek temple designed by William Wilkins. The house is an important example of the Greek Revival style in England. The house was subsequently extended by Robert Smirke and Charles Robert Cockerell, but for much of the later 20th century was effectively a roofed ruin. The opera house was created in Cockerell's orangery turned art gallery under Wasfi Kani's auspices. 

The Grange, Northington in 1870

Sherratt, who is about to sing Gurnemanz in Covent Garden's new production of Wagner's Parsifal (which opens on 1 October), is known for roles such as Sarastro in Mozart's The Magic Flute, Claggart in Britten's Billy Budd and Ochs in Strauss's Der Rosenkavalier. In 2025, Sherratt's second gala for the Meath Epilepsy Charity was held at The Grange. I chatted to him in 2024 on the release of his first recital disc, see my interview 'A bit topsy turvey' Last year we caught him as Cadmus and Somnus in Handel's Semele at Covent Garden [see my review] and as Boris in Shostakovich's Lady Macbeth of Mtsensk at the BBC Proms [see my review]

Sherratt will continue to perform internationally alongside his role as artistic director but will be more selective with his engagements to ensure he can fulfil his commitments. He commented: "It is an exciting prospect to be investing in British opera at such a crucial moment in this art form’s history. The Grange Festival provides a much-needed platform for the next generation of artists. I’ve benefitted from the support of the local community in so many ways – being a resident of neighbouring county West Surrey - I have seen first-hand the impact that the local audiences can make. In my most recent performance on The Grange’s stage, I held a fundraising gala with a roster of our greatest opera stars in aid of The Meath Epilepsy Charity, where my daughter, Amy, is a resident. Together with The Grange’s generous community, we raised over £180,000 for our cause.   

As a performer, I feel extremely lucky to have taken on roles I could have only dreamed of. Up until now, this role too was a dream, and I am looking forward hugely to working with the creative and administrative teams, as well as all the incredible line-up of artists who appear each year at this wonderful festival."

Sherratt begins his role next month, and full details of the 2027 Festival including its 10th anniversary celebrations will be announced shortly.

In other news, the Festival's chief executive, Tyler Stoops is stepping down after three years in the role, and the Festival's chief financial officer, Sheila Wye has been announced as interim chief executive. 

Full details from The Grange Festival's website.

Recorder player Tabea Debus joins York Early Music Festival as guest artistic advisor

Tabea Debus (Photo: Kaupo Kikkas)

Recorder player extraordinare Tabea Debus is joining York Early Music Festival as guest artistic advisor. She joins the current team of artistic advisers Lindsay Kemp (music writer and producer), Peter Seymour (emeritus professor of music at the University of York and director of Yorkshire Baroque Soloists & Choir), John Bryan (emeritus professor of music at the University of Huddersfield and member of the Rose Consort of Viols) and guest adviser Mark Seow (violinist, musicologist, writer and broadcaster). Tabea Debus has been appointed to support the 2027, ’28 and ’29 festivals and steps into the musical shoes of mezzo soprano Helen Charlston.  

Born in Würzburg, Germany, Tabea Debus studied at the Frankfurt University of Music and Performing Arts and at the Royal Academy of Music. In 2023, Tabshe ea joined the recorder quartet Palisander, whose theatrical concerts are devised for audiences of all ages and backgrounds. Palisander have performed regularly at the National Centre for Early Music where they also led workshops for children and young people.   

Tabea Debus commented: "I am absolutely delighted to be joining the team of Artistic Advisers and honoured to be working alongside these wonderful colleagues to contribute to the creation of the world-renowned York Early Music Festival. I can’t wait to spend the summer festival season in beautiful York in the coming years, delighting in concerts by fabulous musicians from across the UK, and beyond."

The York Early Music Festival was established in 1977 and is designed to celebrate York’s myriad of medieval churches, guildhalls and historic houses through historically informed music-making of the highest international standard. The festival is a central part of the National Centre for Early Music’s (NCEM) annual programme.
 The York Early Music Festival returns next year, 2027, from 2 to 9 July. Further information from the NCEM website. 

Collaborative music & art residency: Burgh House & Chamber Studio join forces with The Cosman Keller Art & Music Trust

Trio Musae

A new partnership between Burgh House, in Hampstead, and Chamber Studio will create a residency programme for emerging chamber ensembles at Burgh House. Selected string quartets and trios will take part in a series of residencies at Burgh House, where they will reunite with leading chamber musicians for masterclasses before sharing the results of their work with audiences in intimate evening performances. 

Among the ensembles taking part in the inaugural residency programme are Trio Musae, Talland Quartet and Quartet Concrète – three of the UK's most exciting emerging chamber ensembles. The first season will comprise three events taking place in October, December and February. Each residency will feature a free daytime masterclass followed by a ticketed evening recital in Burgh House's historic Music Room, offering audiences a rare opportunity to witness the creative process behind chamber music performance before experiencing the finished interpretation in concert.

The residency programme is funded by The Cosman Keller Art & Music Trust and builds on Chamber Studio's acclaimed Hans Keller Forum, an intensive mentoring programme for outstanding chamber ensembles who are at UK conservatoires. 

Alongside the residencies, Burgh House will present a complementary exhibition celebrating the work of Milein Cosman. One of Britain's most fascinating twentieth-century artists, Cosman was renowned for her expressive depictions of musicians, writers and artists, including Benjamin Britten, Barbara Hepworth and Henry Moore. Featuring important recent acquisitions from The Cosman Keller Art & Music Trust—many on public display at Burgh House for the first time—the exhibition will be accompanied by curator-led talks. 

Moira Lascelles, Director, Burgh House comments, "By bringing together chamber music, visual art and the shared legacy of Hans Keller and Milein Cosman, this exciting new partnership perfectly reflects Burgh House's role as a home for artistic collaboration. It creates opportunities to nurture the next generation of musicians while celebrating Hampstead's remarkable cultural heritage. Hans Keller and Milein Cosman were central figures in the area's artistic life, and we are delighted to honour their legacy through this collaboration."

The first events as part of the residency are a masterclass (21/10) and recital (22/10) with Trio Musae. Full details from the Burgh House website.

A fresh take: youthful Daniel Dorn releases his debut album of Bach's Cello Suites in May 2027

The young German-American cellist Daniel Dorn (born 2008) has just started studying at the Royal Academy of Music with Guy Johnston. He began playing the cello at the age of three, and at ten, he made his orchestral debut as a soloist in Vivaldi’s Cello Concerto in D major (RV 403). Away from music, in 2020, together with his twin brother Max, he was awarded first prize in the Jugend forscht competition in the category Mathematics / Computer Science for their research on twin primes. 

In May 2027, Evidence Classics will release Daniel Dorn’s debut album, a journey through three of Bach’s Suites for Solo Cello. The album will present Suites Nos. 1, 2, and 3, while also offering listeners a rare musical curiosity: Robert Schumann’s accompanied version of the Second Suite, performed with Korean pianist Ji-Hwan Hong. 

Daniel Dorn plays a Jacob Stainer cello from 1645, and on the video of the Sarabande from Suite No. 2, his "gentle, fluid, and introspective" [Frederik Hanssen, Der Tagesspiegel] style gives a somewhat Romantic take on Bach's music.

Stream the EP [link tree] 

 

 

Britten's War Requiem: Edward Gardner takes an uncompromising & severe view softened by the poetic attention to the words from soloists in London Philharmonic Orchestra's season opener

Britten: War Requiem - Edward Gardner, Benjamin Appl, Paul Appleby
London Philharmonic Orchestra (Photo: Andy Paradise)

Britten: War Requiem; Natalya Romaniw, Paul Appleby, Benjamin Appl, London Philharmonic Choir, Tiffin Boys Choir & Girls Choir, London Philharmonic Orchestra, Edward Gardner; Royal Festival Hall
26 September 2027

Edward Gardner emphasises the austerity of Britten's sound world in a performance that contrasted austerity with poetry and only brought warmth and reconciliation in the final moments

London does not have a venue completely suitable for the full forces of Britten's War Requiem (and part of me wonders what the sound was like at that first performance at Coventry Cathedral). But the revitalised Royal Festival Hall now has the requisite space and an acceptable acoustic. So, the massed forces of the London Philharmonic Orchestra (LPO), London Philharmonic Choir and London Symphony Chorus filled the Royal Festival Hall stage on Saturday 26 September 2026 for the opening of the LPO's 2026/27 season. Edward Gardner conducted them in Britten's War Requiem with soloists soprano Natalya Romaniw, tenor Paul Appleby and baritone Benjamin Appl, plus the Tiffin Boys Choir and Girls Choir (conductor James Day). 

Paul Appleby was standing in for Allan Clayton at short notice; Appleby recently appeared in John Adams' Antony & Cleopatra at the Met in New York, and he has appeared at Glyndebourne as Jonathan (in Handel's Saul, 2015, see my review), Benedict (in Berlioz's Beatrice et Benedict, 2016) and Tamino (in Mozart's Die Zauberflöte, 2024).

There was a stark quality to the work's opening with very pointed delivery from the chorus contrasting with the strength of the low instruments in the orchestra, until 'Et lux perpetua' was really hammered out. The children's choir's entry following the climax highlighted one of the limitations of the hall; placed in the balcony their sound was assured but very present. In 'What passing bells', Paul Appleby revealed a vibrant lyric voice, his intent and intense performance placing strong emphasis on the words. In the unaccompanied 'Kyrie' that followed the chorus was magically quiet, but the sound was very present.

Britten: War Requiem - Natalya Romaniw, London Philharmonic Orchestra (Photo: Andy Paradise)

Misha Mullov-Abbado on harp, Belgian roots & Finizi anniversaries: CD launches this week

It has been a busy week for live CD launches. On Wednesday harpists Oliver Wass and Lise Vandermissen had a joint launch at St Pancras Clocktower for Wass's Musica per arpa on Tactus and Vandermissen's Our Roots on Etcetera. Then on Friday, tenor Nick Pritchard and pianist Ian Tindale launched their disc of songs by Gerald Finzi, The Dance Continued on Signum Classics, at St Clement Danes.

Wass and Vandermissen's launch event was a delight because it involved two harps, both played on a modern harp but Vandermissen also played some repertoire on a 1911 Erard. For her latest disc, Our Roots, Vandermissen has turned to her own roots as she is Belgian, with a disc of music by Belgian composers Jeanne Adrienne Kufferath (1874-1919), Felix Godefroid (1818-1872), Jacqueline Fontyn (born 1930) and Vandermissen's own pieces. The styles proved interestingly varied with Kufferath's more salon-like pieces alongside Godefroid (known as the Paganini of the harp!), Fontyn's piece (which was had direct from the composer) which was a catalogue of advanced harp techniques and Vandermissen's own more personal works.

By contrast, Wass's two-disc set on Tactus, Musica per arpa, contrasted three large pieces by Misha Mullov-Abbado with mainly Italian Baroque works by Travaci, Palestrina, Cacini, and Barbara Strozzi, along with works by Tarrega and Elsa Respighi, plus a concerto by Luigi Molinom with Wass being joined by his Pelleas Ensemble (Oliver Wass - harp, Henry Roberts - flute, Luba Tunnicliffe - viola), and Ensemble APM (Luca Vacchetti - conductor).

Mullov-Abbado has written three pieces for Wass over the years and all three are heard on the disc. At the launch we heard Red Ruth for solo harp along with a work for the Pelleas Ensemble, Three Meditation Songs which was written for the ensemble some ten years ago. The Pelleas Ensemble also played two Barbara Strozzi vocal works in imaginative and free arrangements by the ensemble's viola player, Luba Tunnicliffe. As a finale, Wass and Vandermissen gave us a taster of a future project with a work by Oliver Davis for two harps which was written for them.

Earlier this month I chatted to tenor Nick Pritchard and pianist Ian Tindale about their latest disc, Gerald Finzi: The Dance Continued [see my interview] on Signum Classics reflecting the fact that this year is a double Finzi anniversary. 

So it was a delight to hear some of the music from the disc performed live at St Clement Danes (in an event supported by Finzi Friends). The church is now the central church of the Royal Air Force, a rather apt venue as Gerald Finzi's friend, the composer Howard Ferguson served in the RAF during the war. 

After Finzi's death (in 1956) Ferguson and Finzi's wife Joy created the posthumous song cycles Till Earth outwears Op. 19a and Oh fair to see Op. 13b both of which Pritchard and Tindale performed at the launch. The disc also includes Finzi's 1933 cycle A Young Man's Exhortation, both this and Till Earth outwears are settings of Thomas Hardy.

By contrast Oh fair to see features settings of hardy, Ivor Gurney, Christina Rossetti, Edward Shanks, Robert Bridges and Finzi's close friend Edmund Blunden. The cycle ends with Finzi's last song, a setting of Robert Bridge's Since we loved. But alongside this are two very early songs, and more early songs feature on the disc, all unpublished. All five of these were included in the recital. As Ian Tindale explained, the songs are unpublished for a reason but sufficient time has elapsed that we can explore how these songs reflect both Finzi before his style fully developed along with the moments that look forward to his mature style.

Relishing the challenge: mezzo-soprano Samantha Price on singing her first Dido in Purcell's opera on tour with English Touring Opera

Purcell: Dido & Aeneas in rehearsal - Michael Lafferty (Aeneas), Samantha Price (Dido) & ensemble - English Touring Opera (Photo: Craig Fuller)

As part of English Touring Opera's (ETO) Autumn season they are performing Purcell's Dido and Aeneas in a double bill with Elena Langer's 2002 opera Ariadne. Ariadne is directed by Anna Morrisey with Jessica Cale in the title role. Dido and Aeneas is directed by Rebecca Meltzer and conducted by Alex Robinson with Michael Lafferty as Aeneas and Samantha Price making her role debut as Dido. A graduate of the Royal Welsh College of Music and Drama and a former Harewood Artist at English National Opera, Samantha sang the role of Romeo in ETO's 2025 production of Bellini's The Capulets & the Montagues [see my review].

When I spoke to Samantha, she was just at the beginning of rehearsals with ETO. Whilst she has not sung the role of Dido before she is familiar with the opera. Not only did she learn the aria (as most young mezzos probably do), but she sang the Sorceress in a production of the opera on the opera course at Dartington Hall (when Dartington College of Arts still existed). She comments that it feels a long time ago. She loves the role of Dido and relishes the challenge of it, particularly as the opera is so well known. She was introduced to the aria early and as a young singer found it useful having something in English.

The production of Dido and Aeneas (which is designed by Alex Berry) will be sharing the set with Ariadne and there is an element of keeping it abstract. The production is not specific to Roman mythology and they are aiming for a timeless feel. They want to present the plot as clearly as possible, particularly as there is not a lot of story. Rebecca Meltzer is working on unpicking the layers of myth and storytelling in the piece. Samantha points out that it is a short opera and Dido does not sing a great deal, with only two arias. There are important recits too, and though these are short they are very dense in plot. The story is very much part of the zeitgeist at the moment what with the release of Christopher Nolan's film, The Odyssey, and the popularising of mythology. This is something that they have been talking about in rehearsals, making the audience feel the sense of the work.

Bellini: The Capulets & the Montagues - Samantha Price (Romeo) - English Touring Opera 2025 (Photo: Richard Hubert Smith)

An exploration of how songs and music can have the unique ability to bring humans and cultures closer together: Sinfonia Cymru's Songs We Carry

Songs We Carry - Patrick Rimes, Ana Silvera, Saied Silbak - Sinfonia Cymru

Ladino song, Arabic music and Welsh folksong: Songs We Carry, Sinfonia Cymru's latest cross-cultural project brings together singer-songwriter and multi-instrumentalist Ana Silvera, composer, singer and oud player Saied Silbak and Welsh composer and fiddler Patrick Rimes with four Sinfonia Cymru musicians to bring Welsh music into dialogue with Ladino, Arabic, Turkish and European influences.

The programme arises out of an earlier Songs We Carry project where Silvera, and Silbak together explored their inherited music, the stories it carries and its power to connect people across cultures [see review of their 2024 show on The ArtsDesk]. The programme was inspired by family history: Ana Silvera's family history as Jewish refugees of the Spanish Inquisition, who resettled in Aleppo (then part of the Ottoman Empire) in the 18th century, and Saied Silbak's journey from his Palestinian hometown of Shafaa’mr in the Lower Galilee to London. 

The new programme includes new arrangements by Patrick Rimes of Ana Silvera and Saied Silbak’s music, performing the Ladino and Arabic songs alongside Rimes' Welsh folksongs. Together, it creates a powerful celebration of our diverse and shared musical traditions and the beauty of cultural exchange. An exploration of how songs and music can have the unique ability to bring humans and cultures closer together. 

Ana Silvera explains: "My ancestors were Jewish refugees, and our Ladino songs had almost disappeared. The Ladino language is now recognised by UNESCO as an endangered language. Songs We Carry was my opportunity to share Ladino music and language with new audiences, revealing its beauty and its power to connect us. I’m excited to bring it to Wales, a country that’s home to a thriving minority language, and a nation that is so passionate about sharing its Welsh language and story through song" 

Songs We Carry opens at Riverfront, Newport on 7 October and then tours to The Globe, Cardiff,  Mwldan, Cardigan, Theatr Clwyd, Mold, and Wiltshire Music Centre, Bradford-on-Avon with dates in London and Southampton next year.

Full details from the Sinfonia Cymru website. 

Not quite the sum of its parts: starry casting with Carmen Giannattasio, Saimir Pirgu & Bryn Terfel fails to lift Oxford International Opera's debut with Puccini's Tosca

Puccini: Tosca (Act Three) - Carmen Giannattasio, Saimir Pirgu - Oxford International Opera (Photo: Chris Christodoulou)

Puccini: Tosca; Carmen Giannattasio, Saimir Pirgu, Bryn Terfel, director: P Burton-Morgan, Oxford Philharmonic Orchestra, conductor: Marios Papadopoulos; Oxford International Opera at New Theatre, Oxford
Reviewed 24 September 2026

The debut performance of a new company proves rather a frustrating experience. Star casting and strong individual performances fail to cohere into a satisfying overall operatic drama

Oxford used to be a regular stopping off point for Glyndebourne Touring Opera (remember them?) and Welsh National Opera, but now home-grown professional companies are springing up to fill the voice. Oxford Opera Company debuted in 2018 (with Tosca) and now has an annual production focusing on young artists. Now they have been joined by Oxford International Opera (OIO).

OIO launched under the auspices of the Oxford Philharmonic Orchestra (OPO) and its musical director Marios Papadopoulos, with Sir Bryn Terfel as artistic director. And Terfel's name seems to have attracted other star names too. The company's debut production is Puccini's Tosca at the New Theatre Oxford (seen 24 September with a second performance on 26 September). P Burton-Morgan directed and Marios Papadopoulos conducted the Oxford Philharmonic Orchestra, with designs by Anthony Lamble. Tosca was Carmen Giannattasio, Cavaradossi was Saimir Pirgu, Scarpia was Bryn Terfel with Jamie Woollard as Angelotti, Sion Goronwy as the sacristan and Peter van Hulle as Spoletta.

The setting was resolutely contemporary with Bryn Terfel's Scarpia wandering around with armed heavies. The set for Act One seemed to evoke the designs of Italian brutalist architect Carlo Scarpa (1906-1978) and the sets for the remaining acts utilised the same basic structure. One theatrical element: a false proscenium containing lights that changed colour at crucial moments in the action.

Puccini: Tosca (Act One) - Bryn Terfel - Oxford International Opera (Photo: Alex Brenner)

A sassy Carmen from Katie Bray in Blackheath Halls Opera's celebratory 20th anniversary production of Bizet's opera

Bizet: Carmen - Katie Bray, Oliver Johnston - Blackheath Halls Opera (Photo: Julian Guidera)

Bizet: Carmen; Katie Bray, Oliver Johnston, Meeta Raval, Chuma Sijeqa, director: Harry Fehr, conductor: Christopher Stark, Blackheath Halls Opera; Blackheath Halls
Reviewed 22 September 2026

Blackheath Halls Opera celebrates 20 years by returning to the first opera they performed, Carmen, with Katie Bray making her role debut as terrific, sassy Carmen and Oliver Johnston a powerful Don Jose.

For its 20th anniversary production, Blackheath Halls Opera returned to the work they first started with, Bizet's Carmen. The work has a meaty part for the chorus, but Blackheath has never been lacking in ambition nor the ability to enable amateur chorus members (and orchestral musicians) to rise to the challenge.

The production was directed by Harry Fehr who has a long association with the company [he directed the 2024 production of Mascagni's Cavalleria Rusticana with Oliver Johnston as Turiddu, see my review]. The conductor was Christopher Stark, the company's musical director. Set designs were by Elliott Squire, with costumes by Alice McNicholas. The movement director was Victoria Newlyn. We caught the second performance at Blackheath Halls on 22 September 2026.

Katie Bray was Carmen, Oliver Johnston was Don Jose, Chuma Sijeqa was Escamillo, Meeta Raval was Micaela, Grant Doyle was Zuniga and Tom Butler was Morales. Frasquita, Mércèdes, Remendado and Dancaire were Clare Mariotti, Ilona Nastase, Jacq Herbots, and Zac Conibear, all vocal students at Trinity Laban. The company was made up of the Blackheath Halls Chorus, Blackheath Halls Orchestra and Blackheah Halls Opera Youth Company, all three community enterprises.

Bizet: Carmen - Meeta Raval - Blackheath Halls Opera (Photo: Julian Guidera)

The opera was sung in Christopher Cowell's English translation first produced for ENO (for Calixto Bieito's production). Rhyming yet with plenty of demotic elements, the language proved to be direct and not too contrived. All concerned seemed to project the words admirably.