Premiere of Brian Elias' new cello concerto at the BBC Proms

Leonard Elschenbroich

Brian Elias Cello Concerto; Leonard Elschenbroich, BBC National Orchestra of Wales, Ryan Wigglesworth; BBC Proms at the Royal Albert Hall
Reviewed by Jill Barlow on Aug 9 2017
Star rating: 3.0
A complex and rewarding work: premiere of Elias' new cello concerto

Despite torrential rain making for slippery pavements, and a replacement cello soloist having to be found as the much anticipated Natalie Clein was indisposed, a pretty well full house audience duly assembled in the Royal Albert Hall on the night (9 August 2017) to welcome in Brian Elias' new cello concerto, performed by cellist Leonard Elschenbroich, the BBC National Orchestra of Wales, conductor Ryan Wigglesworth at the BBC Proms.

Following Britten's Ballad of Heroes, in came the robust new cello soloist Leonard Elschenbroich, who has been described as 'one of the most charismatic cellists of his generation', projecting the new work with enormous enthusiasm and verve, duly delivering the four movements 'with no break'.

Full of colour and contrasts, well orchestrated, this interesting work was well received by the enthusiastic audience but I couldn't help but feel needed greater definition so that the listener could better distinguish one movement from the next amidst so much overlapping of material.

STEPHEN McNEFF - ‘PROMETHEUS DROWN’D’ JULY 014

Stephen McNeff - Prometheus Drown'd; Nova Music Opera Ensemble, Artistic Director/conductor George Vass, Director Richard Williams
Reviewed by Guest Reviewer Jill Barlow on Jul 30 2014
Star rating: 4.5
World premiere of Stephen McNeff's Shelley-inspired chamber opera

Stephen McNeff's 'PROMETHEUS DROWN'D' was premiered in Rosslyn Hill Unitarian Chapel ,Hampstead,29/30/31 July ,as part of a Double Bill with Cecilia McDowall’s 'Airborne; (for my review of 'Airborne' set in WW1 see Planet Hugill Aug 4th) )
 
 'PROMETHEUS DROWN'D' was inspired by and incorporates music from 'A Voice of One Delight' a monologue composed in 2010 for mezzo soprano with the accompaniment of flute, harp and viola commissioned by the Presteigne Festival. To quote the programme notes:- 'Prometheus Drown'd elaborates on 'A Voice of One Delight' both dramatically and musically and explores greater depths. The new work tells the story of the poet Shelley's untimely drowning from the perspective of his companion Edward Trelawny, (a spoken role)while Shelley's inamorata, Jane Williams, sings her responses as settings from verses inspired by her in the last few months of the poet's life when they and their respective families were living in Tuscany. An expanded instrumental palette allows a greater musical range while still retaining a chamber approach. A further dramatic dimension is achieved by adding two further characters-a younger version of Trelawny and Shelley himself'. (both spoken roles).

CECILIA McDOWALL – ‘AIRBORNE’ JULY 014

Cecilia McDowall - Airborne; Nova Music Ensemble, Artistic Director/conductor George Vass, Director Richard Williams
Reviewed by Guest Reviewer Jill Barlow on July 30 2014
Star rating: 3.0
World premiere of a new World War I themed chamber opera by Cecilia McDowall
Premiered in Rosslyn Hill Unitarian Chapel, Hampstead 29/30/31 July, a few days before the centenary of Britain entering the First World War (Aug 4th 1914), Cecilia McDowall got the idea for this short chamber opera from reading 'Sagittarius Rising ', the flying Ace, Cecil Arthur Lewis' account of his experiences as a fighter pilot in the First World War.As Cecilia writes in her programme notes; -'when planes were the most insubstantial affairs, linen on wood, held together with bits of wire, and little between the pilot and the full force of the elements'. ('Airborne' was premiered in a double bill with Stephen McNeff's 'Prometheus Drowned'; see Jill Barlow's review).

As I write this review on the evening of Aug 4th 2014, we must remember that a hundred years ago today, by 10:30pm Britain's ultimatum to Germany had expired and in the famous words spoken by Foreign Secretary, Sir Edward Grey as Britain was about to enter the war :- 'The lights are going out all over Europe; we shall not see them lit again in our lifetime'.

Julius Caesar - Globe July 2014

George Irving as Julius Caesar
Credit Manuel Harlan

Claire van Kampen; new score for Julius Caesar; Shakespeare’s Globe Theatre
Reviewed by Jill Barlow on Jul 2 2014
Star rating: 4.0
Music so robust & noisy - even before play starts - Drunken sounds of re-enactment of Roman Feast of Lupercalia in foyer as prelude to play on stage

The music for the Globe's new production of Julius Caesar (press night 2 July 2014) was robust and noisy even before Shakespeare's immortal play opened on stage. As one approached the Globe precincts, a rowdy prelude was being enacted in the foyer, representing the feast of Lupercalia, complete with loud drums and bawdy shouts, which historically it is said, accompanied Caesar's return to Rome in triumph having won his battles over Pompey.

On stage the play opens with trumpets from the centre of Musicians' Gallery above the stage ominously tempered by a discordant note to the right, which I am informed by Globe Music department, was made using 'a long trumpet, played with particular effect, - a brass instrument of the period'.

Charles Spencer writes of this production in the Daily Telegraph July 4:- 'staged in Elizabethan dress, with Roman trimmings, with music played on period instruments that make a speciality of fruity, fart like noises---'.

Alex Baranowski - Last Days of Troy 2014 - Globe Theatre Music review (new score)

Lily Cole as Helen of Troy in The Last Days of Troy
© Jonathan Keenan

Simon Armitage The Last Days of Troy, music by Alex Baranowski: Shakespeare's Globe
Reviewed by Jill Barlow on June 27 2014
Star rating: 3.0
 
The Last Days of Troy by Simon Armitage
Premiered Royal Exchange Manchester May 8 2014
Transferred to Shakespeare's Globe (run - 10-28 June 2014)
With acoustic music specially composed by Alex Baranowski (born 1983)
Whose film score for McCullin has just won best Feature Film score award at Cannes (June 2014)
 
In The Last Days of Troy Lily Cole – model & actress, stars as Helen of Troy - 'The face that launched 1000 ships' - bringing Homer's Iliad to the Globe stage.

Having reviewed the use of new scores at Shakespeare's Globe Theatre, on London's South Bank since year 2000, I couldn't resist the opportunity to go along to review Alex Baranowski's music for 'The Last Days of Troy' when I heard towards the end of its run that he had just won best Feature Film score award at Cannes June 21st. Born in 1983, such an achievement at so young an age. Trained at Paul McCartney's 'LIPA' (Liverpool institute of Performing Arts) and the winner of other impressive accolades, he has already written music for plays at The Royal Court theatre, National Theatre, and will be the composer for 'Street Car named Desire' at the Young Vic this July, which has apparently already sold out. He also wrote the music for Globe's Henry VI trilogy, 2013

Premiere of intriguing new chamber opera by Edward Lambert

Six Characters in Search of a Stage
Photo Credit Edward Lambert

Edward Lambert - Six Characters in Search of a Stage: Music Troupe of London: St Andrews Church, Hove
Reviewed by Jill Barlow on May 4 2014
Star rating: 5.0
Intriguing surreal and stylish production of new opera chamber opera

Composer Edward Lambert, well known for his work at Covent Garden and his youth opera commissioned by W11 Opera ('All in the Mind' for the Britten Theatre 2004), has just had his puzzling new chamber opera 'Six Characters in Search of a Stage' premiered at Brighton Fringe by his very own Music Troupe of London with a cast including Jon Stainsby, Olivia Clarke, Sheridan Edward and Mark Beesley.

I went along to St Andrews Church by the Sea, Hove on 4 May 2014 intrigued to unravel the mystery and experience his modernist / post-modernist score realised. Adapted from Pirandello's play of 1921, acclaimed as a surrealist masterpiece at the time, the chamber opera opens with the Director (stalwartly enacted and sung by Jon Stainsby) arriving on the stage of an empty theatre waiting for the cast of a modern play he doesn't really understand, to turn up for first rehearsal. 'Where is everyone? Why must I direct these modern works where nobody understands a thing?' he bemoans to the intrepid accompaniment of Lambert (piano)and quirky clarinet line above from the young, but established recitalist Joseph Shiner.