Space Discovery

Symphony Hall, Birmingham

Friday 5th August, 2016, 7:30pm

National Youth Orchestra of Great Britain

Edward Gardner conductor
CBSO Youth Chorus

Iris ter Schiphorst     Gravitational Waves (new work)
R. Strauss                      Also sprach Zarathustra
Holst                                The Planets
including
Colin Matthews        
Pluto, the Renewer

£5 under 25s offer in association with Classic FM (only available at Symphony Hall, Birmingham)

Open your ears to the music of the universe as the world’s greatest orchestra of teenagers embarks on a voyage back through a century of space discovery.

The journey begins with Gravitational Waves by German composer Iris ter Schiphorst. This is music for the here and now, for the beginning of a new era in astronomy. Fasten your seat belts and prepare for a thrilling ride to new musical frontiers as the original sound of the gravitational wave echoes through the orchestra and individual players gradually become one united force.

Next are two of classical music’s must-hear pieces: Strauss’s Also sprach Zarathustra, with its glorious, spine-tingling opening fanfare made famous by Stanley Kubrick’s film 2001: A Space Odyssey, and Holst’s The Planets completed by Colin Matthews’ Pluto:The Renewer. This music never fails to stir the emotions with its huge melodies and luscious harmonies and in the hands of these young musicians, it will fizz with an explosive, barely containable energy.

The countdown is on – join us for a fearless, totally teenage cosmic adventure.

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Review by Rian Evans, Guardian: (for same programme at Snape Maltings 4th August)

Click here for full review

…      “Growing out of mystic Neptune’s dying notes – sung by the girls of the City of Birmingham Symphony Orchestra youth choir – the feeling here was of an implicit and organic connection with the original suite. Moreover, the shimmering solar winds of Pluto took the ear back, orbit completed, to the work specially commissioned to launch the evening.

Iris ter Schiphorst’s Gravitational Waves was inspired by new scientific research validating Einstein, and it summoned a novel and symbolic mix of visual, aural and vocal gestures. The synchrony, whereby the players first wore white or black masks, then embodied the waves of the title in perfectly choreographed movements rippling through the serried ranks, created an arresting counterpoint to the imaginative, otherwordly soundscape realised by Ter Schiphorst and co-composer Uros Rojko. Evanescent and evocative, embracing known and unknown, it captured something of the awesome history and infinity of time.”

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Review by Penny Homer, BachTrack: (for same programme, BBC Prom 29, 6th August)

Click here for full review

…     “More impressive, however, was their handling of the outer planets, whose mature themes might have been beyond such young players. Not so; Saturn, the bringer of Old Age proved the best of all the movements. From its haunting start, the slow march towards death felt visceral and personal – I felt the weight of each passing second. Jupiter was also excellent; driving forward to what we now know as I Vow To Thee My Country, full of warmth and power. Uranus is the movement that I have in the past struggled to recall its identity – no more after the freshness brought to it here, its rousing climax quickly contrasted with a taut subito p to end. Neptune showed that the delicacy lacking in Venus was not beyond the orchestra, and was utterly transfixing. This delicacy extended to the balance with the off-stage voices of the CBSO Youth Chorus, giving them enough space to emerge. For such a seemingly small involvement, Neptune is a surprisingly tough ask for the voices, coming in high and quiet after a long period of silence. These difficulties weren’t quite surmounted and at times the tuning was a little unsettled, but the fade out was perfectly judged.

In his programme note for Pluto, the Renewer, Colin Matthews remarks that its dedicatee, Holst’s daughter Imogen, “would have been both amused and dismayed by this venture”. It was probably a sentiment that continues to be shared by many – after the beautiful fade out of Neptune, what could possibly come next? And yet if such a venture had to be undertaken, thankfully it was done in great style, breaking out before Neptune had fully died way. For the most part Matthews provided a thorough re-working of all the ideas in each movement while never veering into pastiche. The only awkward moments were the Mars motives, which jarred, although the orchestra attacked it all gamely, and the CBSO Youth Chorus voices were more confident with their involvement here. An interesting exercise, and fortunately not one detracting from Holst’s vision, or the National Youth Orchestra of Great Britain’s brilliance. I expect bright futures for many of them.”

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Review by Brian Barford, ClassicalSource: (for same programme, BBC Prom 29, 6th August)

Click here for full review

…     “Iris ter Schiphorst’s Gravitational Waves is prompted by the recent detection of emissions set in motion over a billion years ago by the collision of two black holes. Schiphorst uses sounds from the scientific project heard through a sampler and reflected in the orchestra as well as a broadcast narrative. The soaring brass, scurrying strings and metallic percussion offer a sense of infinity. There is also a strong sense of visual performance, for the musicians don masks, sway in unison, make vocal interjections, and at the end raise their arms in a gesture of hope for the future. It proved an arresting piece to see and one imagines it was enjoyable to present.

Richard Strauss’s Also sprach Zarathustra is a problematic work to bring off convincingly. The Nietzsche element can be unattractive although one should remember that Strauss subverts the text at the conclusion where nature not metaphysical inspiration has the last word and the piece ends with a question mark. Also, following the now-famous ‘2001’ opening Zarathustra is a free-form fantasia that can seem meandering.

Gardner and the NYO welded all of the sections into a convincing whole. The horizon-searching opening was delivered in ringing style, underpinned by the Royal Albert Hall organ at its most sonorous. The music for solo strings was played with feeling and the players made up for what they may have lacked in opulence with real ardour and intensity. There were thrusting horns in the “expression of joys and passions”. The Viennese waltz was elegant with a fine violin solo from Millie Ashton and the Midnight Bell episode was given a tremendous dark intensity and the eerily ambiguous close beautifully rendered. Overall, this was a well-paced account delivered with thrilling virtuosity.”     …

 

 

 

 

Mahler’s Tenth

Symphony Hall, Birmingham

Thursday 31st March, 2016 – 7:30pm

City of Birmingham Symphony Orchestra

Programme

  • Webern Six Pieces Op. 6 (chamber version)
    Brahms Four Songs for Women’s Voices,
    Op. 17
    Mahler Symphony No. 10
    (completed by Deryck Cooke)

Mahler never quite finished his Tenth Symphony, but when musicologist Deryck Cooke finally pieced together the sketches, he uncovered a lost masterpiece – in which cries of love and cries of pain finally resolve in music of shattering honesty and piercing beauty. Nicholas Collon uncovers its secrets tonight, and sets it alongside miniatures from Brahms and Webern – each one a tiny, concentrated world of poetry and emotion.

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Available on iPlayer BBC Radio 3 Live in Concert here until 30th April 2016

Support the CBSO – Become a Friend or Patron

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Review by Christopher Morley, Birmingham Post:

Click here for full review

…     “And so to the Mahler, a work which perhaps would never have been written had the dying composer not realised his wife was having an affair with the next creative artist in her collection. It is maudlin, self-repeating from previous works, but also has a visionary quality which begs the listener’s forgiveness.

Collon allowed the music to make all its own points, as Mahler would have intended. He drew a wondrously rich string tone, summoned the brass to awesomely terrifying outbursts, and presided over a myriad of vital instrumental solos.

Chief among these must come the many contributions of concertmaster Zoe Beyers, and, too, the lengthy flute solo in the finale from Marie-Christine Zupancic. We have heard all such things earlier in Mahler’s authentic symphonic output, but this does not detract from how valid they sounded within this context.”

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Review by Andrew Clements, Guardian:

Click here for full review

…     “There was a real authority about the CBSO’s playing under Collon, the sense of an orchestra continuing to explore a work it knows inside out. Beyond the English Midlands, Cooke’s score may not have quite secured the place in the canon it deserves. No other completion of the 10th I’ve heard seems anything like as convincing, so true to the world of late Mahler as what Cooke, with the assistance of Berthold Goldschmidt and Colin and David Matthews, produced. This performance was a reminder of how important a musical document it is.

Occasionally, the account was perhaps a little glib. Both scherzos have more menace in them than Collon suggested, and parts of the huge first movement seemed doggedly persistent rather than genuinely aspirational. But from its crepuscular opening onwards he caught the mood of the finale perfectly, right through to the radiance of the coda, when the strings return to the untroubled world of the Fifth Symphony’s adagietto.”

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Review by John Quinn, SeenandHeard, MusicWeb:

Click here for full review

…     “In the first scherzo Mahler constantly changes the time signature, giving the music a very unstable feel. Here the playing of the CBSO was incisive and displayed no little brilliance.  Collon handled the Ländler-like trio very well, using rubato very skilfully so that the music sounded very idiomatic. When the scherzo material reappeared he drove the movement to an exciting conclusion.

The short third movement, entitled ‘Purgatorio’ is a strange piece of writing. As I listened to the performance it seemed to me that the music offers echoes of the Seventh Symphony. Collon showed a fine feeling for Mahlerian style and he brought out the colours in the orchestration very vividly.

He took the second scherzo attacca. (In effect, since the finale also follows without a break, this meant that we heard the three movements that constitute Part II of the symphony as an unbroken span.) In some ways this fourth movement sounds to me the most Mahlerian of all – I’m thinking especially of the middle three symphonies and the Ninth. Here passages that require – and were given – real bite alternate with warm, sentimental music. The mood and colours of the music seems to be constantly changing – the former the responsibility of Mahler, the latter the product of Mahler’s invention as realised by Cooke’s orchestration. The CBSO played the movement with great virtuosity. The hushed coda, dominated by the percussion, was spookily effective.

If the end of the fourth movement was spooky then the beginning of the long finale was positively eerie; the dull bass drum thuds and doleful tuba distilled an atmosphere as baleful as even the start of the finale of the Sixth. And then, out of the darkness emerged the wonderfully tender flute melody, cushioned by soft violas and cellos. As voiced by the CBSO’s principal, Marie-Christine Zupancic, the melody was fragile yet soothing. Had Mahler’s sketches been left to gather dust we should have been deprived of this, arguably his most heart-stopping melody; what a loss that would have been. The consoling melody was then taken up and developed most beautifully by the violins. The paragraphs that followed were shaped with intensity and understanding by Collon and the CBSO responded to his leadership with wonderfully glowing playing.  Later, in the faster episodes there was urgency and bite from the orchestra but it’s for the heart-easing lyrical passages that I will long remember this performance.  The last few minutes of the movement seem suffused by acceptance and, perhaps, by a recollection of temps perdu. Collon conducted these closing pages with fine yet controlled intensity and was rewarded with luminous playing, especially from the strings and golden-toned horns. One last anguished outcry and then the symphony ends in tranquillity.

As I said earlier, many distinguished Mahler conductors have resisted performing this performing version by Deryck Cooke – or, indeed, the various versions by other hands. With all due deference, I have to say I think they are wrong. Cooke never made any pretence that what he had done was to “complete” Mahler’s score. Using highly informed conjecture and great musicianship he and his colleagues gave us a way – not the way – to hear the music that Mahler had composed. If we ignore the Tenth we surely have an incomplete picture of Mahler in his last years. If we embrace it, however, we expand and enrich our understanding of one of the twentieth century’s most important and influential symphonists. This evening’s very fine performance demonstrated very clearly how rewarding an experience Mahler’s Tenth can be.

I left Symphony Hall full of admiration for the performance by Nicholas Collon and the CBSO. But above all I left full of gratitude to Deryck Cooke and his three collaborators. Through their dedicated work our Mahler horizon was expanded significantly.”

 

 

Serenade to Music

Thursday 21st January, 7.30pm

City of Birmingham Symphony Orchestra

Programme

  • Grainger  In a Nutshell, 20′
  • Vaughan Williams  Serenade to Music †, 14′
  • Varese  Ionisation, 8′
  • Judith Weir Storm †, 18′
  • Grainger  The Warriors , 20′

Imagine warriors of all times and all lands, gathering in one place to drink and dance; imagine jazz breaks, three pianos, and a super-sized orchestra… and you’re starting to get some idea of Percy Grainger’s jaw-dropping The Warriors. Add Vaughan Williams’ ravishing, Shakespeare-inspired Serenade, 16 brilliant young soloists, a spirited showcase for the CBSO’s world-beating young choruses and a “Gum-Suckers’ March”, and…well, what can we say? You’ve simply got to hear it!

Available on BBC Radio 3 Live in Concert here for a month

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Review by Christopher Morley, Birmingham Post:

Click here for full review

…     “And because of these forces we had a remarkable bonus, Edgard Varese’s Ionisation for 13 percussionists and piano, crisply, precisely directed by Seal, and beautifully phrased and coloured by the players.

By contrast, a tiny instrumental ensemble (including many of the flute family) accompanied the expert CBSO Youth and Children’s Choruses in a revival of Judith Weir’s Storm, keenly imagined and with a lovely serene ending. Under Simon Halsey the youngsters sang with confident projection and brilliant diction, and all from memory, to the delight of the composer, interviewed engagingly onstage, like the two conductors, by presenter Tom Redmond.

The texts came from The Tempest, this performance a contribution to the CBSO’s Shakespeare quatercentenary thread. And particularly heartwarming was the presentation of one of the most beautiful Shakespearean works ever penned, Vaughan Williams’ Serenade to Music.

This setting of the Belmont Scene from Act V of The Merchant of Venice requires 16 solo singers, and for its premiere celebrating Sir Henry Wood’s Golden Jubilee as a conductor in 1938, the composer specified 16 named soloists at the top of the professional tree.

Here Simon Halsey presented 16 students from Conservatoires UK-wide, and what a wonderful sound they created, both in their individual contributions and in their melding together as a choral group.”     …

New CBSO CD

Mendelssohn in Birmingham, Volume 4 is out NOW!

Mendelssohn in Birmingham, Vol. 4

Violin Concerto in E minor, Op. 64 with Jennifer Pike (violin)

A Midsummer Night’s Dream – incidental music, Op. 61 with

Rhian Lois (soprano I), Keri Fuge (soprano II)

CBSO Youth Chorus

City of Birmingham Symphony Orchestra

Click here to buy online (all volumes available here)

Or visit the Symphony Hall Gift shop

Andris Nelsons’ Farewell Concerts

Symphony Hall, Birmingham

Thursday 18th June, 7.30pm

Programme

  • Ešenvalds Lakes Awake at Dawn, 13′
  • Mahler Symphony No. 3, 92′

All good things come to an end. And on what are sure to be emotional evenings, Andris Nelsons has chosen to say farewell to Birmingham with Mahler’s huge, rapturous hymn to nature – both unchanging, and forever renewing. A beautiful new choral work by Andris’s fellow-Latvian Eriks Ešenvalds – jointly commissioned (thanks to support from the Feeney Trust) with Andris’s new orchestra in Boston – brings our orchestra, choruses, audience and conductor together to celebrate seven inspirational years.
Share your memories of Andris’ time with the CBSO
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Support the CBSO
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Andris Nelsons says Birmingham must keep loving the CBSO.

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Farewell Andris – CBSO Gallery, video, etc

Storify here

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Review by John Quinn, SeenandHeard, MusicWeb:
Click here for full review
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     “Lakes Awake at Dawn is scored for SATB choir and a large orchestra and in this performance played for about 10 minutes. In it Ešenvalds sets some lines by the Latvian poet, Inge Ābele in an English translation to which the composer has appended some words of his own, also in English. The score plays continuously but has two clearly defined sections. In the first, the Ābele setting, the music is tense and powerful, depicting, to paraphrase the composer’s own description, “one’s emotional unrest, anxiety, and physical running away from danger at night in a forest.” Nelsons inspired his combined forces to project this music very strongly, creating a potent atmosphere. Ešenvalds’ own words depict the arrival at the consoling safety of a lake. Here the music becomes hymn-like. The writing for both choir and orchestra has great beauty and is initially tranquil though it gradually builds to a majestic climax, retreating thereafter to a soft consonant orchestral conclusion. The piece has great impact – especially in such a committed performance as this one – and its enthusiastic reception by the audience clearly delighted the composer, who was present. […]

[…]

The concluding Adagio opened with wonderfully rapt playing from the CBSO strings; you sensed they were on their collective mettle, determined to deliver one last time for Nelsons – and they did. Nelsons paced the music broadly and generously but though the tempo was expansive there was always a sense that the music was moving forward with purpose: there was a goal in sight. Throughout this movement the orchestra were at the top of their game. Impressive dynamic contrasts were a telling feature of the reading. In the last few minutes there was a true sense that Nelsons was leading his forces to the summit; certainly he drew every last ounce of commitment from the orchestra. He surely knew that the last great D major chord would be followed by an immediate ovation but Nelsons held the moment, his arms aloft, so that no applause intruded until the music had reverberated around the hall and properly died away. Only then did he lower his arms.[…]

[…]

During a prolonged standing ovation Nelsons plunged into the ranks of the orchestra; it seemed as if he shook hands with or hugged most of the players on the platform. After several minutes he gave a disarming short farewell speech in which, typically, he stressed two themes: the CBSO family, including its audience, and a strong plea to the people of Birmingham to cherish their orchestra. And so with this unforgettable performance the Nelsons era came to an end, though it’s not quite the end for he and the orchestra and the CBSO Chorus have one last outing together: Beethoven’s Ninth at the BBC Proms on 19 July. He will be back in Birmingham, I’m sure, as an honoured guest, but for now, with his successor still to be chosen, he leaves big shoes to fill.”     …

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Review by Robert Gainer, BachTrack:
Click here for full review
…       “Ešenwald’s composition was commissioned by both the CBSO and the Boston Symphony Orchestra, Nelson’s new home. It was fitting that the great Latvian conductor should have used the opportunity to promote the music of one of Latvia’s best contemporary composers in this UK première. The CBSO Chorus clearly relished the work, projecting their magnificent sound throughout the hall with enthusiasm and diction that made the most of the counterpoints and rhythms. Although a number of the lines from the text were repeated, it was never repetitive thanks to the imaginative and colourful orchestration. At various points I could hear the sound of gulls on the lake coming from the violins, the waters of the lake rippling in sync with Nelsons’ elongated fingers, and the sun finally breaching the horizon to a percussive technique that looked from afar like a string bow being drawn across a xylophone block. Yet this was not ‘experimental’ music, but a mature and innovative composition in its portrayal of both imagery and narrative. I have heard some of Ešenwald’s work before on recording and I have been impressed. Its impact in concert is manifold, and I shall be seeking opportunities to hear his work again. (sic) […]
[…]     

Highlights from the other movements were aplenty. The changes of mood in the third movement were brilliantly executed, with the offstage flugelhorn exquisitely lyrical. Mezzo-soprano Michaela Schuster’s performance was perfectly measured and supported by some mellifluous French horn playing. The CBSO Youth and Children’s Choruses were enchanting in the fifth movement, maintaining good balance with the adult chorus and bringing joyous light relief after the profundity of the fourth movement. In the final movement Nelsons, who had conducted with passion and energy throughout and sometimes jumping on the spot, seemed to get renewed strength and there was a palpable response from the musicians as the finale built to its emphatic conclusion.As Nelsons cut the final thunderous chord his arms remained aloft, motionless and statuesque. Two thousand two hundred lungs simultaneously suspended their breath. Not until the sound had completely faded away after a prolonged pause did he move. Only then did the audience exhale, rising spontaneously as one in a standing ovation that went well past the point of hand hurting.

 

So, what is it that Nelsons has with the CBSO that they find so difficult to replace? Personal chemistry. Despite the risks, the CBSO is right to hold out until they find such chemistry again before appointing Nelsons’ successor.”    

*****

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 Review by Fiona Maddocks:

Click here for full review

…     “A hundred minutes is a long time to be on the edge of your seat, but Nelsons kept us there throughout this epic hymn to man and nature.

During his time in Birmingham he has made his mark with resplendent Wagner and Strauss, electrifying Beethoven and a shoal of world premieres and recordings. The orchestra, trained for 18 years by Simon Rattle and for a decade by Sakari Oramo, was already on fine form. With Nelsons they have discovered a new freedom of expression. This reflects the qualities of this warm-hearted musician from Riga, not yet 40, who encountered his first opera – Tannhäuser – aged five, cried when the hero died, and decided to become a conductor.

Nelsons working his way round the entire CBSO to say his goodbyes.

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Nelsons working his way round the entire CBSO to say his goodbyes. Photograph: Neil Pugh

The Ešenvalds work, Lakes Awake at Dawn, recalls a dark event in Latvian history – June 1940 – when a mass Soviet deportation to Siberia forced thousands to flee their homes and spend a fearful night in the forest. After an explosive start, the work achieves a radiant calm as dawn arrives. The writing is tonal and ecstatic, immediate in impact rather than radical. Commissioned both by the CBSO and Boston, where it was premiered last year, it was a thoughtful prelude to the Mahler, troubling more for its subject matter than its harmonies.

Nelsons has always shaped every phrase and nuance – unlike, say, Barenboim, who sometimes drops his arms altogether and leaves his players to get on with it. Edging towards the precipice with his fascination for detail, Nelsons somehow always holds the work secure and intact. This was true in the half-hour-long first movement of the Mahler. Colours and effects stood out as if for the first time – the burbling bassoons, the military wind-band mood of the high E flat clarinets. (“Yes, Mr Mahler has E flat clarinets on the brain,” sniped a Viennese critic, one of many who questioned the composer’s sanity when the work was new.)

Watch the CBSO’s farewell video.

Using a full avian repertoire of gestures, Nelsons shifts from gawky wet crow to elegant flamingo to shrinking sparrow to, in the limitless melody of the final movement, a giant kite gliding freely in space. His players, never knowing what might happen next, are ever alert. Check out the CBSO’s tribute video, and see him waggle his hands behind his ears to conjure a brass trill. Boston will enjoy him, if they can keep him.”     …

*****

Mendelssohn’s Midsummer Night’s Dream

ThumbnailRelax and Revitalise

Saturday 18th April 2015 at 7.00pm

Symphony Hall, Birmingham +44 (0)121 345 0600

City of Birmingham Symphony Orchestra

Edward Gardner  conductor

Cédric Tiberghien  piano

CBSO Youth Chorus  

Mendelssohn: The Fair Melusina Overture 10′

Mendelssohn: String Symphony No.10 in B minor 12′

Mendelssohn: Piano Concerto No. 1 20′ Listen on Spotify

Mendelssohn: A Midsummer Night’s Dream – incidental music 45′

Listen on Spotify

Cédric Tiberghien‘s encore – Bach/Siloti – Prelude in B Minor

Edward Gardner’s Mendelssohn symphony cycle was one of the real delights of last season in Birmingham. Now he teams up again with our famous Youth Chorus in its 20th anniversary year in Mendelssohn’s magical homage to Shakespeare: fairies, donkeys and that Wedding March! And we’re delighted to welcome the award-winning Cédric Tiberghien to sprinkle a different kind of magic over Mendelssohn’s sparkling First Piano Concerto.

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Review by Christopher Morley (for matinee performance of same programme)

Click here for full review

…     “This week it was the turn of the miraculous Midsummer Night’s Dream incidental music, Gardner and orchestra responding gratefully to its infinite delights. Warm horns, elfin flutes (how did Marie-Christine Zupancic manage to deliver the end of the scherzo without apparently breathing?), James Sibley’s supportive tuba sturdily placed next to the bassoons, the aplomb of Andrew Herbert’s cymbals in the Wedding March, the sheer versatility of the strings, all contributed riches to this amazing score.

As did the young ladies of the CBSO Youth Chorus in that astonishing group’s 20th anniversary year, singing so clearly and articulately after Julian Wilkins’ coaching, and contributing three soloists performing with such poise and confidence, and who really should have been named in the programme.

Earlier we had relished a refreshing Fair Melusine overture and marvelled at the terse Storm and Stress of the B minor String Symphony no.10, neatly phrased and accented under Gardner.

And, above all, a bustling account of the remarkable First Piano Concerto from Cedric Tiberghien, his busy pianism encompassing both stormy rumblings and sweet domesticism,”     …

MacMillan’s St Luke Passion

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Thursday 4th December 2014 at 7.30pm

Symphony Hall, Birmingham +44 (0)121 345 0600

City of Birmingham Symphony Orchestra

James MacMillan  conductor
Toby Spence  tenor
Richard Watkins  horn
CBSO Chorus  
CBSO Youth Chorus  

Britten: Serenade for Tenor, Horn and Strings 26′
Listen on Spotify

MacMillan: St Luke Passion (UK premiere) 73′ Watch on YouTube

James MacMillan has been called the greatest British composer since Britten, and his music is urgent, melodious, and burning to communicate. The UK premiere of his St Luke Passion – co-commissioned for the 40th anniversary of the CBSO Chorus – is a major event, and with the composer himself conducting our famous choruses, this is a chance to experience musical history in the making.

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Review by Rian Evans, Guardian:

Click here for full review

…     “MacMillan sets the Lucan gospel in the English of the Catholic version but, unusually, he dispenses with soloists and indeed with the role of the evangelist. Instead, he gives the words of the gospel to the full chorus, and the words of Christ to young voices, sung here by the remarkable CBSO youth chorus. Their freshness and purity of sound was symbolic both of the sacrificial lamb of God and of the hope of the Christian gospel.

The simplicity of the word-setting, sometimes just monodic, and the clarity of MacMillan’s choral writing, notably in the unaccompanied sections, ensured a touching directness of expression. The instrumentation – small orchestra with double wind – also realised some striking effects, notably in the brass and timpani, with their occasional resonances of Verdi and Britten, and the Messiaen-like organ outbursts. Duetting oboes also recalled Bach’s passions, as did the emerging strain of the chorale O Haupt voll Blut und Wunden towards the end.

Like their younger counterparts, the CBSO chorus sang out beautifully.”

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Review by John Quinn, MusicWeb, SeenandHeard:

Click here for full review

…     “One very interesting feature of this score is that the words of Christ are sung by a children’s choir, often singing in unison but sometimes in up to three parts. MacMillan explains that he took this step because he wanted to “examine [Christ’s] otherness, sanctity and mystery. Employing a children’s choir grants a measure of innocence to Christ as the sacrificial lamb.” I thought this approach worked extremely well and the confidence, discipline, freshness of tone, commitment and maturity with which the young singers of the CBSO Youth Chorus carried out this testing assignment is beyond praise. Clearly Julian Wilkins, who played the crucial organ part in this performance, had trained them scrupulously, not just in the notes but in the spirit of the music

The adult choir carries the main burden of the music and I wondered how this would work in practice as compared to the more conventional approach of having a soloist narrator. I think MacMillan’s decision was completely vindicated, not least because, shrewdly, he varies the choral textures. So some passages are sung by either male or female voices – or a section of the respective voices, such as the tenors – while elsewhere the full choir is deployed, sometimes singing homophonically and at others in more complex polyphony. The music, while far from impossible, I judge, is by no means easy and there are a number of passages where the need for rhythmic precision is especially demanding. On just one occasion, when telling of how Simon of Cyrene was obliged to help carry the cross, the tenors were not quite unanimous in articulating the difficult rhythms but this was an isolated blemish in what was a hugely impressive performance by the CBSO Chorus. Trained as usual by Simon Halsey, the choir seemed to be in complete command of the music and they sang with great commitment as well as accomplishment. In short, this was a typical CBSO Chorus performance.”     …

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Review by Christopher Morley, Birmingham Post:

Click here for full review

…      “Under the composer’s fluent and encouraging direction, Simon Halsey’s chorus sang with all its legendary attack, projection and clarity of diction, well-balanced and controlled, taut with urgency, and partnered by a CBSO which did full justice to the resourceful imaginativeness of MacMillan’s modest scoring.

The 73-minute work (what a convenient length for a CD!) is sure in its dramatic pacing, and the restless stirrings in the orchestral bass line as Christ ascends into heaven are particularly effective, underpinning the ancient chant melody which the Chorus intones.”     …

The Planets: CBSO Youth Orchestra

ThumbnailCBSO 2020Raise the Roof

Sunday 2nd November 2014 at 7.00pm

Symphony Hall, Birmingham +44 (0)121 345 0600

CBSO Youth Orchestra

Ben Gernon  conductor
John Mark Ainsley  tenor
CBSO Youth Chorus

Turnage: Passchendaele CBSO co-commission – UK premiere) 10′
Vaughan Williams: On Wenlock Edge 23′
Holst: The Planets (including Matthews Pluto) 54′
Listen on Spotify

Since 2004, the CBSO’s world-class Youth Orchestra has been pushing back the frontiers of what young musicians can achieve. Tonight, in a special 10th anniversary celebration, CBSO Youth Orchestra alumnus Ben Gernon conducts our superb young players in Holst’s spectacular The Planets, and unwraps a unique birthday present: a powerful new work, inspired by the year 1914, from one of Britain’s greatest living composers.

If you like this concert, you might also like:
MacMillan’s St Luke Passion, Thursday 4th December, 2014
Elgar’sEngima Variations, Wednesday 10th December & Saturday 13th December, 2014
Mahler’s First Symphony: CBSO Youth Orchestra, Sunday 22nd February, 2015

Support the CBSO

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Review by Christopher Morley, Birmingham Post:

Click here for full review

…     “The premiere was Mark-Anthony Turnage’s Passchendaele, co-commissioned with help from long term CBSO supporters John Cole and Jennie Howe, and written in commemoration of the horrific events of the First World War.

Beginning with awe-inspiring trombone intonations, progressing through magical woodwind intimations and persuasive strings, it continues through a brass summons to a percussion-led outcry, all the while with a seamlessly arching line of anger and grief.

It was so moving to hear this Youth Orchestra paying homage to the doomed youth of a century ago, and moving, too, to witness the authoritative conducting of young Ben Gernon, himself a CBSOYO alumnus.

Fittingly, the programme’s other two composers had in fact served in the Great War. Vaughan Williams was represented by his Housman song-cycle On Wenlock Edge, its clattery orchestration sometimes blessedly subsiding into hushed tones which the musicians conveyed with the utmost sensitivity.

John Mark Ainsley was soloist, his particular kind of tenor timbre, questing and ruminative, well-suited to this period piece, ” …

*****

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Review by Roderic Dunnett, MusicWeb, SeenandHeard:

Click here for full review

…     “And what did one hear? Magnificent ensemble and dazzling precision, all units pulling together. Some enchanting, atmospheric violin solos from young leader Charlotte Moseley in the second movement, and then another whiff that sounded as beautifully wan as Rimsky-Korsakov (Scheherazade is a work one might indeed compare The Planets to, in dimension and concept). The two solo oboe passages wrapped round solo clarinet in the same (second) movement sounded like pure Delius – i.e. not just mightily well played, but acutely scrumptious and characterful..The whole thing, like so much Debussy or Roussel, is a masterclass in orchestration: who would have noticed that just one trumpet (Matthew Frost, I think) plays at the start of ‘Jupiter’: so utterly assured, the effect, even amid quite thick textures, is extraordinary.

 Gernon’s success was keeping what might have been a rather bawdy, rumbustious romp so elegantly under control. As a result, detail spoke loud. There was no mush. The violin sound was precise, lucid, focused – the seconds as well as the top line, some expressive moments in the violas, and particularly some hugely rewarding, sonorous sounds from double basses and cellos, playing separately or as one. Pure magic and growing mystery from harps, singly or paired (as in ‘Saturn’), and Jing Yi Goh’s immensely attentive celesta (by the time we reached ‘Neptune’, it was starting to sound like Schreker’s Der Ferne Klang, which dates from time that Holst first conceived the war-coincident work).”     …

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Review by Katherine Dixson, BachTrack:

Click here for full review

…     “It is in fact one of the trademarks of this orchestra that they’re up for the challenge of new commissions, and they tackled Passchendaele with a maturity beyond their years. There was as much assurance in the full, multi-textured, angry orchestral sound as there was in the solo and ensemble fanfares and more reflective moments. Within the space of ten minutes, plaintive melodies on trombones were answered by orchestra; clashing percussion gave way to more melodic strings; a sinking, labouring feeling was punctuated with horns and gongs, shifts in the time signature creating a sense of tension and unease; outbursts gradually subsided and led back through the wind section to a poignant trumpet solo. A sense of calm rather than peace, to which the audience responded with thoughtful rather than ecstatic applause.     […]

[…]    After the interval Gernon and the orchestra seemed much more at home with The Planets, enjoying the build-up from a menacing opening into an explosive frenzy in their depiction of Mars, the Bringer of War. Hard to believe that Holst had already started writing this movement before hostilities started in 1914.

The contrasts between the more energetic and slower movements were skilfully handled, as were the expressive dynamics and contributions from solo violin, cello, woodwind and lively percussion team. The CBSO Youth Chorus, with a 20-year history, shone as ethereal voices offstage, breathing an extra dimension into the already captivating atmosphere of Neptune, the Mystic, like wind. With the inclusion of Colin Matthews’ additional movement Pluto, the Renewer, the voices were employed again to bring the music back to Holst’s own final chord.  An effective end to a highly entertaining birthday party.”

Der Rosenkavalier

ThumbnailPure Emotion

Saturday 24th May 2014 at 4.00pm

Symphony Hall, Birmingham +44 (0)121 345 0600

City of Birmingham Symphony Orchestra 

Andris Nelsons  conductor
Soile Isokoski  Marschallin
Alice Coote  Octavian
Sophie Bevan  Sophie
Franz Hawlata  Ochs
Mark Stone  Faninal
Bonaventura Bottone  Valzacchi
Pamela Helen Stephen  Annina
Elaine McKrill  Marchande de Modes / Marianne
Ted Schmitz  Major Domos / Innkeeper
Ji-Min Park  Italian Tenor
Eddie Wade  Notary / Police Inspector / Servant
CBSO Chorus  
CBSO Youth Chorus  

Strauss: Der Rosenkavalier (sung in German, with English surtitles) 206′

Love conquers everything, so they say… but what about Time? In a fairytale Vienna, the beautiful Marschallin and her teenage lover are about to discover that a single silver rose can turn the world upside down. Richard Strauss’s Der Rosenkavalier is an opera that ravishes the ear, then breaks your heart to the sound of a waltz. Andris Nelsons has assembled a truly world-class cast for what is sure to be a highlight of the season, in his first ever concert performance of the sweetest and most sensuous opera of all time.

The approximate running times of Acts 1, 2 & 3 are 75’, 63’ and 68’ respectively. There will be a 30-minute interval after Act 1 and a one-hour interval after Act 2.

“I think this is my favourite piece of music. The music is incredible, so powerful.It’s romantic, passionate, beautiful and achingly sad. Every time I hear the end I get goose-bumps and usually cry. The singers will be wonderful,the story they will tell is a story of love,discovering love, setting a loved one free but it’s also funny and it will make you laugh. It will be such a special evening.” (Jane Wright, Violin)

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If you like this concert, you might also like:

Strauss and Shakespeare, Wednesday 18th June
Beethoven’s Emperor Concerto, Thursday 19th June

 

A few reactions….*here*

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Review by LietoFineLondon, WordPressBlog:

Click here for full review

…    As her Octavian, Alice Coote married a beautifully bronzed and shining tone with incredible acting skill. Her comic turn and sense of timing with Ochs was brilliant and combined with the vocal splendour of her singing. There was a warmth and brilliance to her tone that didn’t bleach in the upper ranges and her technique – demonstrated in her ability to scale down her voice when appropriate – demonstrates what a unique and special talent she has.

And Sophie Bevan provided a steely Sophie. In character that is. Vocally she was equally splendid. Her lower and middle range has a beautiful smokiness to it and when she effortlessly rose to stratospheric heights in the Second Act it was breathtaking.

The remaining cast members all performed their roles with great vocal and acting aplomb. Special mention must go to Ji-Min Park’s Italian Tenor (and for his two handed farewell at the end of the evening); to Pamela Helen Stephen’s Annina and to Elaine McKrill’s Marianne Leitmetzerin. And also to Paul Curivici – his bright tenor promises a bright future.

And the final trio – let’s admit it – is often the ultimate reason for attending Der Rosenkavalier. Not only because it is the emotional pay-off we have known was going to happen from the Marschallin’s monologue in Act One, but also because it is the most sublime piece of music Strauss ever wrote.

And in Symphony Hall it was perfection.

Andris Nelsons daringly took the trio at a slower tempo than I’ve heard in a while. But he never lost control of its various strands, unfolding the glorious music with an authority that demonstrated he clearly knew the overall architecture of this opera. And not once did he allow the singers – as is often the case – to drown one another out. Each of the three vocal lines was clear and distinct as he drew them to that crushing climax at the Marschallin’s In Gottes Namen at which point the singers – and the audience – were overwhelmed by the orchestra. As Strauss wanted.

How anything could follow that was impossible to consider but Mesdames Coote and Bevan then performed the most sublime Ist ein Traum, scaling their voices back to the finest pianissimi I’ve ever heard.”     …

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Review by Rian Evans, Guardian:

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…     “The transcendent beauty of the final scenes of acts one and three were most affecting, with Isokoski’s elegance of line controlling both the Marschallin’s emotions and her heightened awareness of the inevitability of losing her lover to a younger woman. Coote’s ebullience and acute sensitivity was crucial to balancing comedy and sadness, and Hawlata as an oafish Ochs gave a vocal tour de force. Milking every possible opportunity, he used both conductor and podium as pivotal points in the stage business.

The trappings of a full-scale production were hardly missed. Mark Stone‘s Faninal was highly impressive, Ji-Min Park shone as the Italian tenor and the CBSO gave even moments of operatic mayhem real clarity. Nelsons, meanwhile, drew luscious textures and transparent detail throughout, his immaculate handling of the sheer bliss of Strauss’s ending eclipsing all else.”

*****

 

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Review by David Nice, ArtsDesk:

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…     “From Act Two onwards, though, the performance fired on all cylinders. You can take the Presentation of the Rose as slow as you like, like Bernstein, and so long as the singers are up to it, the magic will work. As it did here, with Bevan’s ripe sound making hers at times a more voluptuous upper voice than Isokoski’s,even if its slimming to float was not as ecstatic as Lucy Crowe’s for Elder. The second duet, usually cast in the shade, was as luminously other-worldly as I’ve heard it, and with Hawlata waxing ever more boisterous, the shape of the act from its rumbustious climax down to the famous waltz scene went like a dream.

It usually feels strange when our Knight of the Rose takes the last bow, and rarely gets the biggest applause, but mine was certainly that for Alice Coote’s Octavian: full-toned and ardent, effortlessly brilliant at the top of the voice, when needed, but also magically soft from the tenderest exclamation of “Marie-Theres’!” in the breakfast scene right to the final pianissimo. She seemed to be enjoying every minute, too, and kept her femininity with two floaty wraps over a black trouser suit.

Nelsons might have opened up the cuts in concert, but that would have meant experienced singers learning more music, and we did get more of Ochs’s Falstaffian soliloquy before the waltz than at Glyndebourne. But finally we were there at the last hurdle. “It is at the end that a composer can achieve his finest effects”, wrote Strauss of the path to the great Trio and beyond; and Nelsons did that too, with an infinitely velvety cushion of sound for three great voices. Did I shed tears? I had trouble keeping the sobs from bursting into song. The ovation was mostly standing and absolutely ecstatic. That’s the magic of Rosenkavalier, and it doesn’t come more supernaturally bittersweet than this.”

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Review by Andrew H King, BachTrack:

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“The City of Birmingham Symphony Orchestra and their Boston-bound conductor Andris Nelsons have a happy history of presenting opera in concert performance, and Sunday’s Der Rosenkavalier was nothing short of superb. Glorious singing and informed characterisations infused with wickedly witty humour and passionate sensitivity, made for one of the most entertaining Strauss performances I have seen.

Soile Isokoski © Intermusica

Soile Isokoski
© Intermusica

 

Beneath the sumptuous orchestral scoring and masterly vocal writing, Der Rosenkavalier is easily Strauss and Hofmannsthal’s most enduring comic masterpiece. Effectively a comedy of manners awash with genuine romantic sentiment, the plot hangs on the problematic relationships surrounding the four principal characters ranging from the neurotic, aristocratic and adulterous Marschallin, to her cousin, the self-important and obnoxious Baron Ochs, her teenage lover, the boisterous and fickle Octavian, and the pure, sensitive Sophie.

As Hofmannsthal’s poised but melancholy Marschallin, whose misplaced romantic fantasies are untidily hidden behind the bed – it’s all well and good giving her glorious tune to sing, but when it’s time to face the music she is engaging in an emotional relationship with a teenage boy about a third of her age – Finnish superstar Soile Isokoski was the image of respect commanding regal deportment. Always elegant in her Marschallin’s anxiety, annoyance or happiness, Isokoski sang with a clear, focused tone that ultimately failed to secure her Octavian, but won over every man and woman in the concert hall instead. In action, Isokoski was extremely economical and all unnecessary pacing about was eliminated, while useful visual gestures were restrained to the point of being nothing less or more than noble.

The 17-year old Count Octavian was magnificently portrayed by Alice Coote. A gifted actress, Coote filled the hall with full blooded, boisterous comedy and perfect diction as well as remarkable sensitivity. Her familiar rich, warm tone and sheer vocal force displayed some of her best singing across the board from hilarious caricature in her ‘Mariandel’, to poignant sensitivity in duets with the Marschallin or Sophie, and amusing confrontational scenes with the Baron. Sophie Bevan’s young, inexperienced but soon to be enlightened Sophie von Faninal was restricted to a purely ‘vocal performance’ in that she was working from the copy which, even in a concert performance could have achieved more dramatically, but the singing was excellent and Bevan, who gets the highest role of the opera, was phenomenally clear in passages of extended quick-fire diction or soaring melody – I would love to see her act the part on stage.”      …

*****

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Review by Christopher Morley, Birmingham Post:

Click here for full review

…     “Andris Nelsons, as adept in the opera-house as on the concert-platform, drew from his devoted players an account of eloquence and flexibility which did full justice to all the colours and phrasing of Strauss’ miraculous score. Concertmaster Laurence Jackson deserves huge credit, not only for his solo contributions, but also for his marshalling of this huge orchestra; from chamber-music (with the Maggini Quartet) to one of the most febrile scores in opera, Jackson has made a huge journey, and has triumphed every step of the way.

The contributions from Simon Halsey’s CBSO Chorus and Julian Wilkins’ CBSO Youth Chorus were vibrant and effective (the kids especially charming as they bustled around), but best of all was the wonderful team of soloists, from the motley crew of waiters and supernumeraries right up to the stellar principals.

And heading these was Soile Isokoski as the Marschallin, heartbreakingly dignified as she renounced her young lover Octavian to a girl much younger than herself. Isokoski phrased so creamily, and Alice Coote, her Octavian, employed such brilliant body-language as she moved from breeches-part to servant-girl, and back to bearer of the silver rose.”     …

*****

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Blog post by JV, WritingWillChangeYourLife:

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…     “Anyway, musically, it was a superb version. Orchestrally was beyond reproach, with a hall with a great, clean but also a bit resonant, acoustic. [sic] Nelsons did a version quite standard in the choice of tempi, that sounded just right.
Soile Isokoski was the Marschallin, a role who has sang many times [sic](has she recorded it? I’m not aware). Maybe she is a bit old for the role now. Her voice is not a particularly sensuous one, not either a big one (which was a bit of a problem next to the very big voiced Alice Coote, the Octavian). Having said that, she was amazing. Utterly amazing. Rosenkavalier, for me, is a great opera because of its sublimity. [sic] She provided the sublime element. Is there many characters more fully rounded in the history of opera? I cannot think of many, and all the others are from German language operas.
All the other singers were great. I loved Alice Coote, who was fully convincing both vocally and as an actress. Sophie Bevan was a Sophie acted with the score carried around, who stressed in the way she concieved the charcter the awkwardness and childishness in it. There are other ways to do it, but hers was perfectly convicing. [sic]Franz Hawlata was a good actor who improvised, moved around and gave us a fully convincing, even likeable, Ochs, with a voice that without being very big had a nice, rounded sound. Even the Italian tenor, Ji-Min Park, someone I never heard before, was perfect for the role.”     …   [all sic]

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Review by Roderic Dunnett, MusicWeb, SeenandHeard:

Click here for full review

…      “A special cause for admiration was the quality among the lesser members of the cast. As Faninal’s major-domo the young tenor, Ted Schmitz made a tangibly beautiful, strikingly focused sound. Four likely lads – Nicholas Ashby, Paul Curievici, Edward Harrisson and Joseph Kennedy – made a glorious ensemble job of footmen and general factota – Strauss gives them plenty to do. To have singers of the quality of Bonaventura Bottone and Pamela Helen Stephen – who is a character actress to be reckoned with, just as Bottone proffers glorious tenor coloratura – as the intriguing duo provided riches indeed.

Soprano Elaine McKrill made a nice, bossy job of Sophie’s Duenna/chaperone. That was no surprise: she has sung Isolde and Brünnhilde with some of the top conductors in Europe, and was part of both Simon Rattle’s Berlin Philharmonic and Antonio Pappano’s Royal Opera Ring cast.

Simon Halsey’s richly prepared CBSO Chorus had less to do than usual, but came up with all the goods – vital and attentive – as they invariably do; and the CBSO Youth Chorus had fun scaring Hawlata’s creepy Ochs witless with their sneery ‘yahs’ and ‘tee-hee’s’. Indeed, the orchestral flair and rhythmic finesse Nelsons drew forth in the ‘witching scene’ was one of the most perfectly devised moments of the evening. It all made for rich comedy alongside the exquisite beauty and poignancy of the main story.

Of course, it was the great final trio of Act 3 we were all waiting for, and as with everything else about this reading, Nelsons – who can occasionally overegg the pudding – did not disappoint. Resting mostly on a chair to conduct, with oddly relaxing consequences that benefited all, he conjured up timings that seemed perfect, time and again; he made wise decisions about when to ground the baton altogether and focus on his expressive left hand; and his balances were such that sections of orchestra never vied with each other to the detriment of the opera’s glorious dénouement. That was in the hands of, first, Soile Isokoski, perhaps an unlikely teen-tickler but utterly lovely in her expression of the conclusion’s honourable resignation: the epitome of noblesse oblige, by which the Marschallin yields up Octavian to Sophie and youth at last has its way.”     …

 

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Review by Anna Picard, Times: £££

Click here for full review

 

 

 

Belshazzar’s Feast

  • Thumbnail     Raise the Roof

Saturday 26 April 2014 at 7.00pm

Symphony Hall, Birmingham +44 (0)121 345 0600

City of Birmingham Symphony Orchestra 

John Storgårds  conductor
Mark Stone  bass
William Gardner  treble
CBSO Chorus
CBSO Youth Chorus  

Holst: The Hymn of Jesus 23′
Bernstein: Chichester Psalms 19′
Walton: Belshazzar’s Feast 34′

1931: William Walton takes a huge choir and a massive symphony orchestra, adds a couple of brass bands – and blows English music sky-high. Big, brassy and shamelessly savage, Belshazzar’s Feast caused outrage back then, and it still knocks you backwards today! It’s a stunning showcase for the CBSO’s famous choruses; and John Storgårds gets things buzzing with two joyous choral classics by the composers behind West Side Story and The Planets. We think you’ll love them.

If you like this concert, you might also like:
Der Rosenkavalier, Saturday 24th May
Mozart’s C Minor Mass, Thursday 26th June
Bluebeard’s Castle, Wednesday 2nd July

http://www.cbso.co.uk

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Review by Diane Parkes, BehindTheArras:

Click here for full review

…     “Mark Stone sang the baritone role here, perfectly complementing the chorus and occasionally slowing down the action for a moment of reflection.

By its rousing Alleluias at the finale, there was no doubt that the chorus was thoroughly enjoying tackling the piece, which is not the easiest to carry off well.

There was also plenty of life in Bernstein’s Chichester Psalms. Ever the showman, Bernstein may have taken the words from the Biblical Psalms but at times the pieces sound more akin to a music hall show than a church.

The Lord is My Shepherd has plenty of moments of calm and was beautifully sung by Trinity Boys Choir member William Gardner. But Bernstein quickly introduces a riot of percussion so we can almost imagine the chorus taking to the stage to dance in a West Side Story like showstopper. It was also a great opportunity for the CBSO to get to grips with lots of fun and exuberant music.”     …

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Review by Roderic Dunnett, MusicWeb, SeenandHeard:

Click here for full review

…     “When we get to Sitwell’s hymnic bit (‘God of Gold…God of Wood…God of Brass) – slightly improbable, but huge fun – we are saturated by a kind of corrupt Benedicite. Alto saxophone, bass clarinet, and contrabassoon get their look in; James Burke’s clarinet positively screeched with impropriety. Percussion snaps and blips, and clops from wood blocks, abound. A riot of (as the notes put it) ‘onomatopoeic’ colour. No wonder the Lord (Jahweh – on our side) took a dim view of it all.

The resplendent additional brass (Beecham’s idea: here two septets, I believe, arrayed along both sides, high up) that toasts Belshazzar’s bluffing celebrates God’s inevitable triumph. Weighed in the balance, the oriental despot meets his  sticky end (double basses, low woodwind, flibbertigibbet flutes and piccolo see him off with an almost Bartókian atonal savagery – shades of Bluebeard.)The full-blooded chorus remained splendid thereafter, though Walton doesn’t: the penultimate (or middle of ultimate) section sounds like the thinnest of note-spinning. Yet at ‘Then trumpeters and pipers are silent, and the harpers have ceased to harp…’ he redeems himself, writing for them an alluring sequence like some succulent church anthem by Leighton or Hewitt-Jones – or Walton himself (The Twelve).

The most relishable, perhaps thrilling achievement of Storgårds’ conducting of the Walton came at the culmination, where in the final build up or recap he has to maintain a firm four in a bar while the bravado chorus sings effectively in three. The result produces excitement of almost fugal intensity, without being remotely banal. As the composer pops in a few whole tone scales to underline their whooping, he must have been feeling pleased with himself; for we are treated to a distinct burst – a sneak preview – of his First Symphony (which he was poised to embark on). Either he thought it a jolly good idea, and reused it, or his symphonic notepad jottings were already getting crammed.”

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Review by Christopher Morley, Birmingham Post:

Click here for full review

“It’s many, many years since it has been my privilege to hear a concert as joyous as this one: three works, all with a religious impulse, and each approached from a different direction.

Full marks all round, but primarily to Simon Halsey’s remarkable CBSO Chorus celebrating 40 years of existence, and delivering Gnostic mysticism, Old Testament blood and guts, and Hebrew fervour (in the original language).     […]

[…] Storgards drew a thrilling reading from all these forces, chorus projecting with their customary clarity of diction, orchestra taut and rhythmic, and baritone soloist Mark Stone the most authoritative I have ever heard him. For technical nerds such as me, his maintenance of pitch in the lengthy unaccompanied passages was exemplary. This was an exhilarating performance.”

*****