Surveying British chamber and instrumental music written between the 1890s and WWII, the Nash Ensemble’s Wigmore Hall residency series, Dreamers of Dreams, has illuminated the creativity and originality of British musical life during this period, revealing the shared and the idiosyncratic preoccupations of composers; the intertwined biographies of musicians; the influence of key individual performers on repertoire, style and idiom; the dialogue between old and new; and the prevailing shadows of war and irreversible change.
The Nash Ensemble’s series at the Wigmore Hall, “Dreamer of Dreams” continued its survey of British music in the first half of the 20th century with an intriguing programme. Many underlying themes, and thoughtful juxtapositions.
The ghost of Peter Pears may no longer hover in the wings, but in an age when ‘defining’ interpretations by the likes of Jon Vickers and Philip Langridge still linger powerfully in collective audience memories, Stuart Skelton’s interpretation of Crabbe’s problematic fisherman is assuming a striking individuality and impact.
Although John Cage’s Seven Haiku for piano are all about chance and accident, this final concert in Ian Bostridge’s Ancient and Modern series was a masterpiece of meticulous planning and execution.
“Opera is an emotional fitness centre”, says Kasper Holten, new Director of Opera, announcing the Royal Opera House 2012-13 season which mixes daring with prudence.
There were high hopes for the 2012 debut production of A Midummer Night’s Dream by the Guildhall School of Music and Drama’s Opera programme .
Garsington Opera is moving to Wormsley Park. in 2011, but it marked its last production at Garsington Manor with a glorious coda, that augurs well for the future. As a friend remarked “We’ll be talking about this for years to come”.
Star born through stutter? It’s immediately obvious that Jacques Imbrailo’s
Billy Budd at Glyndebourne is an extraordinary portrayal. His stammer is more expressive than speech.