Lunchtime Series- Amy Harman and Tom Poster, November 2nd 2017

There are some concerts which are particularly difficult to write about. On the one hand the listener has found little that pleases and yet is rather loth to rubbish the artists’ best efforts particularly since he/she might be simply suffering from a mild attack of dyspepsia. Anyone reading music critics know how often that can appear to be the case. On the other hand, one can be faced with a recital so fine that the enthusiastic adjectives flow in such quantity as to suggest that all critical faculties were in shut down during the concert.

Such a concert was the one given in the Lunchtime Series by Amy Harman, Bassoonist and Tom Poster, Pianist. One came out thinking that one had rarely had a musical lunch hour of such enchantment. To begin with, it was presented by the bassoonist in a finely droll and relaxed  manner so it was like having been dropped into a room where two friends were playing for their pleasure, as well as yours. Secondly, the bassoon was again revealed as a solo instrument capable of great beauty and range. Is there anything wittier in the orchestral palette?  Lastly, the programme itself introduced one to music that one suspects doesn’t get much of an outing.

Now, that can be a recipe for being invited to listen to that which is irredeemably second rate, or worse, where one can see only too clearly why it is rarely played. As questionable is that which is better known but needs transcribing to fit the instruments being played. Whilst that no doubt gives pleasure to the players, for the listener it can sometimes do little more than draw attention to the superiority of the original.

This duo, however,  triumphed on both counts. There was a transcription of a Mozart piece which was clearly based on what was almost certainly close to the composer’s intention,  and thoroughly delightful it was, full of characteristic wit so fitting to the bassoon’s capacity to burble. In prospect  more contentious was the transcription of three songs by Clara Schumann. Now perhaps it helped that I did not know the originals but with the badinage of the performers as to who had the best German, we were introduced into the world of romantic lieder and the voice of the bassoon did the rest. What a wonderfully creamy sound this artist can create and I was quite ready at the end to agree with her that the instrument is perhaps closest to replicating the human voice.

Elsewhere it was full steam ahead with quintessentially graceful, lyrical  and witty French music written for Bassoon and Piano. Saint-Saens’ music  is gradually clawing itself back into the basic repertoire and his late Sonata shows why. It was full of wit but also lyrical in an entirely unforced manner. He may have been a conservative of his time but at his best he certainly had a voice which was entirely his own. The 20c composer Dutilleux likewise ploughed a very distinct furrow with a much smaller output in a long life. Sarabande et Cortege , though written as a test piece, had all the characteristics of an artist of super refinement. Ravel, Poulenc and Debussy all came to mind at times. It was in passages where the last named was uppermost that one was able to relish Tom Poster’s  exquisite touch.

Nothing more to say, unqualified rapture!  Come back again soon.


The Philharmonia- Esther Yoo, Karl-Heinz Steffens. November 1st 2017

This concert represented the second appearance in Leicester of soloist and conductor. The young and highly rated violinist Esther Yoo was featured a few years ago playing a Mozart Concerto in a concert with Lorin Maazel . The conductor Karl-Heinz Steffens was here only last year, featuring a concert in the cycle of Brahms Symphonies which he has been doing recently with the orchestra. Then he conducted the Third Symphony. This time he gave us No.4. But more of that in a moment.

Firstly, I was wondering what would be my reaction to hearing the soloist for the second time in the DMH. I recall that I found her debut rather underwhelmimg and put it down to two factors. Mozart’s Violin Concertos in their apparent simplicity are not easy to bring off and at the time it did not seem that she had got much beyond the notes. Things were not helped by the conductor providing a super efficient accompaniment of little character. So, I was intrigued this time round as to whether that old warhorse, the Tchaikovsky concerto, would fare better.

Well, the answer was, yes and no. To begin with I had to get rid of my irritation at the umpteenth appearance of this concerto in the history of the residency, when there are so many fine violin concertos which rarely feature. However, I slapped that one on the head since the previous month we had been given the rarely played Dvorak concerto. Also one must recognise that there will be a number at any performance of the work who have never heard it live before. There were indeed a gratifying number in the audience on this occasion whose hair was not grey and they heard a performance which merited attention. Esther Yoo has a fine technique. The fast passage work often sparkled. The tone of her Stradivarius was lovely to listen to and she phrased the music sometimes to beguiling effect. This was not a barnstorming interpretation and parts of the work benefitted from that. One was reminded that the Tchaikovsky of the ballet music is never really far away in other forms.

However, the fact remains that it is one of the central romantic concertos for good reason. It requires heft and where I was sitting, halfway up the hall, the performance at times did not really deliver. Occasionally, it sounded more like Mendelssohn. Then, I remembered  that  a few months ago a music magazine reported on an experiment in which violins of various progeny,  modern and old, were played behind a screen and the listeners asked to say which they preferred.  Astonishingly, it was the modern instruments which were largely given the thumbs up, not the ancient Italian ones. In this case two friends I spoke with in the interval and who sit almost under the rostrum and hence were close to the soloist were more excited than I was by the playing.  Such are the vagaries of concert halls and instruments.

There was for me, though, another problem which persists with this concerto and that is how to make the music cohere and not sound stitched together. Here some of the phrasing almost brought the thing to a halt and one became only too aware of the string being used. So, I am afraid I have yet to be wholly convinced by this artist.

The same is certainly not true of the conductor.   Firstly, though, how good it was to hear a crackingly fine overture, Beethoven’s Egmont , starting a concert. Once such a start was a given. Alas, no longer, and as a friend has said to me, some of the finest music in the repertoire is as a result no longer heard live. This performance laid down more or less what kind of music making we were going to hear from Karl-Heinz Steffens . It was going to be in the Mid European tradition of weighty sound ,scrupulous phrasing , rich string playing and rather slow speeds. Perhaps in the overture there was something of a rather stately opening. However, as noted last year, this conductor keeps his powder dry and hence by contrast the swift tempo of the wonderful peroration made for as exciting a climax to the overture as I can remember. This was truly an emergence into light.

Again as I noted last year, i was surprised how much I enjoyed the way Steffens plays Brahms. In recent years the composer has been given a spring clean by a number of conductors, swifter speeds, less lingering over gorgeous string sound, greater clarity of texture, all of it an attempt to  avoid what they see as the appallingly comfortable and self satisfied air of more traditional performances. This bracing approach can do wonders for the composer and yet occasionally along comes an interpreter of the old school who reveals that there is a beauty in the music sometimes lost in this way  of doing things.

Steffen’s speeds were often on the slow side but such was the shaping and the care in keeping the textures clear in the inner parts that the beauty and originality of Brahms’ symphonic thinking  was finely conveyed. Not that slow speeds were absolutely the norm . In the third movement  the performance here was absolutely true to the composer’s intention of sweeping all before him . The triangle was splendid!  Then, in the extraordinary final movement no attempt at its beginning was made to gloss over the almost blunt, bluff way in which the building blocks are presented. However, yet again this conveyed an integrity which was absolutely absorbing and again had the result of making the final pages of the work overwhelmingly thrilling. The last piece of the jig saw was wonderfully put into place. Finally, it is worth saying that this kind of interpretation is very dependent on having a great orchestra on hand. The clarity but also the richness of the Philharmonia’s sound on the night was astounding, even by their standards.

Lunchtime Series- Brodsky Quartet .October 19th 2017

I missed the previous visit of the world famous Brodsky Quartet to the Lunchtime Series. That was when the Series was in exile at Holy Trinity so I looked forward with keen anticipation to hearing them in the Museum and, for the first time as far as I was concerned, in the flesh.

It was an anticipation that proved to be amply justified. Over 45 years the quartet has built a reputation for having an enormous repertoire and being prepared to build innovative programmes. In this instance the audience was given an early Shostakovich Quartet ,No.4, and Mendelssohn’s rarely played Fugue for string quartet,  Op.81 No.4.  The concert ended with Beethoven’s Grosse Fuge as a stand alone piece and not as the final movement of Quartet Op.130.

The Shostakovich Quartets has been for years one of the central calling cards of this Quartet. They have recorded two complete sets, the second one as recently as 2016. As regards the quartet which they played here , as was the case when the Carducci in the summer performed No. 2 , I cannot say that I remembered anything of the music even though I own a complete  recording of the canon. However, suffice it to say, like last summer, the experience was riveting. There is most obviously unforgettably searing pain at the centre of this music, which the Brodsky delivered at the several climaxes in the work with unforgettable power. Perhaps because three of them play standing up, the sound in this intimate space was at times more of a magnitude of a small orchestra than a quartet. In these circumstances one had to wonder how on earth the Soviet authorities could possibly have missed the composer’s raw anger and despair at the world he was forced to live in.

Perhaps the answer lay in another aspect of this performance in that it also found the many moments of poignancy and beauty in the music, particularly in the slow movement and most unforgettably in the final movement with its embracing of the world of Jewish music. With this music’s sense at times of deeply sad mourning  and conversely  the moments when for instance on one occasion the viola player not only played but seemed to  dance like some fiddler on the roof,  it brought  vividly to one’s imagination the horror of the Holocaust and the attempted complete destruction of a  vibrant musical culture.

Whether it was intended or not, the following of that with a piece by Mendelssohn, whose music the Nazis also attempted to extirpate from the Reich, reinforced such lines of thought, particularly since the work clearly paid homage to Bach with writing so characteristic of the composer’s capacity to create music of a unique grace. Such grace permeated the playing. This was a real find.

Then we were pitched without pause directly and dramatically into the Grosse Fuge. The contrast could have hardly been greater, from a composer who for the most part was content to work within the classic norms to one who, as the first violin of the Quartet reminded the audience, so stretched those norms at the end of his life as to be thought by some as ripe for the asylum. Nowhere was that more the case than in this work, about which even Beethoven himself had second thoughts as the final movement of a quartet. As a youth I heard it done for string orchestra under Klemperer (very dim memories of that ) and since then once or twice as the finale of Op. 130. I think this was the first time I have heard it detached and certainly when juxtaposed with another piece of music as here.

Was the juxtaposition successful? Well, for me only partly. Certainly it was a dramatic contrast in a performance that was spectacularly propulsive, coupled, as in the Shostakovich, with a weight of sound that did indeed haul up those dim memories of Klemperer. However, perhaps partly because of the contrasts with Mendelssohn/Bach, that so finely wrought and so lovely , perhaps partly because the impact of the Shostakovich was still with me, I have to admit that I found what I remembered as an extraordinary quarter of an hour’s music becoming ever so slightly wearisome with its emphatic repetition and in this case rather narrow dynamic range. What came over to me at times was music that indeed bordered on the manically obsessive particularly as the fugue careered on. At other times, so fragmentary did the music seem that I struggled to make out where it was going. So, I left not knowing quite what to make of the way things had finished. It did not, however, in anyway erase the many revelations that had preceded it in what overall was a very fine concert indeed.


Footnote: On reaching home I did what I rarely do, and sat down to listen to a CD performance of a work I had just heard live, in this case the Grosse Fuge. I rarely do this because I think it very questionable to compare the live with the recorded. However, all that can be said is that in this instance the work seemed on a second hearing and in this particular performance to have a wider dynamic range and a more varied mood than the one just heard live, all of which contributed to my making better sense of it.



The Lord Mayor’s Concert October 7th 2017- The Philharmonia Orchestra- Hilary Hahn and Jacob Hrusa

Long, long ago, in 1952 when the Royal Festival Hall had just been opened, Toscanini came to London to give with the Philharmonia what turned out to be his last concerts in England. Predictably this was a such a welcome event in post war austerity Britain that the queue for tickets stretched right round the hall. Now, my father, unlike my mother, was not very musical and, nonplussed by finding he had a son who, as well as being a promising cricketer, was becoming dangerously  enthusiastic about classical music , not unkindly suggested that it was nonsense to think that one person standing in front of an orchestra could make much difference to an orchestra who could play the notes. Well, of course his superior adolescent son thought that this was just the sort of thing fathers would say and, in an age that worshipped  musical dictators, laughed at such heresy.

In our age in some ways I now have sympathy with my Dad’s view. I have come to detest the cult of the maestro which still persists in some parts of the globe on some occasions and thankfully most conductors now approach their job in a more collegiate fashion. This is a welcome change, though of course it is not entirely new. The great Sir Thomas Beecham, who actually thought himself as very much a leader, I remember saying on television that young conductors should remember that ‘the gentlemen(sic) of the orchestra know far more about music than they do’ and his credo was to get the best musicians together and, as he put it with tongue in cheek, to let them play. Indeed, you only have to listen to his discs to hear the unique music making that resulted.

These thoughts came about as a result of the Philharmonia’s opening concert of the 2017/ 2018 season at DMH. In it the famous American violinist Hilary Hahn made her debut in the city and the Czech conductor Jacob Hrusa made a very welcome return, but this time in his new role as one of the two Principal Guest Conductors of the orchestra. The concert of Czech music exuded the joy the soloist ,the conductor and the 80 or so musicians of the orchestra were experiencing at making music together.The conductor had said in the pre-concert talk that he in no way saw himself as someone who dictates. Whatever, the overall result in the first item in the programme ,the Dvorak Violin Concerto, was unalloyed pleasure. The work may not quite see the best of the composer , the first movement never seems to know quite where it is going, but once one reached the enchantment of the bridge into the second movement Dvorak’s melodic genius took over. Here Hahn spun a delectable web of sound. Following that, she and the conductor made sure that the final movement danced its way to an irresistible conclusion. The violinist’s unerring sense of phrasing and line, together with the gorgeous sound she produced, amply justified her reputation as one at the very finest violinists of the present time and as an artist determined to expand the repertoire of concertos beyond endless repetition of a few war-horses. (See next month’s concerto choice!)

However , for all that, particularly in a programme which featured the very rare opportunity to hear all six tone poems which go to make up Smetana’s Ma Vlast , one was also reminded , whatever the methods employed, of  the very significant difference the conductor can make to the way one hears a piece of music, especially when it requires  special advocacy. It is then that most obviously a great conductor is revealed. Two years ago, having heard Jacob Hrusa in Leicester in a truly memorable performance of Mahler’s Third Symphony and later in the same year his unforgettable  conducting  of the Glyndebourne production of Britten’s Midsummer Night’s Dream ,I thought him just that. This interpretation of the Smetana from the first note was not ever likely to bring a change to that view.

In fact, it seemed hardly an interpretation. It was as if one had been waiting all one’s life to hear Smetana’s music as it should be done. Years ago at DMH there was a performance by the Philharmonia with an American Conductor of at least four of the tone poems and I, together with a number of friends, thought that indeed Vltava was on that evidence the only one really to justify a place in the general repertoire. Yet here from the very beginning in Vysehhrad (The High Castle)  the marvellously rich brass sounds brought the world of chivalry vibrantly to life with a splendour that was at times overwhelming. One mentions the brass but in truth the orchestra as a whole was on the kind of form not to be surpassed I suspect by any orchestra on the planet.

In Vltava the scene painting at times was astonishing. I had noted in that Mahler performance this conductor’s capacity to get a string tone that was infinitely various. So, in this well known piece one heard the famous tune delivered with a bright joyousness and lift, quite different to it being laid on thickly by a trowel. Then in the passage depicting the water nymphs the sound changed to a thin thread of sparkling silver so that the scene was enchanting beyond words. If one was looking for heft, then one got it in the depiction of the Rapids which was a veritable tsunami of sound.

In Sarka, a tale worthy of the Bacchae in its depiction of a male bloodbath , the way the drama was ratcheted up to the dreadful conclusion was a textbook example of how to keep your powder dry until the moment arrives. Then in From Bohemia’s Woods and Fields the return to Czech folk scenery and dance reminded one of how in this music so many conductors use over- emphatic rubato. Here often the minutest expressiveness of phrasing was enough to make the music sail and sound utterly natural and utterly Czech.

And one could go on and on voicing admiration for such music making. However, perhaps in the end a slight reality check is in order, and this has nothing to do with the performance. When it came to the last two tone poems, written some time after the first four, was it weariness in this listener after well over an hour’s music or did one suspect that Smetana’s inspiration was here of a lower order? However hard one tried  to keep oneself attentive, the constant re-iteration in Tabor of the Hussite hymn became at each re-appearance ever  less compelling, so much so that I have to admit that I missed the moment it finished and the last tone poem Blanik began!

So, in the end, despite the inspiring conducting and the inspired playing, I remain unconvinced that Ma Vlast as a whole is quite the masterpiece I thought I was indeed discovering during the first four tone poems. However, those on their own were quite enough to rate this concert as a revelatory experience which will stick in the mind for a long time.


Forthcoming Concert


Philharmonia DMH November 1st 7.30.

The return of the German conductor Karl Heinz Steffens, who gave a fine performance of Brahms’ 3rd Symphony last year. This time he conducts No4.  Also Esther Yoo plays the Tchaikovsky Violin Concerto.


Lunchtime Series Museum November 2nd 1.00

Amy Harman Bassoon and Tom Poster Piano in what looks to be a fascinating hour’s music.



Craig Ogden -Lunchtime Series, 5th October 2017

The guitarist Craig Ogden has been quite a frequent visitor to the city. This year it fell to him to give the first concert of the 2017/2018 Lunchtime Series. He attracted a sell out audience and one was swiftly reminded why. He is a great performer in every sense. He makes a point of talking to his audience so that his concerts, particularly in the surroundings of the Museum Gallery, have an atmosphere peculiarly suited to the guitar, that of an intimate almost impromptu hour of music with friends.

Of course, it helps that he has a good line in wit, not exactly unknown in his fellow Aussies. I have heard on several occasions his remarks about the guitar as an instrument but each time in its variations of the moment it comes across as the player’s unrehearsed, spontaneous thoughts. He is rather like a magician who dares his audience to believe that something apparently impossible is about to be accomplished, in this case actually managing to play anything successfully on what is apparently an impossibly difficult instrument. Hence, when he conjures up the most extraordinary range of sounds from such a supposedly intractable piece of wood, the audience is very likely to find it a thing of wonder and magic.

And there were in truth many magical moments in the hour. In Bach’s first Lute Suite, there was firstly a quite wonderful buoyancy in the playing of the quicker movements. Here the various strands of the score came over with exquisite clarity and the ear was never confused. Even more to the point my ear heard any number of delightfully contrasting colours, not in itself something that is always to be found in Bach performances.  Stern piety is sometimes what comes across but not here. The music was fleet footed and really danced. Yet also in the slower more solemn movements the stateliness achieved was so graceful. Perhaps such an effect was the result of something that the artist had alluded to in regard to the sound of the instrument’s bass strings. Here their resonance was memorable.

In the arrangements of two Beatles’ song that followed was revealed the song like capacities of the instrument. There were some particularly beautiful sounds in Goren Sollscher’s arrangement of Here Comes the Sun. However, perhaps unsurprisingly it was in the  three Spanish Pieces, Andaluza by Granados and Torre Bermeja and Sevilla by Albeniz, that the guitar’s capacity to make you hear the unique timbre of such things  as the Spanish mezzo voice was most memorably realised, not to mention its ability to convey the rhythmic vitality of the Spanish dance as well.

Perhaps, it was because it was sandwiched between these extraordinarily atmospheric pieces that  Giuliani’s Grande Ouverture from the turn of the 18c and 19c seemed to this listener to have more virtuosity than substance. The programme associated him with such composers of the time as Hummel, Moschelles and Beethoven. Enough to say the piece certainly recalled the first two.

The delight of this concert was summed up by the way it ended. The performer remarked that he was mindful of the clock and had been told he must finish on the stroke of two. Therefore because he was determined to play a very special encore he said he would not go through the usual procedure of walking off and back on the stage, only in response to riotous applause for him to produce a little more music. In this instance he would nod twice to the applause whilst sitting and then play the encore. This turned out to be a delightful piece by Yvonne Bloor, a well known player and teacher of the classical guitar who lives in Leicester. It was such a graceful way in which to finish a concert and was duly rewarded with riotous applause. It was a concert which sets the bar high for the new season.



Forthcoming Events


In a fortnight’s time on 19th.October The Brodsky Quartet come to the Museum in the second concert.  Sadly, I shall be on holiday. Bad timing!

The Leicester International Music Festival September 21st-23rd

After the musical desert that is largely Leicester during the summer months, how wonderful it is to return in September to the International Festival. Except that for a thirsty and famished soul who staggers into an oasis and is looking for sustenance, perhaps ideally it is better to start with water and the odd date rather than a box of the most wonderful chocolates.

The result was that I was minded to recall in a very different context the young Queen Victoria’s writing to Lord Melbourne her prime minister and telling him that she had found her wedding night ‘most gratifying and bewildering ‘. In truth this diarist found himself not a little bewildered at times in the five concerts, finding time and again that some opinion was formed only for, in a piece that followed, that firm reaction to be brought into question. Of course, that is what a festival ought to be about. It cannot be said enough times that there is no point to such an event if it does not play a proportion of music in different, sometimes surprising formats and  feature at least some works that are rarely heard.

However, it does make for difficulty in writing coherently about such a mixture , particularly when the senses have been bombarded by over 20 works. The problem was made more difficult by the juxtaposition of two great composers about whose music I have differing personal  preferences. I have always relished much of Schumann’s music.  Conversely my reaction to Bach’s immense oeuvre has been a good deal more equivocal and I certainly do not go misty eyed whenever his name is mentioned.

So, one should not perhaps attempt a birdseye view of the Festival at this moment. Better and more honest might be to write from the immediate impressions noted during each concert  and then see whether anything  worthwhile remains to be written.


Thursday Event 1

The show got on a road with a splendid performance of Reger’s transcription for Piano duet of Bach’s Brandenburg No. 3. Charles Owen and Katya Apekishiva have in recent years built a formidable reputation as a duo in four handed transcriptions and at the Festival one remembers Stravinsky’s, and last year, Holst ‘s orchestral scores being realised to startling effect  on the piano. Reger’s transcription, written for playing no doubt in the home when the original was unlikely to be heard much in performance, perhaps not surprisingly did not deliver quite such a clout. Despite the rhythmic elan of the playing and some delightful phrasing, the piano could only partially give the crucial lift and sense of spatial interplay to be had from the original string ensemble.

In Schumann’s Marchenbilder there was just a slight sense of artists feeling their way. The balance between piano and violist was not ideal in places. However, what was really noteworthy here was the introduction of the American Violist Richard O’Neill to an ensemble otherwise comprised of old friends . It was soon obvious that the ensemble had acquired another rare talent. His rich husky tone in the emotion of the last movement was truly memorable.

And then things fully came together in the Piano trio Op 80, in which violinist Giovanni Guzzo and Guy Johnston joined the concert’s pianist throughout, Katya Apekishiva, in a sparkling performance, full of drive and at times of impish humour in outer movements and lilting grace in the third movement. A lovely work.





Thursday Event 2

The evening concert began with Bach’s Partita for solo violin No.3.played with great panache. The variety of shading and vibrant depth of tone was memorable indeed from Guzzo.  Following it came one of my favourites, Schumann’s Five Pieces in Folk Style for cello and piano, played by Johnston  and Owen, a piece full of memorable melody and very much asserting that depth can lie in simplicity. Much like a troubadour wandering into the Museum, the Festival’s Music Director Nicholas Daniel took over two of the pieces from the cello, to particularly fine effect in the second movement’s lovely melody.

The whole made something of a contrast with the Violin Sonata No.3 that followed, thought to have been lost for a century. This marked the welcome return of Marina Chiche, here in tandem with Owen. They made a passionate case for the Sonata but on a first hearing the jury remained out. It had occurred to me at times in the past that, when this composer was not at full throttle, in the search for dramatic and onward movement he could fall into huff and puff with much repetition and short winded gesture. The short lyrical intermezzo in contrast came across as a jewel amongst much that seemed paste.

After the interval there was another curiosity, Bach’s Cello Suite transcribed for viola. Now, it requires in the original a very fine performance of these suites to engage my attention fully so it was intriguing to find that O’Neill’s viola had me hooked. Was it perhaps because the instrument and the peerless playing made the dance basis of the music seem so much less effortful than on a cello? It was certainly extraordinary when with stamping foot the artist almost evoked the world of gypsy music. Certainly I had never before seen any connection to flamenco in Bach’s music. Extraordinary!

As was the performance of the Schumann’s third Piano Trio. Chiche, the indefatigable lone cellist of the ensemble Johnston and Owen seemed to find endless beauties and shifts of mood in this work. Again I was struck by the stream of memorable lyricism in Schumann’s best music but also the players brought out the humour and the occasional moments of weird almost other worldliness, which reminded one perhaps of where Elgar got some of his inspiration in his late chamber works.


Friday Event 3

This morning concert was a total delight. It started with Owen playing Bach’s Chromatic Fantasy and Fugue. Enough to say that for once I was utterly caught by the composer’s inventiveness, particularly in playing of this quality.

After that were featured works within the group entitled Fantasiestucke, published at various times in Schumann’s life and seeming to bring out the essence of his genius. Of course, some would have them as essentially episodic and therefore slight when set against more complex musical forms. Thankfully such academic snobbery when it comes to the Piano Trio Op 88 and Op .73 for  piano and clarinet, here transcribed for oboe and played with liquid  beauty by Nicholas Daniel, does not seem to bother most concertgoers, particularly when the music is so diverse as it is in these pieces.  Katya Apekisheva underlined all this in her fine performance of four pieces from Op12 for  Piano. Here her dynamic range was immense as she sought out the variety in the music. Particularly memorable was her pearl -like tone in the quieter moments of the pieces . Once or twice the pianissimos were breathtakingly soft.





Friday Event 4

The prospect of another Reger transcription of a Bach work did not particularly enthuse.  It should have because in the event  it was an astonishing realisation for piano duet of the organ work Passacaglia in C minor, despite effects that no doubt would enrage those concerned by authenticity. True it seemed almost like Mussorgsky; the piano sounded for all the world like pealing bells on occasions. However, the grandeur in this tremendous performance was absolutely authentic.

It was followed by a performance of the cello suite No.4 which failed to take fire. I felt it was the one doubtful piece of programming in the Festival. It really must  have been truly daunting for Guy Johnston, the sole cellist in the ensemble,  indefatigable artist though he is, to find himself two thirds of the way up an exhausting climb and then faced by the North Wall of the Eiger.

I feared he was running out of oxygen but from some hidden reserves he found his fourth breath before the interval to take part in a performance of Schumann’s delightful 6 Studies in Canonic Form (What a dreadful title!)  in which the oboe in an adaptation for this concert brought into sharp relief such things as the humour and folk basis of the music.

In the interval oxygen was clearly administered to the cellist for miraculously he returned apparently refreshed to take part in an extraordinary performance of the Piano Quintet. But more of that later.


Saturday Event 5

And so to the last concert, which was a fitting end to such magnificent music making . It did not start especially well for me for I found Bach’s Partita No. 4 with all the repeats something of a trial. Even when performed with such panache by Charles Owen, I find myself in such music thinking about the intricate working of a wonderful clock and am rather repelled not to say bored by such perfection. It must be my literary and decidedly unmathematical turn of mind.

Yet later in the same concert it was about turn again, this time in the same composer’s Chaconne from Partita No.2. Here was a form which I understood, a form incidentally, with the Passacaglia, that inspired Britten to some of his finest music. In this instance the theme followed by a series of variations had a dramatic momentum which was unforgettable when performed with such eloquence by Chiche and Owen.

In between we had had a rather wonderful transcription by Colin Matthews for oboe and string trio of the Schumann Song  Mondnacht  and then a performance of Brahms’ Horn Trio in which Martin Owen joined the ensemble. This fine player’s gorgeously rich tone brought out the work’s range of mood and the player managed quite wonderfully to draw attention to the work’s constant interplay and shifts of mood . In the last movement one expected huntsman and hounds at anytime to  invade the Museum, such was vigour of the playing.

Then the Festival was brought to a close on another wave of fine music making with Schumann’s Piano quartet op 47, a rather neglected work beside the Quintet. On the evidence of this performance such neglect is very unjust. Its invention is of a high order and there are moments of sheer genius like the ending of the andante. A lengthy ovation quite rightly followed for all the players involved in the Festival.





Last word!

Every year it needs to be said what a debt is owed to all who organise and play in this event. It is in my experience every year a unique journey of concentrated and focussed music making and every year there is at least one never to be forgotten performance. This year that was the performance on the penultimate evening by Marina Chiche, Giovanni Guzzo , Richard O’Neill, Guy Johnston and Charles Owen of the Piano Quintet. This was without doubt one of the greatest chamber music performances I have ever heard and to judge from the cheers afterwards I was not alone in thinking that. It had overwhelming momentum. In particular the second movement’s wonderful  theme was played with such heartrending feeling and the outburst of anguish in the middle of the movement  delivered with such ferocity ( one thought that the viola in particular was about to combust !) that for this listener at least, and one suspects for many others, some of the most personal  moments of one’s life were brought achingly to mind. It had that intensity and eloquence. In such a performance Schumann’s genius was truly made manifest. Indeed ‘from darkness to light’ .



Dates for your Diary

Thurs. 5th October 1.00  New Walk Museum : Craig Ogden the great guitarist opens this season’s Lunchtime Series.

Sat. 7th. October 7.00 DMH:   Jacob Hrusa, the new guest conductor of the Philharmonia, conducts music from his homeland , the Dvorak Violin  Conc. with the great Hilary Hahn making her Leicester debut and then Smetana’s Ma Vlast in its complete form. ( Please note the earlier than usual start.)





Summer Gala Concert: The Carducci String Quartet, June 8th.2017

It never ceases to delight that there can be such wide differences in the way high class quartets interpret music and have such differing aims in relation to the sound that they strive to achieve. These thoughts rose to the surface whilst listening to the Carducci Quartet in the second Summer Gala Recital at the Museum. Two comparisons in particular came to mind.

A few years ago, Leicester was visited by a quartet from across the Atlantic who had over many years acquired a formidable reputation. One could see why. Without for the most part the players needing to look at one another, everything was honed to perfection, there was a finely sophisticated sound and much most delicate phrasing. And yet my wife, who had a nose for such things, declared at the interval that she had never seen such a bored looking group. The viola player she in particular singled out, saying that he looked as if he would rather be anywhere other than Leicester on that Sunday morning. Now, none of that was directly musical comment but it also accurately mirrored our feelings about the performances. One felt the quartet was playing on auto drive and the music had been almost manicured out of existence.

Compare that to the Carducci. Every time that I have seen them come before the audience they look as if they are truly delighted to be playing this music, at this time, in this place. Of course, that would be as nothing if they were not demonstrably such a very fine ensemble and here another more recent comparison came to mind. They started with an early Haydn Quartet, Op 20, No.4. Now, it so happened that last year a quartet famed for its performances on gut strings of Haydn quartets gave a concert in the city and very fine it was, delightfully phrased and light and fleet of step. It spoke of the composer’s roots in the Baroque.

This performance on the other hand was truly shocking in its announcement, even in this early opus number, of a composer breaking the baroque mould. It was astonishing how it made one completely change one’s expectations of the composer’s early efforts in this genre, with playing of such propulsion that it might almost have been Beethoven, if not, as the programme notes remarked, something beyond in the mid 19c. The Carducci clearly relished everything about it. Delicate it was clearly not intended to be nor was any attempt made at ‘authenticity’. This was dramatic and earthy music making, the players at times producing an extraordinarily warm and weighty resonance, entirely at one with the composer’s later London symphonies. There was real emotion in the slow movement variations and a huge gusto and humour in the last two movements that spoke of a great composer straining at the leash to escape the polite boundaries laid down by the 18c.Court.

And of course in the Beethoven Op. 18 No.4 that followed the theme was continued. Here ,whilst being alert to Beethoven’s occasionally wicked off beat humour, time and again the quartet’s sound was striking in its drama and weight. It was often almost like one was listening to a small orchestra. Indeed, by the interval I found myself wondering whether I had ever heard two early works by these composers delivered with such startling clout and so clearly speaking of revolution.

After the interval, the concert continued on it stratospheric course. The first item was a premiere of a work for Violin and Cello composed by a Wyggeston QE Sixth Form College student, Rebecca Burden. This was the result of the Quartet’s involvement in a LIMF education project for local A Level Music students. This had produced a number of works from which this one was singled out for performance. Before the concert I thought that indulgence was certainly going to be needed in the company the work was keeping. In fact, the facility of the music, its clear sense of structure and progression and above all its keen grasp of the range of colour this combination offers the composer made indulgence the last thing required. Indeed, as someone who spent a quite a proportion of his working life at the College and who had retired before the composer was even born, I shed a quiet tear of pride that the old place still functions so well! What with Benjamin’s Ashby’s premiered Quartet at the last Festival, there is certainly some compositional talent around Leicestershire at the moment. Good luck to both.

So to the last work of this fine concert, Shostakovich’s 2nd Quartet, written at the end of WW11. Now, I was not aware that I had ever heard this particular quartet, though in the past the Lindsays had featured the composer quite often in their Leicester series. Therefore, I made a point of fishing out my complete set of the quartets recorded by a Russian ensemble who took the composer’s name and recorded the set in the years immediately after the composer’s death.

I have to say that I was not much gripped at first. It seemed at times to be one of those works that musicologists loved to argue about, particularly delighting in revealing the codes that the composer had supposedly concealed in the music given his terrifying situation at the time with the Soviet authorities. The performance in its basically bleak greyness with bursts of loud dissonance did not for me inhabit a particularly interesting sound world.

Of course, to compare a recording to a live performance is always very questionable but all I can say is that the work appeared in this concert as something much more compelling and one could see why the Royal Philharmonic Society felt that the Carducci’s recording of the 15th Quartet was the outstanding chamber music disc of 2016. In this performance it was as if the work had had a blood transfusion. One certainly needed no code to grasp the anger, the desperation, as well as at times the beauty of the way in which grief is depicted. Russians do grief like no other race on the planet and here in the slow movement and at times in final movement, whose lovely tune clearly has a Russian Orthodox base, the power of feeling in the playing was overwhelming. The opening movement had tremendous drive with the anger at times palpable but it was in the third waltz like movement that I was most certain that I was hearing things for the first time. This in the CD booklet was described as ‘pensive’ in atmosphere and the Russians’ interpretation rather bore that out. In the Carducci’s performance what it became at times was a spectral world, about as far away from quiet thought as possible. It seemed almost the stuff of nightmares. All in all, this concert was for me a memorable musical experience, possibly the one that takes the palm in what has been a stellar series of concerts at the Museum this season.

Sadly, now we must shut down until the autumn when we convene at the Festival starting on Sept 21st.  and the globe starts spinning again. Have a good summer.

Summer Gala Recital- Martin James Bartlett. May 13th 2017

When I heard that the first of the two 2017 Summer Gala Concerts was to be given by the winner of the 2014 BBC Young Musician of the Year Competition, I was intrigued by the prospect. It seemed to me to be a highly praiseworthy initiative to provide an opportunity for Leicester to hear a talented young pianist towards the beginning of his career. However, in such a setting as this concert series, which for example has seen in the last three years concerts by Paul Lewis, Ronan O’Hora and Stephen Hough, it raised the question as to whether it would attract very many punters. In the event, I am pleased to say that there was a reasonably sized and enthusiastic audience.

However, I thought there might be another problem. Comparisons are of course odious but I wondered whether it would be difficult not to make such comparisons when the bar had been set so high in previous years. Was it realistic to expect performances at this stage of a career which would rival the level of piano playing we had become accustomed to in this series? The dilemma was made more acute by changes in the programme in which it became considerably more mainstream and challenging. In particular, the inclusion of Beethoven’s Sonata Op 31. No 3 coupled with the advertised Bach Partita made the first half of the concert very demanding indeed.

Well, it seemed to me that the only way forward, not least as a sign of respect for the artist, was to write absolutely as one found. In any case it rapidly became clear that Martin James Bartlett is a major talent. There was much to admire. Bach’s Partita No.2 came across often sparkling in its clarity and thrust. Also, I admired the way he declined any unfit expressiveness. However, therein lies the problem all pianists face when playing this composer on the piano, how within a narrow range to vary the dynamics, texture, and colour so that monotony does not set in as dance follows dance. I felt this artist did not fully avoid that result, but then I have to recognise that the line in Bach between boredom and delight is for me a narrow one!

I also had reservations about the performance of the Beethoven. Here it became clear that one was in presence of a virtuoso. This was a performance brimming with fire and drama. However, this was achieved perhaps rather at the expense of some of the more subtle features of this work. The dynamic range seemed to me rather narrow with heavy bass and loud treble . I have heard performances of this sonata which make a good case for it being one of the composer’s most joyous, witty, even quirky compositions, full of delightful wrong turnings and surprises. Here in the general urgency it came across without too much of a smile. The treble in particular hardly ever skipped, tripped, caressed or sang, even in the third movement. One wondered whether overall greater relaxation might not have reaped a richer harvest.

So, as we reached the interval I felt this was turning out to be one of those concerts in which there was much to admire but which for want of much individuality were rather unlikely to stick in the memory. And then out of the blue the pianist played an encore to the first half, a Liszt transcription of Schumann, which seemed an intimation that in the second half there might be something altogether of a different order and I spent the interval wondering whether possible nerves had disappeared and whether the Romantic and 20c. repertoire would show the artist in an altogether different light.

How true that proved to be! It was a warm evening and the pianist emerged for the second half without his jacket. To my mind nothing could have been more symbolic of the change in atmosphere. Here at last was a pianist intent upon sharing delights with his audience. The Museum piano began to sound like it can, warm and glowing. A beautifully rapt account of the most famous of Schubert’s Impromptus, played with disarming simplicity, was followed by, for me at least, a revelatory performance of Granados’s El amour y la Muerte from Goyescas. I have a CD of this by possibly the most famous Spanish pianist of the last century but, perhaps because of the quality of the recording, have never found its sound world immediately as attractive as some Spanish music can be. As a result I couldn’t see where the piece was going at times. Here everything seemed in place and the shading and shaping that the pianist achieved at times was ravishing. A friend remarked later that he felt Goya’s picture to be in front of him such was the effect of this performance. Alas, I could not recall the painting but it mattered little.

By now things felt to be well and truly on a roll . A grandly romantic rendering of Liszt’s Petrarch’s Sonnet No.104 was followed by Prokofiev’s Piano Sonata No.3. You could feel the pianist’s joy that at last he could display without inhibition his command of the keyboard in one of most outrageously virtuosic pieces ever composed for the piano, written by a young genius intent on shocking the musical world. The effect was duly stunning and provided an electric climax to the concert.

Except that it wasn’t the climax! That belonged to the encore, the last movement of another Prokofiev Sonata. Clearly by this time the pianist’s adrenalin must have been flowing at some prodigious rate. Suffice to say, it made for a concert which was mightily memorable after all.



News of Forthcoming Events


LIMF 2nd Gala Concert The Carducci String Quartet Thursday  June 8th


The Carducci String Quartet are no strangers to Leicester and time and again have shown themselves to one of the finest quartets playing today. They have put together an enticing programme of Haydn, Beethoven and Shostakovich. Also they have been part of an LIMF musical education project in the city and will play a piece written by a student currently at Wyggeston Queen Elizabeth 1st 6th Form College.

As usual the concert is at the Museum and starts at 7.30.




Budleigh Music Festival July 7th -12th


Marian Culhane a stalwart of the LIMF over the years who now lives in the West Country visited Leicester for the above concert and she tells me that many old friends are to be found at the above Festival. So, if you fancy a short break in the West Country, you will find all the details on the internet.



The Philharmonia- Gerhardt, Rouvali April 22nd 2017

Two or three years ago, there was a Philharmonia concert at DMH which featured a conductor quite new to me, a Finn by the name of Santuu-Matias Rouvali . When he almost danced his way onto the podium and waved at the audience, all the old prejudices associated with conductors of classical music rose to the surface. They are supposed to be at least middle aged, the older the better. This fellow looked hardly out of school. Instead of a studied stick technique, the baton carved out great arcs in the air and he actually seemed to be enjoying himself, as well he might having been handed one of the best orchestras in the world to conduct. In addition, he had the cheek to be playing one of the most blithe pieces of music in the repertoire, Bizet’s Symphony in C, which the great Sir Thomas Beecham had made his own with his unique ability to convert into the exquisite what some would think simply to be charming. Well, suffice it to say that the young man achieved precisely that and thus immediately put him onto my list of musicians worth listening to.

So, his return in an intriguing mainly English programme was much looked forward to. For other reasons it was a significant event since a fortnight before it had been announced that he, and another fine talent, the Czech Jakub Hrusa, had been appointed Principal Guest Conductors of the orchestra and this was his first concert in Leicester in that capacity.

In the event, right from the opening of Smetana’s Vltava the music making showed precisely why the appointment had been made. The woodwind music of the opening can just sound like a bit of woodwind twiddling before the famous tune emerges. Here in the DMH acoustic the conductor achieved a quite wonderful liquidness from the very start of the journey downstream. On the way the peasants danced , the water nymphs swam, the Rapids boiled to dramatic effect and the grandness of the river as it approached Prague had a fine majesty. In fact, the performance, instead of being merely a series of picturesque scenes, had an onward overall momentum which was highly impressive.

So far so good, but I wondered how the much more formidable challenge of Elgar’s great Cello Concerto would be met, performed by a German cellist and a Finnish conductor. Here again prejudice can get in the way. We used to complain that English music was not enough played abroad but could be very snooty about the results when foreigners actually took in on.

Well, many foreigners are beginning to do precisely that and the results can be compelling. In this case, I thought it to be one of the most moving performances of the work I have heard. A friend of mine likes to divide solo cellists into the romantics and the aristocrats. The German Alban Gerhardt is clearly of the latter group. The playing rarely sought to emote and yet every sudden turn of feeling, of which there are many in this immensely subtle work, seemed to be caught unerringly. The scherzo had a tremendous fizz to it and yet the apparently effortless beauty of soloist’s tone invested the reflective moments throughout the work and particularly at its end with a poignant dignity which was the very quintessence of Elgar at his greatest. Miracles of miracles, the accompaniment too seemed utterly in accord with this vision. A performance to treasure.

Lastly came Holst’s planetary exploration, once again a work indelibly connected with great conductors of the generation of Sir Adrian Boult, who conducted the first performance and whose way with the work somehow seemed the gold standard against which all was to be judged. I remember, for instance, in his performances the very effective steady build up of tension in Mars, The Bringer of War.  Rouvali on the other hand went a different route, taking it at a real allegro and with the massed brass of the Philharmonia in thrilling form this seemed equally right. I have never heard a more convincing depiction of the horror of 20c. battle. Indeed in every movement , with the orchestra on scintillating form, Rouvali revealed himself as a master of musical characterisation. Time and again he hit the target. Particularly memorable for this elderly fellow was Saturn, The bringer of old age in which Holst’s chilling landscape was memorably evoked culminating in the terrible jangling climax, which communicates for me all the pain experienced by many with growing old, only for the movement to end with what might be taken as stoical acceptance. One could go on. Mercury was indeed virtuosic like quicksilver and the strings in the famous tune in Jupiter were richly warm without the patriotic pomp and circumstance of the hymn tune it became which was so far from Holst’s vision. Indeed, as in the Smetana’s dancing peasants, the conductor made much of the rollicking folk element in this movement. By the end, I thought that like the Elgar it was hard to remember a more convincing performance of a much played piece. One thing is sure. The Philharmonia’s rapport with this conductor is something to marvel at and one can see precisely why he was offered the post of Principal Guest Conductor. Next season’s first concert will feature Jakob Hrusa so Leicester will have a unique opportunity to compare these two new stars in the orchestra’s firmament.


Event in May


On Saturday May 13th at 7.30 p.m and at the New Walk Museum the young pianist Martin James Bartlett makes his Leicester debut. Though I have yet to hear him, I suspect this is a concert not to be missed. A past winner of the BBC Young Musician of the Year, he is now being spoken of as one of the most exciting players of his generation. Indeed, I gather a week after the concert he flies off to America to take part in the final of the prestigious Van Cliburn competition. Consequently, there has been some adjustment to the original programme with the inclusion of a Beethoven sonata.

English Touring Opera- April 12th and 13th 2017

To quote the aged Captain Vere as he looks back at the end of Britten’s great  opera Billy Budd, ‘long ago now, years ago, centuries ago’ I was teaching in a Kent Boys Grammar school. This establishment took great pride that each year since 1911 their main school dramatic offering had been a G and S production. Received opinion then amongst many of those who thought themselves musically knowledgeable was that these operettas were ,as someone dismissively  put it, ‘ music for the unmusical’ and my Kentish experiences seemed fully to confirm that opinion. Hearing little boys stumbling through the female parts, watching a ‘production’ where, since it was still in copyright, the head of PE followed to the letter the D’Oyle Carte book ( this basically consisted of the cast standing around in semi –circles), watching members of staff doing their comic bit to an audience which hugged itself with delight at anticipation of each well known gag, listening to the awful orchestral  playing, all of this was for me an utterly dismaying experience. Worst of all was what I thought to be the ridiculously prissy view of sex and the thoroughly deplorable satire of older women who supposedly had lost their charms. Relishing Offenbach and Johann Strauss, I thought G and S exemplified everything that was dreadful about upper and middle class ‘Englishness’, a view I held until long after the copyright had lapsed.

Then the English National Opera started to mount G and S productions which I found revelatory, wonderfully played and sung, showing Sullivan’s music to be quite the equal of any in the world of operetta, the comedy produced and played with flair and with an absolutely straight face (which, of course, is the essence of successful satire and comedy). Finally the advent of surtitles revealed fully the wonder of Gilbert’s lyrics, in the rich tradition of Victorian surrealism to be found in such as Lewis Carroll.

ETO’s production of Patience, a work I had never seen staged until now, was up there with the best of them. From beginning to end it was a complete delight, obviously achieved after enormous attention to detail by the production staff and placed in a charmingly apt set in what I take to be William Morris green. (I noted that the conductor like myself attended the same Oxford college as the famous man!) Time and again such things as the Victorian invention of a medieval world that existed only in the imagination were skewered in all their absurdity.

It was immediately clear that movement had featured much in rehearsal. Quite recently, when discussing another operatic production, a friend and I remarked how well modern singers move. The stand and deliver days are well and truly over. It was a delight,for example, simply to watch Bunthorne dance around the stage with his quill pen held aloft. Conversely the scene in which the military attempt to imitate the aesthetes was divinely riotous as one saw limbs being stretched into poses soldiers were not meant to adopt.

Best of all was the person at the centre of all this topsy turvy world, the often bewildered down to earth maiden, Patience herself. She achieved something very difficult. She communicated perfectly by her understated movements, so contrasted against the exaggerated posing of the people around her, that she was the only person with any grasp on reality. She reminded me, perhaps as she was intended to, of Alice, indeed in Wonderland. Possibly the best joke of the evening was this apparently quite slight girl effortlessly carrying aloft a milk churn whose weight was far too much for the flower maidens even to move, and culminating in her doing a bit of stage re-arrangement by hoicking a large garden ornament to the back of the stage. Another treasurable moment was poor Lady Jane’s attachment to a double bass, reflecting the orchestration during her lament over her loss of allure. Besides being incongruously very funny, it also somehow created sympathy for the poor woman in what can otherwise be seen as a rather cruel moment in the piece, despite the loveliness of the music.

And the music was rendered very finely indeed by cast and orchestra. Right from overture the feather lightness and buoyancy of the orchestral playing made it clear that conductor Anthony Burke was intent on showing why he thought this score of the early 1880’s to be the finest to have been written in this country since the time of Handel in the first half of the 18c. It was often wonderfully more champagne than roast beef and beer, though in the military moments there was plenty of the latter. The chorus singing was splendid throughout. Bradley Travis and Ross Ramgobin as the two poets displayed fine but sharply differentiated baritone voices. These two artists surely have a great future. Conversely Andrew Slater’s assumption of Colonel Calverley was that of an immensely experienced singer, never putting a foot wrong in what are, thanks to Gilbert,  some very tricky operatic moments.

There were some equally fine female voices in the cast. Valerie Reid as Lady Jane was in lovely voice for her moment of lament and a number of others could be mentioned. However, finally it was Lauren Zollezi in the title role who quite rightly drew the cheers. Her stage craft has already been mentioned, the way with minimum movement she could draw eyes to her but of course the voice was in the end the thing and here it was a delight, silvery and agile, beautifully phrased throughout. So all in all this was a real winner, the kind of thing which ETO regularly produces.

Mindful of their triumphant production of La Boheme a few years ago, I wondered whether Tosca ,their second offering this year, would be equally successful. Well, there were a number of riveting moments but also correspondingly aspects which missed their target by some margin. That this was so was certainly not down to the conductor nor to the singers in the roles of Tosca and Cavaradossi. It has over the years been a constant source of wonder how Michael Rosewell manages with small forces to produce the authentic Puccini sound. Occasionally, as at the end of Act 1, the orchestra couldn’t quite produce the flood of sound demanded but elsewhere I lost count of the moments where one heard orchestral felicities often lost in a more expansive setting.

Also, absolutely no allowances needed to be made for Paula Sides as Tosca. Was it my imagination that she looked remarkably like Callas? That also perhaps says something about the subtlety, power and beauty of her singing and acting. Time and again she seemed effortlessly alert to every turn in this character’s complex character, shading her voice where required to convey her vulnerability as well as being thrilling as the tigress. Her great Act 2 aria was completely of a piece with her assumption, conveying wonderfully a woman so bereft and defenceless as to bring tears to the eyes. At such moments, how can one believe that this opera was once described as a ‘shabby little shocker’? The penetration and completeness of this performance was somehow for me exemplified by the extraordinary and unforgettable way she ascended a steep ladder into the roof of the theatre, like a swift athlete making sure her pursuers would never catch her alive.

In many ways Alexander James Edwards as her lover matched her in ardour. His voice had the required Italianate ring and he was especially good in the opening act as he fenced with the woman he loved. In the final act he movingly played Cavaradossi as a broken man, at least sceptical about what Tosca was telling him. The supporting roles were also cast from strength. Aled Hall was a particularly spine chilling and malevolently watchful Spoletta as he went about Scarpia’s business.

All of this made two major failings in the production all the more of a pity. Over the years in which ETO has been visiting Leicester, I have admired the way Craig Smith has been an indefatigable part of their productions. I have never found his baritone particularly pleasing but he has always managed something of a dramatic presence on the stage and this year I note he is taking the role of Scarpia 25 times out of 31. That is devotion for you. Sadly, however, I found him quite miscast. Vocally his rather dry grey sound failed to find any of the black power mixed with velvet by which this the most feared man in Rome can most memorably be evoked. The great Scarpias can command and terrorise almost with the lift of an eyebrow. The first entry in Act 1 can establish that in a second. Here,alas, it suggested the character to be an almost manic figure who had somehow barged into the church. In Act 2, the more the singer was moved about the stage, the more there was a failure to find in the lovingly moulded musical phrase the snake like and sensual insinuation of a man in control, a man who enjoys playing with the victims on his hook.

The production contributed in no small measure to this problem. I was somewhat surprised to find that the designer was common to both productions, with the G and S so fit for purpose and Tosca so manifestly not. Only in last Act did the set achieve some sense of a particular space and that was by keeping the doomed couple downstage. Also, the upright girder at the back of the stage which Tosca ascended prior to her final plunge could perhaps have been seen fittingly as a guillotine . Elsewhere I could discern no meaningful symbolism in the stage picture of Meccano- like girders. In Act 1 the church altar, the focus of much of the action was only to be recognised by Angelotti picking up his clothing disguise from under a girder. Scarpia’s room was so divided by the set, there was so much disconcerting movement between the segments, that what should have been a concentration on the relentless turning of the screw was constantly interrupted. If that was not enough, each journey across the girders demanded a hop and a skip to navigate them. Nor was there any imaginative use of lighting. The one idea was to spotlight Tosca for her big aria, which really says it all.  I have enjoyed many so called ‘daring’ productions which have annoyed the conservative section of the operatic public but such productions have had one thing in common, the ability to translate the ‘concept’ into meaningful stage action. That too rarely happened here.

Never mind. Opera is a complex venture and one will never please all the people, all the time. Suffice to say that the visit as a whole reminded the Leicester public yet again what a force ETO is in the operatic life of this country. More power to its elbow.