Back from a superb few days in Worcestershire conducting the Laetare Singers. This group of singers convenes twice a year to work on unaccompanied chamber choir repertoire, this time ranging from Tallis to Messiaen. An intensive and delightful few days with a lovely, friendly and responsive group – great to see them again after two previous visits!
The world premiere of Stephen McNeff's Vivienne was a roaring success on Thursday, and Friday's show was equally well received. The Evening Standard gave the premiere five stars (see the review here), and an array of online reviewers, bloggers and twitterati have warmed to the show (see for example the Ham Life review here or the Planet Hugill review here).
Production pictures and other links and comments available from McCaldin Arts facebook page or @McMezzo twitter profile. There are also two really lovely preview articles (which give a real sense of the piece) by The Stage and Fringe Opera.
Following these Tête-à-Tête Festival performances, the run continues at the Camden Fringe on 20th and 21st August, the Bloomsbury Festival on 17th October, and at the Royal Opera House's Linbury Studio on 25th November. See the Events page for further details.
Delighted to be in Oxford for a few days, producing a recording for the chamber choir Sospiri's new disc, directed by Chris Watson. The disc commemorates the outbreak of the First World War and features new commissions and other recent pieces by an array of contemporary composers including Francis Pott, Gabriel Jackson, Cecilia McDowall, Graham Fitkin, and the choir's own composer-in-residence, John Duggan. A joy as ever to have my producing hat on!
An effusive new review for The English Oboe: Rediscovered, released earlier this year on Champs Hill Records. It praises 'this superb new disc', claiming that 'this CD is framed by arguably the finest ever recorded versions of Rubbra’s magnificent Sonata and Vaughan Williams’ Six Studies in English Folksong…. The quixotic finale is also beautifully handled by both players, with Libby Burgess doing full justice to the taxing piano writing. I have little doubt that this new performance will become the benchmark recording.' Read the whole review here.
Looking forward to being back at the Ryedale Festival next week for a recital with James Turnbull, having conducted the operas there three years ago (a double-bill of Mendelssohn's The Homecoming and Britten's The Prodigal Son, directed by Joe Austin and receiving four stars in the Guardian). Following last week's performance at the Etchingham Festival with singers Augusta Hebbert, Laura Kelly, David Butt Philip and Sam Queen, the summer festival season has begun!
Pleased to confirm that Konstellation will be marking the Britten centenary with a performance of all five canticles on the eve of his birthday. This special concert will take place at Queen's Gate Terrace, hosted by Vernon Ellis. Please do make contact to enquire about tickets.
Great to play celeste in Rachmaninov's third symphony yesterday for the Orchestra of the City's tenth anniversary concert, conducted by Chris Hopkins. Always a treat to be back in the middle of a full-blooded orchestra!
Another Vivienne trailer is now available for this summer's McCaldin Arts show! Get a flavour of the cabaret and music hall inspired music here.
Lovely to be back at Burgess Hill School for a very special old girls' concert to mark the retirement of director of music Richard Haslam after nearly thirty years in the role!
The trailer for this summer's McCaldin Arts performance, Vivienne, is available here, featuring recordings from the initial play-through of this new piece with composer Stephen McNeff last week. Directed by Joe Austin, and featuring mezzo Clare McCaldin, the piece explores the character of Vivienne Vivienne Haigh-Wood, TS Eliot's first wife, whose marriage was disastrous and behaviour increasingly erratic, and who was subsequently taken to an asylum.
Clare writes:
[TS Eliot's] own sister-in-law was able to admit that while Vivienne may have ruined her husband as a man, “she made him as a poet.” This is Vivienne’s life told in a series of short scenes each containing a song. There are hints of cabaret or music hall (a favorite of both Eliots), perhaps something seedier or grander, full of Vivienne’s wit and intelligence as she finally takes charge of her own story. She wasn’t mad – though she was ill – but became increasingly desperate when rejected by Tom and his Bloomsbury friends. She, too, was a talented writer. Did she deny her own gifts and potential to support a man whose work she believed so completely?
See more on Clare's blog here.
Performances take place at the Tête à Tête Festival, the Camden Fringe, the Bloomsbury Festival, and the Linbury Studio of the Royal Opera House.