Così Fan Tutte

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Two weeks into production rehearsals for Royal Academy Opera's Così Fan Tutte, it is shaping up to be a wonderful show. There are two superb casts and it is a privilege to be learning from the experts in working with John Cox (director) and Jane Glover (conductor). A little research quickly shows how many Cosìs they have done between them and how many stars have been involved; here's hoping this new production maintains their standards!  It is exciting not only to be repping and coaching on this production but also to be playing the recitative when we get to the shows themselves…

Schumann’s Piano Quintet

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It was a delight to perform Schumann's Piano Quintet with the Hampden Quartet this weekend. For me this piece (and perhaps especially its haunting slow movement) encapsulates the whole character of Schumann more completely and succinctly than any other – the deeply troubled soul, yet so capable of joy and love. It was a rare delight to perform this in the 'chamber' setting for which it was intended; Emile Woolf hosts several concerts a year in his beautiful drawing room (using his superb Steinway, one of their concert hire instruments last century and apparently Rachaninov's instrument of choice for his own performances in London!). We were delighted to hear that a hefty cheque was sent to Maxability Limited, the charitable company that raises money to enhance the lives of disabled adults living in the London Borough of Barnet, by providing tuition in art, pottery, computing skills and holding exhibitions of their work.

Wooburn Festival

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It was great to see the Oak Room in High Wycombe (acoustically delightful, presumably because of all the oak!) packed out for our lunchtime recital as part of the Wooburn Festival. It was lovely to reprise music by Handel and Sinding with the Reid sisters (associated by all three of us with the freezing cold from playing these pieces in icy venues during last January's snowy season!). Of particular interest however was our world première of Jonathan Galton's The Awakening. Over the years we have discovered a range of sometimes well-known but often obscure pieces for two violins and piano, so it was brilliant to commission and perform this newest addition to the repertoire, and indeed to work through it with the composer, for once actually able to ask the question all musicians so often want to ask long-dead composers: "what exactly to you mean by what you’ve written?!".

More Music at St Peter’s

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As ever it was a pleasure to be back at St Peter's Ardingly, kick-starting the second year of the 'Music at St Peter's' series. It's been fantastic to see this series build up such a loyal following; to see audience members return time after time (even those who self-confessedly never usually go to concerts!) and to raise yet again a significant amount of money for charity (on this occasion for the Pakistan Flood Relief Appeal; given the severity of the situation there it seemed cold-hearted not to break away from our usual focus of supporting local organisations).  Flautist Fiona Slominska and baritone Sam Queen were both extremely popular with the audience and join the prestigious ranks of those who have been to perform at this humble venue!

Chelsea Schubert Festival

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September in Chelsea means the Chelsea Schubert Festival, and, as winners of last year's inaugural Chelsea Schubert Festival Song Competition, Marcus Farnsworth and I were back this year to perform a lunchtime recital.  We presented a programme of Schubert songs alongside Schumann’s heart-wrenching Dichterliebe, in this, Schumann's 200th anniversary year.

Royal Academy Opera

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Today saw the beginning of term at the Royal Academy of Music; it is exciting to be back in the building this year as the Lucille Graham Opera Fellow.  This post will see a mixture of répétiteur commitments (for the termly opera scenes and for the three main productions this year: Mozart’s Così Fan Tutte, Peter Maxwell Davies’ newly commissioned Kommilitonen!, and Kurt Weill’s Threepenny Opera), along with some coaching of the singers, some recitative playing, some chorusmastering, and all the other varied tasks that get thrown in the direction of the music staff in any opera company!