Wednesday, 7 November 2018

Two worlds: Jo Quail’s ‘Exsolve’

The latest brilliant release from cellist-composer Jo Quail is an album that speaks of mirrors, doubles and opposites. Always an artist that convinces equally whether one views her music as avant-garde classical or underground electronica, ‘Exsolve’ is Jo’s most perfect expression yet of how to create pieces that somehow inhabit, yet defy genre at the same time.


I’m sure this is also what makes her music such a pleasure to write about – as I have done frequently, including CD liner notes. Jo builds her compositions around electric cello, fed into a loop station that she simultaneously operates like a second instrument – allowing her to play almost all her material live, solo, standing (her feet dancing across the pedals as she creates layer upon layer of rhythm and melody).

But from first note to last, ‘Exsolve’ thrives on creative tension, looking inward and examining head-on this marriage of ancient/acoustic and modern/electronic. As instrumentals so often do, Jo’s music always becomes ‘visual’ for me, provoking images, memories even, in my mind. Water is a recurring motif in earlier JQ track titles, and here I inescapably thought of Turner’s ship caught in the Snow Storm. Throughout, it felt like something was breaking through, a kind of sonic or atmospheric disruption – depending on your personal tastes, this could be as menacing as Cthulhu or as exhilarating as a cloudburst.


New tunings and new sounds help to make this a classic ‘headphones’ record, as Jo explores distortion and percussive techniques to conjure a military drum tattoo or a doom-laden bass riff from her cello. When listening, you really are surrounded: the music closes in, each of the three lengthy tracks building not necessarily in volume, but in presence, intensity ('Exsolve' was produced by Chris Fielding and mastered by James Griffiths: plaudits to them for the album's fearsome clarity).

Another creative pair of ‘opposites’ the album reflects is the personal with the collaborative. For such a self-sufficient performer, Jo has always featured guests on her albums and sought to programme live events with full bands or classical performers. ‘Exsolve’ welcomes three visitors, who play a crucial role on one piece each. Dan Capp and Nik Sampson both contribute heroically exciting guitar parts, while Lucie Dehli adds her supernaturally fluid vocalese in an unforgettable cameo. But while these guest appearances gesture towards extreme metal and even jazz, they blend perfectly into the array of unearthly sounds already coming from the cello.


(Photo by Simon Kallas, taken from JQ's website.)

Classical and metal really are ‘twinned’ here, in a way quite distinct from, say, hard rock bands using orchestras or string sections for added bombast (not that there’s a problem with that!). Album by album, Jo has been assembling tracks more like parts of suites or sequences, and ‘Exsolve’ – with its three ‘movements’ that are both coherent stand-alone pieces, but which all contribute and develop towards a key central idea – can almost feel like a concerto for cello and studio. In this respect, it’s a genuinely avant-garde classical achievement. Yet, at the same time, it reaches a powerful heaviness borne of thunderous riffs and insistent hooks. In other words, it rocks.

If ‘Exsolve’ tells me a story, it’s of these two genres almost struggling for supremacy within Jo’s music. The balance shifts this way and that. The insistent, cyclic guitar that takes control of ‘Forge’ gives way to the acoustic ‘Of Two Forms’ section. The dancing pizzicato of ‘Mandrel Cantus’ breaks into atonal soloing, distorted cello riffs and a final guitar explosion – but then its steady comedown progression dissolves into the chiming, Pärt-like coda. Finally, however, ‘Causleen’s Wheel’ brings matters to a head, its keening melody and agitated reel leading to a seismic shift and temporary sonic limbo, before the finale crashes through. No guitars this time: the cello supplies the heaviness, the electricity, and ultimately the full force of the wordless vocal is unleashed, resolving the conflict and bringing equilibrium with a triumphant, euphoric female battle cry.

A fascinating and beautiful listen, as always. And especially here, addictive, cathartic.


(Video edit of 'Mandrel Cantus', filmed by Simon Kallas and Michael Fletcher.)

*

Jo releases her music independently, so you can buy physical and/or digital versions of 'Exsolve' - along with all her earlier work - directly from Bandcamp. Dive in here.

Thursday, 25 October 2018

Quarter masters: Sieben, Kate Arnold, Andy Whitehouse

If you've been around these parts before, you may recall my writing in the past about Sieben - the alter ego of Matt Howden, singer, songwriter, violinist and all-round sonic magician. (In fact, you can read my write-up of his latest album, 'Crumbs', here - it's a formidable set of protest songs, channelling a tangible sense of rage through such intricate and complex playing. Warmly recommended!)


Sieben gigs in London don't come round all that often - at least not as often as I'd like - so I was thrilled to find MH heading up an intriguing triple bill, arranged by Kaparte Promotions at the pleasingly intimate Servant Jazz Quarters in Dalston. The other two artists were completely new to me: Andy Whitehouse and Kate Arnold. (Both have full bands - AW, The Silver Darlings, and KA, Fear of the Forest - but for tonight's gig they were playing as solo artists.)

Andy Whitehouse was first on, and instantly brought the room to an attentive hush. His songs have an insistent gentleness, a quiet confidence that you will willingly succumb in your own time. His lyrics succeeded in being both witty and wistful simultaneously - for example, his tale of customising saints for one's own personal use, 'Anthony and Rita', has an aching sadness at its heart, while making you smile at how skilfully the metaphor is sustained through the song.


(Andy Whitehouse's 'Cherry Blossom'.)

I was also very taken with the guitar sound and style - quite unusual to hear electric guitar in this context compared to how often acoustics turn up, but perfect for this musician's soulful restraint. It charged the atmosphere with warmth. A lovely start to the evening.

Kate Arnold's set then took us off in a completely different direction. At the start, she tipped her hat to a traditional folk sound - fiddle and voice - for her song 'Shanty'. But suddenly all bets were off, as she began playing the hammered dulcimer - stroking it, tapping it, even bowing it - and layering beats and melodies to form 'Skeleton Key', a genuinely jaw-dropping track that conjures up glitchy electronica on this chiming, brightest of instruments.


(Kate Arnold playing a version of 'Skeleton Key' from YouTube, brilliantly filmed during a Daylight Music gig at the Union Chapel, Islington.)

It was an all-too-brief, but brilliantly constructed set, because hearing these two 'extremes' of KA's approach gave the ideal context to hear her remaining songs - as if the 'skeleton key' really did unlock her sound for us. The beautiful 'Fairy Tale Ending' is all the argument you could want for the dulcimer as sole accompaniment - coupled with her natural, affecting yet unaffected vocals, KA has somehow married a kind of 'roots' music to something otherworldly: as if you could reach for Dead Can Dance and Fairport Convention as reference points at the same time. Sincere, spectral and quite wonderful.

Rightfully, and righteously, Sieben's set then lit a fire under the whole gig. Live, MH loops and layers percussion sounds, basslines and hooks on the violin before singing over the whole heady brew. A restless musical craftsman, he continually pushes the violin/electronics set-up as far as it will go, reinventing his sound as his lyrical concerns change over time. He's gone pastoral, personal and now political, galvanised by the injustice and greed around us into producing a genuinely angry, bitingly satirical suite of songs: on stage, this results in a kind of punkish, yet puckish fervour. Always an animated, energetic performer, tonight it was like the stage couldn't contain him, and any minute he'd career out into the audience, taking someone's eye out with his whirling bow.


(Sieben's 'Coldbloods'.)

This idea of the anger almost boiling over and out of the music is all there in the arrangements, with many of the 'Crumbs' tracks featuring a relentless motorik pulse and grindingly deep riffs, before MH performs more solos on the fiddle than ever before, their explosive speed and agility seemingly providing a necessary outlet. 'Sell Your Future' sounded like a train that had already been derailed; 'Coldbloods' walked the tightrope between resignation and panic. It's been a great pleasure to follow Sieben live over the years, as older songs are re-cast in the newer sound: one such classic tonight is 'Love's Promise', a sensual ode which here becomes a slinkier, slightly more seedy beast - again, this time bringing out a lustfulness, more impulses that might be difficult to suppress.

The gig closed with all three performers gelling perfectly in a rendition of Andy Whitehouse's song 'Almost Home'. It struck me at this point - to the credit of Klarita, of Kaparte Productions, who organised the event - what a superbly programmed evening this was. It felt that buried in all their musical influences was a 'folk' sensibility of sorts - not necessarily trad folk, new or alternative folk, folk rock or any genre as such - more a connection to home, a gesture towards chronicling something that deep inside we all recognise - but then fractured and reassembled in the most diverse and creative ways imaginable. A shared brilliance.

Saturday, 20 October 2018

Rick Wakeman's 'Piano Odyssey'

This post first appeared on Frances Wilson's excellent blog 'The Cross-Eyed Pianist'. For a variety of features that - alongside a special interest in all aspects of piano playing and listening - focus on wider classical music and cultural issues, please pay the site a visit here.

I was asked by Frances to review the latest album from Rick Wakeman - as I'm as much 'prog' as 'piano', this proved to be a happy assignment. Here's my write-up.

*

Rick Wakeman: ‘Piano Odyssey’ (Sony Classical)
featuring the Orion Strings and English Chamber Choir

Rick Wakeman has been a consistently fascinating artist throughout his decades-long career. As a fan of both classical and progressive rock music, I feel he’s been a constant presence, his cape sweeping nonchalantly across any so-called dividing lines between genres and styles.

In contrast to the grandeur of some of his earliest and most familiar work, Wakeman’s most recent releases have felt more intimate and introspective. The 2017 album ‘Piano Portraits’ was just that: solo piano treatments – somewhere between arrangements and variations – of an eclectic range of pieces that covered Debussy and Fauré, Elgar and Holst, Bowie and the Beatles… and not to leave out his own band, Yes.

This new album, ‘Piano Odyssey’, is in many ways a sequel with seemingly deliberate echoes of its predecessor. As before, there are two Beatles tracks, and just the one from Bowie this time, amid other carefully chosen cover versions. Yes is represented by two new arrangements. On the classical team are Liszt, Dvorak and Handel.


As the album title suggests, though, a journey of some kind has taken place. Rather than simply repeat himself, Wakeman has added strings and a choir more or less throughout, diluting the forensic focus on the lone piano. However, the lush arrangements can’t disguise the fact that this feels like an even more personal project, surveying Wakeman’s career more incisively and giving it a perhaps unexpected unity.

I think this unity is behind the quality I loved most about the disc, which is that it sounds exactly like something its creator would pull together – and yet at the same time, it feels like a surprise, not quite like anything else. In theory, given the forces involved, the classical feel should dominate, but that isn’t what happens. Instead, it’s rather more like listening to a kind of ‘chamber’ prog: Wakeman often deploys his string players and singers as if they were band members, the choir in particular performing ‘solos’, moving in and out of tracks as needed rather than saturating them. His own distinctive playing has him operating like a combined rhythm and lead guitar might, capturing the melodies at the top end with great delicacy (and some very agile embellishments!), without sacrificing a sense of real propulsion.



As a result, the pieces that really hit home for me are the two Yes songs, in particular ‘And You & I’, and the reworks of two of his solo tracks, ‘After the Ball’ (now merged with Liszt’s ‘Liebestraume’), and ‘Jane Seymour’ (originally composed on organ, and with Bach coursing through its bloodstream). In the CD liner notes, Wakeman explains how the new versions make what he was trying to do clearer, more audible. And there’s no doubt that ‘Piano Odyssey’ is giving him the opportunity to shine a light on his practice: without trying to ‘match’ or ‘outdo’ Liszt, he has deliberately designed his medley to show how the composer influenced him. (Elsewhere, he uses this technique to illuminating effect in ‘Largos’ – merging Dvorak and Handel with the utmost respect, but a refreshing lack of deference.) Equally, in ‘And You & I’, the sparkling high-pitched melody is so evocative of Jon Anderson’s vocal it’s somehow uncanny.



I don’t think the record is totally flawless. How you react to the more familiar covers will inevitably depend on your relationship to the originals, and what you want a new version to achieve. I felt ‘The Boxer’ was a misfire: to me, the song, while tender, has an underlying resolve and pugnacity that befits its title. Here, the slow pace fatally weakens it, along with oppressive strings and the choir contributing isolated ‘lie la lie’s with no context. On the other hand, a similarly sentimental treatment of ‘While My Guitar Gently Weeps’ fits the song like a glove. The version of ‘Bohemian Rhapsody’ is shot through with wit, subverting any bombastic expectations the listener might have – even Brian May’s guitar cameo appears out of nowhere.

Two completely new compositions again emphasise the personal – named for two adopted moon bears, Rocky and Cyril (Wakeman is a passionate animal rights advocate). Writing from scratch in this idiom allows Wakeman to produce probably the most nakedly emotional tracks on the record, the signature traits (again, the steady motor, the climb to the high register) reflecting how much of himself he has put into these pieces. And I think it’s fair to say that the whole album – a heart-on-sleeve musical autobiography-of-sorts – wins through as an accomplished yet totally sincere attempt by the artist to communicate a true audio sense of himself.

Monday, 8 October 2018

Bible black: 'Salome' at English National Opera

Brief alert - this production of 'Salome' carries a warning for adult images and themes... and to discuss it properly, I inevitably touch on some of those images and themes as well. So - please read after the watershed - and exercise discretion, as you will. Thanks!

*

Well, this has certainly divided opinion. The 'ayes' and 'noes' are separated as cleanly as John the Baptist's head from his shoulders.

Some people seem to have loathed the new English National Opera ('ENO') production of Strauss's notorious opera 'Salome' with every fibre of their being - while others have been stimulated and impressed. If I had to make a call, I'd say that the critics have been broadly negative (some perplexed or irritated, if not nakedly hostile), while audience reactions online have been relatively warmer. Plenty in both camps, however.

And of course, nothing is without context. Some who are prone to unkind pronouncements about ENO have continued in the same vein. (Some have imperiously dismissed the very idea of the production, only to cheerfully add that they haven't seen it. Helpful.) Also, 'Salome' has got about a bit recently and other versions may be fresh in people's eyes and ears. The current Royal Opera House ('ROH') production by David McVicar was last revived at the start of this year, when I saw it for the first time. Placing the action in a kind of totalitarian nightmare environment, it's held by many as a kind of gold standard - and I can see why. Opera North also presented an acclaimed version (which sadly I didn't get to) in the spring: powerful though that sounded, it was essentially a concert performance - so the company sidestepped much of the potential staging trauma that 'Salome' must involve.

Fast forward to the start of this season, and it's ENO's turn to revisit opera's most troublesome teenager. For those unfamiliar, the plot is taken directly from Oscar Wilde's play (based on the Bible story), with the composer editing down a German translation into a lean, mean libretto: a single, relentlessly-paced act, running to about one-and-three-quarter hours.

Snapshot of the action: Herod, ruler of Judaea, has married his brother's wife, Herodias - making him stepfather to her daughter Salome. Since Herod had his brother killed, the set-up is already somewhat dysfunctional - made even worse by Herod's inability to disguise his erotic fascination with Salome. At the same time, Herod has arrested and imprisoned the prophet Jokanaan (John the Baptist). Jokanaan is a fanatic: while proclaiming the coming of the Messiah, he also launches tirades against the royal family and, seemingly, Herodias in particular. But he survives, for now, because Herod is fearful of killing a holy man.

Salome, escaping from a palace feast and hearing Jokanaan's voice, demands to see the prisoner. Instantly besotted, she ecstatically praises Jokanaan's appearance, even while he vehemently rejects and denounces her. (The carnage starts early, as the guard Narraboth, who loves Salome, kills himself in dismay.) Herod, castrophically misreading the situation, thinks a dance from Salome will cheer him - and the evening - up. She eventually agrees, but only after securing a promise from him to grant anything she desires. Dance over, she demands Jokanaan's head on a silver platter. Herod does all he can to get out of the bargain, but Salome won't budge. When her stepfather ultimately gives in, and Salome receives the head, she finally tips over the edge and gives full vent to her lust. As she kisses the dead mouth, a horrified Herod orders his soldiers to kill her.

Even taking what happens at face value - the actual events of the original play and libretto - this is extraordinarily provocative stuff, careering headlong into some very dark psychological places. So extreme is its characters' behaviour, I can well understand why directors, let alone audiences, want answers, explanations. (McVicar's ROH production stages the infamous 'Dance of the Seven Veils' as a tableau of flashbacks suggesting the Herod has abused Salome in the past.)

This production starts in a very dark psychological place, and never leaves. What we see is the product of an all-woman creative team: director Adena Jacobs, stage designer Marg Horwell, lighting Lucy Carter, and choreographer Melanie Lane. In an ideal world, this would not be remarkable, or even especially 'meaningful'. But for this opera, I feel it has particular significance. It means that whatever queasiness or discomfort we might feel at the potential exploitation or objectification of Salome (or any of the other characters) cannot be put down to straightforward sexism or misogyny. If anything, this was going to hold a mirror up to the 'male gaze' and rightfully cast it, blindingly, back in our direction.

The staging seems to be entirely surreal/symbolic, not rooted in any kind of reality. Both background and costumes are uniformly black, as if nodding to the not uncommon 'repressive regime' style of staging to signify dystopia. But this is one of a number of instances where the production subverts expectations as it goes along. Rather than present Jokanaan's cistern as a dark dungeon, the stage is saturated in bright white light, as if referencing both his holiness and his uncomfortable illumination of the rotten society around him. The initial blackness also gives way to gaudy colour, both in an enormous, pink, decapitated 'My Little Pony'-style horse which appears as the centrepiece of the feast, spilling out its entrails of fake flowers, and in the glittery decayed decadence of Herod's and Herodias's outfits.


Salome's loss of innocence and, ultimately, sanity is telegraphed early and built on step by step, following its own logic but pulling the rug out from under our, and the opera's, feet. Almost everything around her in the production could double as a cipher, contributing to this development. When Jokanaan is first seen, flat out on the ground, he is clad only in briefs... and a pair of red stilettos. He never walks in these - he kicks them off well before he stands up - and if you wanted to make a plot point out it, you could imagine Herod (something of a cross-dresser himself) and a bunch of cronies taunting the captive and dressing him up. But I was also struck by the timing - Jokanaan kicks off the shoes and in some way seems to transfer a kind of sexuality, or at least sexual awakening to Salome. While Jokanaan is present and still very much alive, Salome strips to the waist while singing her lust for him, and (discreetly) masturbates while he preaches. (This is one aspect where I wondered if a woman directing has flagged what a bloke might not even have observed - that Salome is not a two-dimensional maniac who only reaches sexual fulfilment through necrophilia: rather, there are stages along the way before the madness provides the only release. Equally, if a male director had stripped Salome at this point in the opera, would we be able to assume something similar or might we doubt his motives? Questions, questions.)

There is a third piece of 'clothing' for Jokanaaan that I didn't mention: a skeletal mask that at first I took to represent a kind of torture instrument. However, it held a miniature camera, pointed back towards his face. As a result, a large, live projection of his mouth appeared on the back wall - in black and white, with the effect of looking slightly grimy/grotesque. This pointed up Salome's obsessive attraction/repulsion towards the prophet's mouth; it drew attention to his dark utterances; and it foreshadowed the expected kiss once his head is severed.

So it goes on. Narraboth's suicide results in a pool of pink blood on the stage. (Herod at various points returns to this, smearing himself in the gore as if he cannot remove the stain on his character.) Salome falls on Narraboth's body before it is removed, using it as a substitute for the unattainable Jokanaan. The floral guts of the suspended horse can be read as a 'deflowering' motif. Salome reappears as a kind of fetishised Lolita figure: white vest, black hot pants and trainers - later, this youthfulness will be underlined further as she flings aside her long blonde wig to reveal a boyish crop.

By this time, with a few taboos not just broken but smashed into a pulp, I wondered how hard the production would stab at the outrage button. With its burlesque/striptease pedigree (and the fact we'd already seen a half-naked Salome), what kind of 'Dance' were we going to get here? In the event, Jacobs takes another swerve. This Dance was brilliantly disturbing, with Salome - clothed throughout - slowly, deliberately assuming a brief sequence of poses (almost like coquettish exercise moves: turns, bends and stretches), then reclining while a group of cheerleader-dancers ramped up the speed and sexual tension.

Following this thread, when the head is finally delivered to Salome, the 'silver platter' is a cheapo plastic carrier bag - never opened. She cradles the concealed head but never 'consummates' her obsession with the kiss. It’s as if the production puts the brakes on the body horror once the psychological damage is done. Herodias appears behind Salome and you wonder if the mother will carry out a mercy killing at Herod's command before the soldiers arrive. In the closing seconds of the opera, Herodias - still directly behind Salome - helps her daughter raise a pistol and point it backwards, horizontally, directly towards her mouth. Is this the actual kiss of death? And if the gun is fired, both women would likely die in a double suicide. (At this instant, we recall Herodias's treatment by Herod and the circumstances of their marriage.) The lights go out before we hear the shot.

As I applauded, my head was spinning. This was an assault on the senses, and I approved. The production isn't there to make friends, but to kick arse. Making the case that a piece of vintage art - whether it's a period novel, Shakespeare play, or an opera - is Relevant To Today's Society can so often be problematic, because you can be passionately and genuinely keen to prove how the medium you love still speaks to modern times, while simultaneously being aware it can lapse into cliché. But given the ongoing reports we're now seeing of the horrifying - and shamefully widespread - treatment women receive at men's hands … is there a more appropriate story than Salome's to illustrate its devastating effects?


(Allison Cook as Salome. Photo by Catherine Ashmore, taken from the ENO website production gallery.)

None of it would convince, of course, without utterly committed performances - and we got those. Allison Cook, playing the title role for the first time, was fierce and fearless, singing with subtlety as well as power, and with such consistent character acting that it was hard to take your eyes off her during her significant time silent onstage. David Hoar as Jokanaan struck the balance between intimidating/commanding while prophesying, and the wracked melancholy of the doomed. It was also great to see some of the chaps from the mighty ENO Chorus - Robert Winslade Anderson, Trevor Bowes, Ronald Nairne and Adam Sullivan - cast in roles that allowed them to make their impressive, individual marks.

The ENO Orchestra under the company's Music Director Martyn Brabbins also deserve to share star billing. Rather than bludgeon us with high-octane hysterics, the sound was full of space, the Coliseum's acoustic almost providing a sense of 'stereo separation', all clarity and detail.

I think, then, that this is a vital and necessary production. It doesn't really matter to me that some people don't like it. I didn't like all of it and I didn't necessarily think every idea worked. (I thought the horse, for example, was too much of a distraction. The point I felt it was making seemed to be nailed more effectively elsewhere.) But I did like having these ideas thrown at me, challenging my preconceptions about the opera - both its story, and the wider issues it forces you to confront.

ENO has been - and can be - many things to many people. One piece of its jigsaw identity is as the alternative, occasionally rebellious, and even stroppy younger sibling of the grander ROH down the road. I think the grandeur of its own home venue, the Coliseum, sometimes makes it easy to overlook this side of the company's personality - and the brilliance of ENO Studio Live (and similar ventures) has helped to bring some of that punkish, guerrilla spirit back to the fore. That approach may always risk imperfections, but for me, this new 'Salome' is a welcome, dangerously contaminated, shot in the arm.

Sunday, 30 September 2018

New directions: 'Winterreise' at Wigmore Hall

This is the second of two posts running about Schubert's 'Winterreise'.

Last time, I archived a piece I'd originally written for the Cross Eyed Pianist blog, mostly discussing a summer performance of the song cycle given by the mezzo Angelika Kirchschlager, accompanied by Julius Drake. It includes some of my current thoughts about 'Winterreise' in general, which I won't repeat here - so if you haven't seen it and would like to read through it, go here.

This post looks at a more recent, and very different, concert.

*

Over three years ago, I heard Iain Bostridge sing 'Winterreise' at the Barbican. The pianist on that occasion was Thomas Adès - perhaps better known as a composer. I'm most familiar with his work through opera - 'Powder Her Face' and 'The Tempest' have both entered the repertoire, and I'm sure his recent 'The Exterminating Angel' will do the same - but he's written a wide range of orchestral and chamber music, most of which I'm yet to discover.

I was impressed by their interpretation - IB was, as ever, utterly committed and immersed in the protagonist's character, and TA seemed acutely attuned to every twist and turn the singer took. They also seemed to have steeled themselves for the venue's peculiarities: the hall in the Barbican is vast, and they filled it with a driven performance. Nonetheless, it was a bit of a mismatch between work and setting, and the audience did at points disengage (most notably with almost epidemic levels of coughing and page rustling, which the Barbican acoustic ramped up to an even volume with the voice and piano).

Fast forward to September 2018, and this time the duo were performing 'Winterreise' at Wigmore Hall. This is now part of a wider project: IB is surely the British singer most associated with the work (the Wigmore website points out he has sung it over 100 times) - and this is the first in a sequence of three recitals at the Hall where he will sing each of the three Schubert song cycles with a different accompanist. (Pleasingly, the concerts will be preserved for posterity on the Wigmore Hall Live record label.)


(Photo of Ian Bostridge by Sim Canetty-Clarke.)

I confess that I can't begin to guess how many pianists must feature in IB's century of Winterreisen, or how often he has sung it with TA (if at all) since the 2015 performances. But they do seem to generate something quite uncanny between them, and for me, at the Wigmore, it came into focus.

As a singer, IB is a dominating and at times divisive presence. I always feel that Schubert would heartily approve of his lieder interpretations because you really feel that he is 'living' the material. He's not afraid to appear or sound eccentric or mannered, affected by the songs which play with their protagonists so cruelly. IB uses his tall, slim build to maximum effect: when he sways, it's as if he's in the grip of fate; when he bends double, it's as if he is broken. However, in TA he has a partner as wilfully individualistic, as singular on the piano as IB is vocally.

As readers of some of my past blogs will know, I'm a bit obsessed with song accompaniment, and the importance of giving the pianist equal consideration with the singer. In my experience - which is obviously limited compared to many lifetime listeners - I've heard two 'types' of approach to accompaniment. Perhaps this is stating the obvious: specialists in accompaniment often seem to have a near-telepathic link to the singer and - without losing their own stylistic trademarks - can serve the patterns of the voice with almost chameleonic versatility. On other occasions, I've heard 'solo pianists' - that is, players who are more known for performing as pianists in their own right - take on the accompanist's role. In most cases, they've unsurprisingly stamped much more of their own 'personality' on to the accompaniment - a perfectly valid approach, which can lead to interesting tensions and effects in the pairing. (Even if - *whispering* - my heart more often belongs to the former group.)


(Photo of Thomas Adès by Brian Voce.)

But in Adès's performance, I felt like I was hearing something completely new to me - an accompaniment that sounded recognisably like it was being played by a composer. I think this was hinted at in the Barbican performance but stifled by the setting - in the more confined, crystalline acoustic of the Wigmore, it seemed to ring loud and clear. I had the impression TA had taken the whole cycle apart to see how it worked, then put it back together again (and I recalled IB saying in an interview some time back that TA had looked at a manuscript and was brilliant enough to pick up instantly on certain features to bring out). This now had something of the unpredictability of an Adès score.

We seemed to be hearing new things. To give a single example, it struck me that in the 20th song, 'Der Wegweiser' / 'The signpost', TA was emphasising the tolling right hand to recall song 1, 'Gute Nacht' / 'Good night', while playing the ascending run of notes in the left hand to echo song 10, 'Rast' / 'Rest'. 'Der Lindenbaum' / 'The linden tree', normally the cycle's gesture towards prettiness, was absorbed into its overall desolation. There were enough quiet-LOUD-quiet dynamics to jolt even a Pixies or Nirvana fan, climaxing in an unforgettable 'Der Leiermann' / 'The Hurdy-Gurdy Man' - not the sound of weary defeat this time, but a raging, almost determined cry of defiance.

Something about Adès's fearless way with the material meets Bostridge's technique head-on, and the outcome is a surprisingly robust, wilful interpretation that doesn't skimp on the anguish or even horror, but doesn't give in to it, either. Already a pioneering work when first penned, this performance made 'Winterreise' sound for all the world like a new, contemporary cycle.

I was at the first of two performances - I assume both will be recorded to ensure the best renditions go onto the disc. I'd love to know if the second gig was different again, and I can't wait to play the performance back. It was wonderful to be so shocked and surprised all over again by a work I thought I knew so well.

Wednesday, 26 September 2018

Chill factor: 'Winterreise' at Temple Church

This post first appeared on Frances Wilson's excellent blog 'The Cross-Eyed Pianist'. For a variety of features that - alongside a special interest in all aspects of piano playing and listening - focus on wider classical music and cultural issues, please pay the site a visit here.

The timing for archiving this post is deliberate. This was a review I wrote for Frances about an intriguing performance of Schubert's 'Winterreise' we saw during the summer - in the writing, it expanded a little to include some thoughts about the piece itself. In my next post, I'm planning to cover a very different rendition of this masterpiece, so it felt right to place this here as a companion.

*

Franz Schubert – ‘Winterreise’, Temple Church, 24 July 2018

Angelika Kirchschlager, mezzo-soprano, and Julius Drake, piano

Schubert’s song cycle – surely the greatest work of its kind – sets to music a series of 24 poems by Wilhelm Müller. In the opening lines, the protagonist begins an unspecified journey on foot, leaving behind a woman who, back in the Spring, he believed he would marry. But now the affair is over. By the second song, we find out her parents have made a better match.

In the bitter, freezing night, he strives to leave the town behind him. But his route is obscure, as he encounters familiar landmarks, signposts, a village, even the post van – and most of all, throughout, he feels the effects of nature: snow, wind, water, clouds, lightning. Towards the end of the cycle, the sense that this voyage is at least partly interior strengthens. Hallucinations get the better of him: an apparently friendly guiding light, multiple suns – all symbols for what he has lost). Finally, he meets a mysterious ‘organ-grinder’, and considers joining him, to sing and play together. There are a number of interpretations of the ending out there: the one I favour – and I think I’ve come across the most – is that the figure indicates the cycle is eternal. The hurdy-gurdy goes round and round for ever, and the grinder could even be the wanderer’s future self. Or, he could, simply, be Death.

(No-one seems to think he’s just an organ grinder.)

Schubert composed the first 12 songs in the cycle in early 1827, before he even knew about the rest of the poems in the sequence. The story of his friends’ utter bewilderment on hearing them is often told in programme notes and CD booklets, so I won’t repeat it in detail here. But with all these years’ hindsight, it seems to me that ‘Winterreise’ must have sent shivers down their spines because Schubert wrote exactly the music the words demanded. There are tantalising flashes of vigour, even joy – and brilliantly robust, yet fractured piano parts that mirror so well a voice wracked with both determination and despondency – but the overall mood is poignant, downbeat and unresolved.

‘Winterreise’ might be cold to the touch, but it’s difficult to escape its icy grip. Speaking as an avid listener, I seem to gather recordings of it in an almost addictive way, constantly searching for new angles and insights.

Singers are drawn to it like moths to a blue flame. Perhaps it’s the art song equivalent of a Hamlet, or Lear – a rite of passage. Many feel the urge to visit and re-visit it. Ian Bostridge has a famously close relationship with the cycle, writing a book about it, and recently performing a semi-staged, orchestrated version against projected footage of this younger self. Mark Padmore and Florian Boesch have each recorded it twice in the last ten years (with different accompanists).

And that’s just a few of the men. However, the protagonist of ‘Winterreise’ – definitely a chap – must be an irresistible ‘trouser role’…? (It’s easy to forget that song is as visual a medium as opera – writing before recorded music was dreamt of, Schubert could only ever have imagined someone standing up, putting these songs across to a live audience.) But even though there are numerous recordings – including Brigitte Fassbaender, Christa Ludwig, Nathalie Stutzmann or one of my personal favourites, Alice Coote’s searing live disc – the opportunity to hear a woman perform ‘Winterreise’ live still feels all too rare.


Tonight, we were in Temple Church to hear mezzo-soprano Angelika Kirchschlager’s interpretation, for the first time. I’ve always found AK’s performances of art song thrilling: as much acted as sung, and with a captivating emotional range. I was excited to hear how she would apply this over a continuous narrative, rather than stand-alone lieder. What I experienced was completely fearless, at times frustrating but always fascinating.

The venue was both friend and foe. In Temple Church, at least where my companions and I were sitting, there’s a gloriously resonant but quite echoey acoustic. I’m not a sonic scientist, but at times, it felt like the voice and piano clashed slightly because a rumble of bass notes would tumble all over each other, or a phrase would be lost (for example, in the helter-skelter ‘Rückblick’ / ‘A backward glance’). At other points, however, in slower songs like ‘Wasserflut’ / ‘Flood’ or ‘Irrlicht’ / ‘Will-o’-the-wisp’, a fantastic sustain effect was created, allowing AK and JD to continue singing and playing with the traces of the previous note or two still fading. This really enhanced the continuous feel of the performance and lent a sinister edge that would be hard to replicate in a studio recording.

AK’s commitment to the piece was total, and I believe she portrayed the cyclic structure of the story as much through her body language as her voice. In the opening ‘Gute Nacht’ / ‘Good night’, she was still, transfixed, even to the point where I thought she was warming up in some way, not quite in full flow yet. Almost immediately, though, she opened out and began to move. Only in the final song, ‘Der Leiermann’ / ‘The organ-grinder’, when she withdrew back into herself, adopting the same pose, staring at some phantom far beyond the audience, did I realise – thoroughly moved and disquieted – that at the start we had seen her protagonist emerge, and now disappear.

Unafraid to sound harsh or broken when the context demanded, AK could come across at times as if the acting were leading the singing. So effective was she in the cycle’s moodswings that the intensity felt a bit like listening to a 75-minute ‘Erlkönig’, a rollercoaster ghost-train ride that kept me riveted. But this didn’t prevent the emotional high-points of the sequence – in particular, the soaring anguish of the penultimate song ‘Die Nebensonnen’ / ‘Phantom suns’, AK’s bright, glorious tone so tragically affecting – hitting home with a devastating beauty.

Friday, 14 September 2018

Logger rhythms: ENO Studio Live's 'Paul Bunyan'

I was quite late to this particular party. I'd managed to get tickets for 'Paul Bunyan' on the last day of its week-long run. As a result, once it opened, I had the pleasure of seeing the great reviews it received rolling in, and hearing that every last ticket had sold... combined with the agony of having to wait the whole week to see it for myself.

Now another week has gone by. The (saw)dust has settled on the production, and I've hardly stopped thinking about it since. I already know that it will be one of my absolute highlights of the year - but how to start explaining why...?

The show was the latest in English National Opera's 'ENO Studio Live' initiative, now two summers old and going from strength to strength. It's a beautifully appealing idea: outside the regular opera season, when their vast home venue the Coliseum tends to host musicals, the ENO ensemble 'breaks free' to mount smaller-scale productions. But because this is ENO's Chorus and Orchestra we're talking about, 'smaller-scale' doesn't mean there's any reduction in ambition or achievement - quite the opposite.


ENO Studio Live productions before 'Paul Bunyan' have all been staged in the company's rehearsal studios, Lilian Baylis House in West Hampstead. But this time, the setting would be Wilton's Music Hall, the oldest surviving establishment of its kind, a noble relic of sorts with a structure that seems to consist entirely of nooks and crannies. Once in the auditorium, you get a simultaneous impression of narrowness and height - which, as the show will prove, offers the ideal combination of intimate theatrics and vast sound.

'Paul Bunyan' is an operetta by Benjamin Britten, with a libretto by W H Auden. It pre-dates all of Britten's mature operas, being a product of his stay in the US, and as such the score references jazz, blues and show-tunes in a dazzling display of genre-hopping versatility. This is just one of the ways it feels very 'current', in a year when we are celebrating Bernstein, and ENO's first production of the Gershwins' 'Porgy and Bess' is only a couple of months away.

The operetta's subject matter deliberately mines American myth, focusing on Paul Bunyan, a legendary giant logger who clears the forests to usher in modern agriculture, progress over the primitive, man over nature. In a masterstroke, Bunyan himself is never seen, written as an offstage speaking voice to which the visible characters react. This gives him the aura of a 'Voice of God', for sure - but equally serves to distance him from the mayhem his innovations create.

The action walks a constant - but sustained - tightrope between the absurd/surreal and the truly affecting. Amid groups of talking trees and animals, in-fighting lumberjacks and a pair of chefs who can only rustle up soup and beans between them, several characters emerge to absorb the full impact of Bunyan's orbit. Among them are Bunyan's daughter Tiny, who suffers her parents' break-up and the loss of her mother; Hot Biscuit Slim, the cowboy who can actually rustle up a decent meal; Johnny Inkslinger, the reluctant book-keeper; and Hel Helson, the hapless foreman.

It's an 'unbalanced' work, in every sense - at moments, you feel it's properly unhinged. Equally, the first act is almost like a revue in its quickfire array of set-pieces and 'hit mumbers', while the second act is required to slow down, resolve the strands of story and supply the necessary weight, as Bunyan moves on to leave his acolytes searching for their version of America.


(The men's Chorus face the orchestra. All production photos by Genevieve Girling, taken from the ENO website.)

However, ENO's production finds the balance. I thought this was one of the most deftly thought-through stagings I've seen, precision-tooled for the venue. The orchestra were vertical rather than horizontal, arranged in storeys at the back of the stage - meaning no playing area separated us from the actor-singers. Under Matthew Kofi Waldren, they negotiated the lightning shifts in style with real pizzazz, finding that under-explored middle ground between pit and nightclub. As the story got darker, red blinds gradually drew over the players, as if twilight was descending on the stage. The recording of Bunyan's voice (a rich, booming Simon Russell Beale), neon lights and plastic props presented a kind of 'electric cabaret', conjuring up a mid-20th century New York milieu, channelling it through the history in the bricks and mortar of Wilton's, and bringing it all into collision with the enchanted forest.

The use of the space to maximise the effect of the voices was breathtaking. The opening moments would have been worth the price of admission alone, as we suddenly realised we were surrounded by the ENO Chorus, and we were inside the sound they were making. I've written before that one of the key joys of ENO Studio Live is that you get so close to the Chorus - it feels exactly like a classical equivalent of seeing a popular band you love in a small club instead of an arena. You start to hear how each individual singer, always captivating in their own right, forms their particular part of the overall blend - as they move, of course their voice travels with them and you have the luxury of experiencing a 'live', ever-shifting sound mix. However, in 'Paul Bunyan' we get to take that further still, a wall of glorious surround-sound as the choristers moved around and among us. It almost felt like being in the Chorus, without having to sing oneself: result!

But more than ever, this latest Studio Live enterprise gave the deserving Chorus - full of gifted singer-actors and always great movers - a significant number of individual parts, too. Various members morphed in and out of different roles, but I'll try and give credit as clearly as I can.


Claire Mitcher, Rebecca Stockland and Susanna Tudor-Thomas (above) combined the narrator role with a trio of wild geese, offering a sassy commentary on events: on stage for almost the entire duration, they pulled off the difficult trick of sounding gorgeous - running the gamut from sultry to sarcastic - while nailing the physical comedy. This set the pattern, though, for their colleagues. David Newman made an indelible stamp - eh, readers? - as the world's most dedicated postman, and - with Morag Boyle, Michael Burke and Paul Sheehan - formed part of the Quartet of the Defeated, an absolute showstopper of a blues song, delivered straight and all the more chilling for it: 'You don't know all, sir, you don't know all' (below).


Tenor Graeme Lauren and bass Trevor Bowes were superbly (mis)matched as Sam and Ben, the useless cooks: so heartfelt was their acting that, unexpectedly, I found myself thinking, 'I could actually go some soup and beans' - they never let their ludicrous personas get in the way of their powerful delivery.

Deborah Davison, Fiona Canfield, Amy Kerenza Sedgwick, Suzanne Joyce and Jane Read were genuinely terrifying as the woodland elements and animals mocking Helson's failure. While Robert Winslade Anderson, Adam Sullivan, Geraint Hylton, Ronald Nairne, Paul Sheehan (again!), Pablo Strong and Andrew Tinkler were on whip-smart comic form as a variety of Swedes, lumberjacks and farmers. Sophie Goldrick and Lydia Marchione were suitably slinky, disdainful feline foils to guest artist Fflur Wynn's sentimental dog Fido.

I could, quite easily, list the entire Chorus here and I apologise if I've unwittingly left anyone out. But the whole point of naming them is to recognise the distinct mark each member makes on the production.

A true company project, all the remaining soloist roles were taken by singers on the ENO Harewood Artists scheme. Elgan Llyr Thomas was memorably wracked as the conflicted Inkslinger, Rowan Pierce heartrending as Tiny, Matthew Durkan a humorously drawn yet fearfully intense Helson, and William Morgan a heroically confident Slim. These four handsomely carried the final moments of the show where, without disturbing Britten and Auden's closing words and music, they skilfully shifted the mood, through their acting alone, to flip the American Dream into Nightmare.

Congratulations then to director Jamie Manton, himself an ENO Studio Live veteran after directing the first in the series (Dove's 'The Day After'), and his creative team, for reviving this piece, which seems so peculiarly relevant to our current situation. In 'Paul Bunyan', for all its fabulous comedy and derangement, there is damaged nature, reckless humanity, environmental change, techno-fear, mental instability, bullying, broken homes, latent racism, intolerance, the rise of a new world order. Light on its feet, the production manages to examine, criticise or condemn these as appropriate - following through to its downbeat conclusion - while still sending you out of the Hall feeling thoroughly entertained and energised.

Which finally brings me back to the mighty Chorus, whose collective star wattage forms the absolute backbone of ENO Studio Live, and creates much of this energy, almost to the point of sending electricity coursing through the seats. I hope this show, along with its forerunners if possible, can be revived and - perhaps more importantly - recorded, so we have it for posterity. That said, the sky's now the limit: what will they perform - and where - next summer?