Review – The Beauty of Tchaikovsky, Royal Philharmonic Orchestra at the Royal and Derngate, Northampton, 22nd September 2019

Beauty of TchaikovskyFantastic as always to welcome the Royal Philharmonic Orchestra back to the Derngate Auditorium for this first of this season’s concerts, with The Beauty of Tchaikovsky, a (dare I say it) slightly limp title for a full-force evening of music. What next, The Loveliness of Liszt? The Marvellousness of Mozart? Come on, RPO Marketing department, make the titles a bit snappier!

Gianluca MarcianoNot that the title put anyone off attending this concert because empty seats were few and far between for this programme of four exciting and occasionally challenging Tchaikovsky pieces. Our conductor for the evening was Gianluca Marciano, whom we haven’t seen before, and who is attached to a number of orchestras in exotic and mysterious places like Belarus and Lebanon. Who knew he would be attracted to the glamour of Northampton? Mr Marciano is a smart, theatrical, bouncy chap in a shiny tail suit who really feels the rhythm surging through his bendy knees, as he reaches on tippytoes to get the attention of the furthest-away musicians. They respond very well to him too, as the RPO were on terrific form throughout the evening.

Gemma SummerfieldOur first piece was the Polonaise from Eugene Onegin, Op.24, an instantly recognisable, stately extravaganza with all strings ablaze, and a perfect way to start the show. Then it was time for our soloist, soprano Gemma Summerfield, who sang the Letter Scene from the same opera. Ms Summerfield looked fantastic in her stunning blue evening dress and – cliché time – has the voice of an angel. Her elocution is crystal clear (even if you don’t understand the Russian) and she sings with a full, rich warmth, oozing expression and attitude. This was her debut with the RPO but it’s a match made in heaven, so I hope they have a long and happy career together!

RPONext Mr Marciano took the orchestra through the Romeo and Juliet Fantasy Overture. My first thoughts were if this is an overture, how long is the entire ballet? But I was mistaken. There is no ballet, or opera, for which this is its overture. It is a stand-alone work, a kind of sonata that musically represents the entire Romeo and Juliet story. Although it’s one of Tchaikovsky’s best-known works, I hadn’t heard it before and I found it quite chewy in parts – not the performance, but the piece itself. It’s very in-your-face, highly expressive and the tragedy of the story really comes across in the toughness of the music, which the RPO conveyed superbly well.

RPO1-300x200After the interval we returned for a performance of the Fifth Symphony in E Minor, Op.64, a masterful sequence of tunes and moods which really brings the strength out of the strings and provides a very haunting horn solo. But the whole orchestra gave it all incredible commitment, and the robustness of the piece and the performance was a wonderful way to end the evening. Look forward to enjoying some more of the concerts throughout the season!

Review – Royal Philharmonic Orchestra Film Music Gala, Royal and Derngate, Northampton, 5th July 2019

Film Music GalaThis is the second time that we have seen the Royal Philharmonic perform a Film Music Gala at the Royal and Derngate; the first, in 2017, featured soloist Alison Jiear to sing some Bond themes and I Will Always Love You from The Bodyguard. No soloist this time, which was perhaps a shame, as some vocals add variety to a gala night, when the orchestra is performing a number of short pieces; eighteen this time, plus an encore.

Nevertheless, it was still a very enjoyable show, with the Royal Philharmonic on excellent form. This time they were under the baton of Pete Harrison, who was new to us; he’s used to conducting West End Show orchestras and Pop/Classic crossover concerts – and we were really impressed to learn that he conducted the Russian State Symphony Orchestra in Moscow playing the music of Pink Floyd. Now that’s eclectic.

Pete HarrisonMr Harrison is a warm and friendly chap, clearly with a great rapport with the orchestra which also conveys itself into the auditorium. The nature of this concert meant that he spent a lot of time with the microphone introducing the various pieces to us and/or commenting about them afterwards and he obviously really enjoys bringing this kind of music to a large audience; and, I must say, the Derngate was pretty packed, with concertgoers of all ages.

Some of the pieces they had played before in the previous concert, some were new to the repertoire. We started with the Main Theme to The Big Country, with its broad, bright suggestion of wide open spaces and heroic cowboys. Next was the end reworking of the Main Theme from Jurassic Park, more melodic than brash, but very welcome. After that came the theme from Legends of the Fall, bookended by some beautiful, reflective piano playing by Roderick Elms. Back to the bold and brash with Where Eagles Dare, but then much more reflective and evocative with Out of Africa.

Duncan RiddellThe concert continued with John Williams’ theme to Schindler’s List, then The Fellowship of the Ring, Gabriel’s Oboe (from The Mission), going into the interval with the triumphant 633 Squadron. After the break, we went back in history somewhat to Sir Arthur Bliss’ Things to Come march from 1936; then the bold and contemporary fun of Apollo 13 – the Last Frontier, and The Da Vinci Code – Chevaliers de Sangreal. Two much more well-known pieces followed – Lara’s Theme from Doctor Zhivago (no 1960s easy listening album was complete without a version of this) and the famous Born Free, from the film of the same name. Then something very different – Ashokan Farewell from The Civil War, with leader of the orchestra Duncan Riddell showing his mastery of the folk violin style.

The last pieces of the concert were the famous Raiders March from Raiders of the Lost Ark – which I thought sounded especially tremendous – then Jack Sparrow’s theme from Pirates of the Caribbean: Dead Man’s Chest, and finally the main theme from Star Wars – a true crowdpleaser (and one we heard only a month ago in the RPO’s Planets show). For an encore they performed the Flying Theme from E.T. – and a very warm finish to the concert it was too.

Royal Philharmonic OrchestraMaybe not the most cerebrally demanding evening of orchestral music but this show’s prime purpose is to entertain with some great pieces of modern composition – and it certainly does that! The Royal Philharmonic will be back in Northampton on 22nd September with a programme of Tchaikovsky music. I’m expecting something very lively!

Review – The Planets: An HD Odyssey, Royal Philharmonic Orchestra, Royal and Derngate, Northampton, 7th June 2019

The Planets: An HD OdysseyThis is the first time that I’ve seen precisely the same concert twice. Three years ago, the Royal Philharmonic brought their Planets/Odyssey show to the Royal and Derngate and I didn’t realise at the time that it’s obviously constructed as an off-the-peg package. Watching it a second time, not only was the film accompaniment to the performance of the Planets identical, but also the other short classical works in the first half of the concert were exactly the same, played in exactly the same order, and, I think, with exactly the same expression. Even the audience’s reaction was the same, including the embarrassed chuckles at the words “Saturn – the bringer of old age”.

RPOgroupTherefore, gentle reader, there’s not a lot of point my re-writing my comments of three years ago because they still apply, so can I point you towards my review of their performance on 26th June 2016, and please just ignore my bitter post-referendum ramblings at the time (unless you still feel the same way that I do about that subject – that’s up to you).

Nick DaviesWe did, however, have a different conductor for this performance: Nick Davies, a dapper little chap, resplendent in his shiny black suit, revelling in his work, and generously giving the members of the orchestra all the attention and respect that they deserve. Funny how Mr Davies and John Torode of Masterchef fame are never seen in the same room together…. I think we should be told. We’d enjoyed watching Mr Davies conduct the orchestra here twice before, for two of the regular Last Night of the Derngate Proms concerts. He must be more at ease with the jolly/gala kind of nights than the seriously cerebral classical concerts.

Two extra observations in addition to my three-year-old review; this time round, I enjoyed all the film sequences much more. Yes, they can get a little repetitive, but you have to admire the artistry and the technological knowhow that got those images to that screen; pretty mind-blowing if you think about it. However, the screen itself is, frankly, a nuisance in the first half. Its constantly scrolling through messages with details of the RPO’s social media pages and an advert that you can buy the CD in the interval is unnecessarily distracting from the performance. Mrs Chrisparkle thought they should have somehow lessened its impact. A conversation in the Gents toilet I overheard in the interval was more blunt: “I wish they’d get rid of that ****ing screen!”

I’m sure this concert will continue to tour and turn up every few years in all the usual places. And there’s no reason not to go again, as it’s a very enjoyable treat for both ears and eyes.

Review of the Year 2018 – The Ninth Annual Chrisparkle Awards

Welcome again to the glittering excitement that is the announcement of this year’s annual Chrisparkle Awards. The whole team has diligently assessed each and every eligible performance (i.e. I’ve thought hard about them) to create longlists then shortlists and then finally the ultimate prize for some splendid practitioners of their arts. Eligibility for the awards means a) they were performed in the UK and b) I have to have seen the shows and blogged about them in the period 11th January 2018 to 7th January 2019.

Are you all sitting comfortably?

The first award is for Best Dance Production (Contemporary and Classical)

Last year the Committee decided to combine all the dance productions seen in the year, both at the Edinburgh Fringe and in other theatres, and this year we have decided to continue this practice. That gives us seven shows to consider, and it’s been remarkably difficult to come to a conclusion, but we have.

In 3rd place, the two hilarious and skilful programmes that made up the triumphant return of Les Ballets Trockadero de Monte Carlo (The Trocks to you and me) at the Peacock Theatre, London, in September.

In 2nd place, the immaculate and riveting performances of the dancers from the Richard Alston Dance Company at the Royal and Derngate, Northampton, in October.

In 1st place, never failing to hit the mark on technique, emotion and sheer entertainment, Matthew Bourne’s Swan Lake at Sadler’s Wells, London, in December.

Classical Music Concert of the Year.

We only managed five classical concerts in 2018 but the quality was, as usual, excellent, so it was extremely difficult to whittle it down to a top three. Nevertheless, the Committee insisted, so here goes:

In 3rd place, Alan Buribayev Conducts Chopin, with an exciting programme of Czech, Polish and Finnish music including Chopin’s Piano Concerto No 2 in F Minor played by Alexander Romanovsky, and the Royal Philharmonic Orchestra, at the Royal and Derngate, Northampton, in April.

In 2nd place, Michael Petrov Performs Tchaikovsky, including a magical performance of Mendelssohn’s Symphony No 4 in A Major, and Michael Petrov giving us a spellbinding performance of Tchaikovsky’s Variations on a Rococo Theme, with the Royal Philharmonic Orchestra conducted by Rory Macdonald, at the Royal and Derngate, in February.

In 1st place, A Night at the Ballet, a superb programme of ballet music including Delibes’ Sylvia Suite and Saint-Saens’ Danse Macabre, with Nathan Fifield conducting the Royal Philharmonic Orchestra, at the Royal and Derngate, in June. A clean sweep for the RPO!

Best Entertainment Show of the Year.

This means anything that doesn’t fall into any other categories – for example pantos, circuses, revues and anything else hard to classify. Very few contenders this year, and it looks remarkably like last year’s awards, but here’s the top three:

In 3rd place, the unstoppable Damian Williams starring in Peter Pan at the Lyceum Theatre in Sheffield in January 2019.

In 2nd place, the humour-enhanced reincarnation of the Burlesque Show at the Royal and Derngate, Northampton in January 2018.

In 1st place, the utter filth and pure showbiz hilarity of Snow White at the London Palladium in December.

Best Star Standup of the Year.

Eight big-name stand-up comics qualify for this year, and it’s very difficult to judge because they were all excellent in their own way, so I can only rank them in the order that I enjoyed their show. I only listed a top three last year but this time I need a top five:

In 5th place, the beautifully constructed and thought provoking Choose Your Battles tour from Lucy Porter, Underground at the Royal and Derngate, Northampton, in April.

In 4th place, the fearless use of a range of awkward subjects brilliantly mixed up by Paul Chowdhry in his Live Innit tour, at the Royal and Derngate, Northampton, in March.

In 3rd place, the quirkily intellectual and extremely clever Total Eclipse of Descartes tour by Rob Newman, at the Royal and Derngate, Northampton, in November.

In 2nd place, and the winner of last year’s best Screaming Blue stand-up, the sheer delight of Daliso Chaponda and his What The African Said tour, at the Royal and Derngate, Northampton, in February.

In 1st place, on unbeatable form, the fantastic Devil May Care tour by Marcus Brigstocke, at the Royal and Derngate in October.

Best Stand-up at the Screaming Blue Murder nights in Northampton.

It’s been a great year of Screaming Blue Murder nights; a longlist of seventeen comics brought forward a shortlist of seven and here are the top five:

In 5th place, hilarious and outrageous as always, Robert White (28th September)

In 4th place, for his ability to invest a room with such sheer happiness, Jonny Awsum (13th April)

In 3rd place, always expect the unexpected with the extraordinary Russell Hicks (16th February)

In 2nd place, a new name to me and a superb talent with refreshing material, Stefano Paolini (12th October)

In 1st place, again, a first timer at Screaming Blue (I believe) but what a gifted way of weaving comedy magic out of some tough material, Sean Meo (14th September)

Last year, the Committee introduced a new category; as we continue to see so many stand-up comedy acts in other clubs, such as the Leicester Comedy Festival, Bluelight Comedy, Upfront Comedy Shows and Edinburgh Try-outs in various locations, here’s the Best of the Rest Stand-up Award. Again, a long longlist of nineteen was whittled down to a shortlist of ten, and here’s the top five:

In 5th place, the sheer professionalism and endless inventiveness of Patrick Monahan, in the Edinburgh Try-out of his show, Goals, at the Comedy Crate Festival, Black Prince, Northampton in July.

In 4th place, the fantastic delivery and fresh material of Drew Fraser (Upfront Comedy) at the Royal and Derngate, Northampton, in November.

In 3rd place, the musical madness and effervescence of Friz Frizzle, Song Ruiner (Leicester Comedy Festival, Late Night Jokes On Us, Manhattan 34 Bar, Leicester) in February.

In 2nd place, the fantastic comedy character creation that is Barbara Nice (Upfront Comedy Slam) at the Royal and Derngate, Northampton, in February.

In 1st place, a solid gold discovery of great confident delivery and material, Kane Brown (Upfront Comedy Slam) at the Royal and Derngate, Northampton, in February.

Best Musical.

I saw seventeen musicals this year, and only – perhaps – three weren’t really up to scratch. So that meant it was a tough choice to come up with a top five. But I did it!

In 5th place, and still very fresh in the memory, the superb production of Kiss Me Kate at the Crucible Theatre, Sheffield, in January 2019.

In 4th place, the invigorating and hugely emotional revival of Barnum, at the Menier Chocolate Factory, London, in February.

In 3rd place, the stunningly technological revival of Chess at the London Coliseum that we saw in May.

In 2nd place, the visually and musically overpowering experience that is the new look Les Miserables, at the Curve Theatre Leicester, in November.

In 1st place, believe the hype, it simply blew us both away; Hamilton at the Victoria Palace Theatre, London in December.

Best New Play.

Just to clarify, this is my definition of a new play, which is something that’s new to me and to most of its audience – so it might have been around before but on its first UK tour, or a new adaptation of a work originally in another format. I’ve seen 14 such plays this year; one of which we left at the interval, but most of the rest were very good indeed. Here’s my top five:

In 5th place, Alan Bennett’s quirky, funny and sad examination of the current state of the NHS in Allelujah, at the Bridge Theatre, London in July.

In 4th place, the very challenging and in many ways absolutely bonkers A Very Very Very Dark Matter, at the Bridge Theatre, London, in October.

In 3rd place, a production which most other people didn’t seem to appreciate but I thought was masterful in so many ways, Kiss of the Spider Woman at the Menier Chocolate Factory, London, in March.

In 2nd place, the abstract, fanciful, and totally adorable, Flying Lovers of Vitebsk, at the Royal and Derngate, Northampton, in April.

In 1st place, the heart-stopping, tragic, hilarious and exciting The Lovely Bones, at the Royal and Derngate, Northampton, in October.

Best Revival of a Play.

I saw twenty revivals, the majority of which were absolute smashers. Eight made the shortlist; here’s the top five:

In 5th place, the immaculate characterisation and brilliantly realised humour of The Merry Wives of Windsor by the RSC in Stratford in August.

In 4th place, the powerful performances and clarity of story-telling of Timon of Athens, by the RSC in Stratford in December.

In 3rd place, the brilliantly clever updating of Tartuffe by the RSC in Stratford in September.

In 2nd place, the eye-opening and redefining version of Hamlet by the RSC touring to the Royal and Derngate, Northampton, in February.

In 1st place, the fabulously funny and joyful revival of The Fantastic Follies of Mrs Rich, by the RSC in Stratford in April.

A clean sweep for the RSC is pretty amazing! However, as always, in the post-Christmas season, time to consider the turkey of the year – and my biggest disappointment was the tedious and generally pointless production of Macbeth, also by the RSC in Stratford in April.

Now we come on to our four categories specifically for the Edinburgh Fringe. The first is:

Best play – Edinburgh

We saw 20 plays in Edinburgh, and here are the top 5:

In 5th place, the individual tour-de-force of and by Alison Skilbeck in Are There More of You? (Assembly Hall)

In 4th place, another gripping solo performance in Fear No Colours’ Tonight with Donny Stixx (The Space @ Jury’s Inn)

In 3rd place, the very funny and beautifully written Gayface, written by Chet Wilson (The Space on North Bridge)

In 2nd place, the anarchic and hilarious Holy Sh*t by Jack Fairhurst (Paradise in the Vault)

In 1st place, the play that had us in stitches for the first 75% and then tears for the rest of it, Sheffield University Theatre Company’s incredible My Mate Dave Died by Mike Alexander (Greenside @ Infirmary Street)

Best Individual Performance in a Play – Edinburgh

As always, a really hard one to decide as so many Edinburgh plays are true ensemble efforts. Nevertheless, here are the top three:

In 3rd place, Wilf Walsworth for My Mate Dave Died (Greenside @ Infirmary Street)

In 2nd place, Alison Skilbeck for Are There More of You? (Assembly Hall)

In 1st place, Chris Duffy for Tonight with Donny Stixx (The Space @ Jury’s Inn)

Best stand-up comedy show – Edinburgh

Only eight shows this year gives this top three:

In 3rd place, still as funny as ever but this year eclipsed by a couple of truly brilliant shows, Spank! (Underbelly Cowgate)

In 2nd place, a comic we have seen many times before but never on fire like this, the fantastic Abigoliah Schamaun in Do You Know Who I Think I Am?! (Underbelly Cowgate)

In 1st place, someone who tickled our funnybone in a way it hadn’t been tickled before, Olaf FalafelThere’s no I in idiot (Laughing Horse @ The Pear Tree)

Best of the rest – Edinburgh

A short list of ten provides this top five, which was agony to choose, so I decided to favour new talent over more established artists:

In 5th place, the always hilarious and increasingly popular Foil Arms and Hog, Craicling (Underbelly Bristo Square)

In 4th place, the emotion-packed and fantastically musical, John Partridge – Stripped (Assembly Checkpoint)

In 3rd place, always worth getting up early for a bizarre version of Taming of the Shrew with Shakespeare for Breakfast (C Venues, Chambers Street)

In 2nd place, a brilliant comedy find from the likeable Patrick McPherson and Zac Peel – Camels (Underbelly Bristo Square)

In 1st place, throwing away all the rule books, the brilliant Garry Starr Performs Everything (Underbelly Cowgate)

This year’s Edinburgh turkey, which was so awful we had to walk out at a convenient break (along with the majority of the audience), was Hillary’s Kitchen (The Space @ Surgeon’s Hall)

Best Local Production

This would normally include the productions by the University of Northampton students, the Royal and Derngate Actors’ Company, the Youth Companies, local theatre groups and the National Theatre Connections. However, of these groups, I only saw productions by the University students, so they sweep the board!

In 5th place, the 2018-19 3rd Year Students’ production of A Christmas Carol at the Isham Dark Studio in December.

In 4th place, Ytho’s production of O,FFS that they took to Edinburgh, but which I saw at the University in October.

In 3rd place, from the Flash Festival, Blue Shift Theatre’s production of Deciding What to do with Dad.

In 2nd place, again from the Flash Festival, Open Eye Theatre’s production of Drained.

In 1st place, the 2017-18 3rd Year Students’ production of Accused at St Peter’s Church in February.

Best Performance by an Actress in a Musical.

Time to get personal. Here are the top five, they were all fantastic in their own way:

In 5th place, Sharon Rose as Eliza Hamilton in Hamilton at the Victoria palace, London, in December.

In 4th place, Alexandra Burke as Svetlana in Chess at the London Coliseum in May.

In 3rd place, Rebecca Lock as Lilli/Katherine in Kiss Me Kate at the Crucible Theatre Sheffield in January 2019.

In 2nd place, Laura Pitt-Pulford as Charity in Barnum at the Menier Chocolate Factory, London in February.

In 1st place, Caroline Quentin as the Duchess of Hareford in Me and My Girl at the Festival Theatre, Chichester in August.

Best Performance by an Actor in a Musical.

Nine performances in the shortlist, producing this top five:

In 5th place, Ash Hunter as Alexander Hamilton in Hamilton at the Victoria Palace, London, in December.

In 4th place, Killian Donnelly as Jean Valjean in Les Miserables at the Curve Theatre Leicester, in November.

In 3rd place, Tim Howar as Freddie in Chess at the London Coliseum in May.

In 2nd place, Dom Hartley-Harris as George Washington in Hamilton at the Victoria Palace, London, in December.

In 1st place, Callum Francis as Lola in Kinky Boots at the Royal and Derngate, Northampton, in September.

Best Performance by an Actress in a Play.

Fourteen in the rather long shortlist, but here’s the top five:

In 5th place, Penelope Keith as Mrs St Maugham in The Chalk Garden, at the Festival Theatre, Chichester, in June.

In 4th place, Sophie Stanton as Mrs Rich in The Fantastic Follies of Mrs Rich, at the Swan Theatre, Stratford-upon-Avon, in April.

In 3rd place, Zoe Wanamaker as Meg in The Birthday Party at the Harold Pinter Theatre, London, in February.

In 2nd place, Kathryn Turner as Timon in Timon of Athens, at the Swan Theatre, Stratford-upon-Avon in December.

In 1st place, Christine Beaumont as Susie in The Lovely Bones at the Royal and Derngate, Northampton, in September.

Best Performance by an Actor in a Play.

Another long shortlist, with eighteen contenders in my shortlist, but here is the top five:

In 5th place, a short appearance, but what a masterclass, Sir Antony Sher as Nicolas in One for the Road, part of Pinter One, at the Harold Pinter Theatre, London, in October.

In 4th place, Ben Whishaw as Brutus in Julius Caesar, at the Bridge Theatre, London, in March.

In 3rd place, Jude Owusu as Tamburlaine in Tamburlaine the Great, at the Swan Theatre, Stratford-upon-Avon, in September.

In 2nd place, Toby Jones as Stanley in The Birthday Party at the Harold Pinter Theatre, London, in February.

In 1st place, Paapa Essiedu as Hamlet in the RSC’s Hamlet, at the Royal and Derngate, Northampton in March.

Theatre of the Year.

For the fourth year running there’s no change in the Number one theatre but we have a new Number two! Continuing to present an extraordinary range of drama and entertainment, this year’s Theatre of the Year is the Royal and Derngate, Northampton, with RSC’s Royal Shakespeare Theatre/Swan Theatre as runner-up.

Didn’t quite exceed last year’s record number of shows seen but still managed to do quite well with 178 productions in all. Thanks to you gentle reader for continuing to read my theatre reviews. Let’s look forward to another wonderful year of theatre in 2019!

Review – The Thirteenth Malcolm Arnold Festival Gala Concert – The Consummate Communicator; BBC Concert Orchestra, Royal and Derngate, Northampton, 14th October 2018

Thirteenth Malcolm Arnold FestivalThe annual Gala Concert of the Malcolm Arnold Festival is always a thing of beauty and a delight to the ear. Northampton’s famous son turned his hand to so many different styles of music, that it’s great to cherish this festival. It’s inevitably a source of great fascination to hear some pieces you haven’t heard before, and to admire his mix of quirkiness and solemnity. For this concert by the BBC Concert Orchestra, our conductor was Keith Lockhart, a dapper chap with a spring in his step who let the music do the talking. He spent most of his time perched atop a rather battered wooden podium that looked as though it had just come out of a shed, which didn’t really suit the glamour of the rest of the evening. When Mr Lockhart becomes engrossed in his music, his left foot starts to twitch and bounces around in appreciation of the music. When he gets really carried away, he does a series of jumps. Performance clearly oozes through every pore of him.

Keith LockhartOur first item was Leonard Bernstein’s Symphonic Dances – West Side Story, and, as far as I’m concerned, definitely the best way to hear these uplifting tunes. Somewhere, Maria and I Have a Love dominate these symphonic dances, and the percussion and harp demand to be heard in addition to the usual string and brass instruments. The BCO were clearly in the mood for a lively evening of energetic playing and this piece brought out their showbizzy side; the performance went down a treat with the audience.

Julian BlissNext, we met our soloist for the evening, the brilliant clarinettist, Julian Bliss. We’ve seen Mr Bliss perform at the Royal and Derngate three times before, once with the Royal Philharmonic, and twice with the Worthing Symphony Orchestra as part of the Malcolm Arnold Festival in 2013 and 2014. For this concert, once again he played us something different. First up was a Scherzetto for Clarinet and Orchestra by Arnold, taken from his film score for the 1953 movie You Know What Sailors Are. The film is probably best forgotten, but the scherzetto is a brilliant little musical joke; a tune that cocks its head to one side, pokes its tongue out and saucily lifts its leg up. Mr Bliss played it with all the panache you’d expect.

BBC Concert OrchestraThen he played the more thoughtful and introspective Clarinet Concerto by Aaron Copland – appropriate for this concert because Copland and Arnold were great friends. Two movements are joined by a cadenza, which Mr Bliss attacked with gusto. How he remembers all the nuances of the music – let alone the notes – without any sheet music beats me. It’s an engrossing piece and sometimes you wonder how the clarinet part and the orchestra part mesh together, but they always manage it. A very moving and rewarding way to guide us to the interval.

malcolm-arnoldAfter the interval, we had a short speech from Paul Harris, the Festival Director, giving us a little extra insight into the pieces and the reasons why they were chosen for this concert. After a brief hiatus where the leader of the orchestra forgot to tune his colleagues up until he got a nudge from the violins behind (I have to say, orchestra leaders are getting younger every year) we welcomed back Mr Lockhart and went straight into our final piece, Malcolm Arnold’s 4th Symphony. In 1958, Britain saw race riots which affected Arnold deeply; he was dismayed and upset that such a thing could happen. So when he was commissioned to write a symphony the following year, he decided to involve instruments and rhythms that would have been more associated with African and Caribbean music, but integrating them into the formality of a “western” symphony, to show how the two can happily co-exist.

BBC COThe result is a lively and wide-ranging symphony, given additional depths by the African and Caribbean elements. Mr Harris told us to watch out for Puerto Rican influences too, which is why the West Side Story piece fitted into the evening’s entertainment. I must say, I couldn’t really discern much of a West Side Story vibe, but I’m sure that’s my ears not working properly. Of its four movements, I much preferred the second (vivace ma non troppo) and the fourth (con fuoco – a lot of fuoco in fact.) There was a disturbing calm about the second movement – expressed beautifully by the orchestra– which reminded me of one of Arnold’s English Dances, but as though it had been fragmented, and half the notes removed to leave a ghostly hint of the original. The fourth was full of power and amazingly lush arrangements on which the orchestra truly went to town.

As always, the Malcolm Arnold Festival Gala Concert was a complete treat, and an essential part of the Royal and Derngate’s classical offerings of the year.

Review – Last Night of the Derngate Proms, Royal Philharmonic Orchestra, Royal and Derngate, Northampton, 15th July 2018

Last Night of the Derngate PromsAfter a year’s break, it’s a welcome return to the Last Night of the Derngate Proms, which, as our noble conductor Nick Davies pointed out, is also the First Night, but we shouldn’t let that bother us. We had the pleasure of Mr Davies’ company for the same gig back in 2013, so it’s obviously a job he enjoys. He has a warm, welcoming style and is happy to exchange a bit of banter with the audience, both informative and informal. As if this splendid evening of shameless patriotism couldn’t get any better, Mrs Chrisparkle and I were joined by Lord and Lady Prosecco, who need no lessons in how to enjoy themselves. The ladies of the Royal Philharmonic Orchestra were all decked out in their colourful finery, to give a gala feel to the concert; and of course there were plenty of Union Jacks scattered throughout the auditorium to wave during the familiar exciting bits. And if the orchestra seemed a little hasty to get on and off the stage – as Mr Davies confided in us – orchestra leader Duncan Riddell was going on holiday immediately afterwards, and he clearly had a train to catch.

These concerts are always fashioned as a pot-pourri of Classic’s Greatest Hits, so it was particularly rewarding to see the thought and variety that had been considered for the running order this year. We started off with Vaughan Williams’ Wasps Overture, a lively, buzzy piece of music that immediately challenges the orchestra with its various themes and moods. Then we had the Intermezzo from Sibelius’ Karelia Suite, which the older members of the audience would remember as the theme to ITV’s This Week. Even if the music doesn’t give you that extra nostalgia boost, it’s a superb little piece that builds nicely to its triumphant theme. Great work from the strings and a big shout out to M. Nicolas Fleury, leading the French Horns and celebrating his country’s win in the World Cup earlier that afternoon.

Nick DaviesNext up was the Polonaise from Tchaikovsky’s Eugene Onegin, a rousing, swirling dance that cries out for ballerinas and men in tights. Again, the orchestra members threw themselves into all its majestic jollity, transporting us all into the glamorous ballrooms tucked away in our imaginations. Great stuff. Then a big change of mood – George Butterworth’s A Shropshire Lad, an elegant and pastoral piece that I’d certainly never heard before. Fitting for the Last Night of the Proms as it’s a big slice of Englishness, but with a contemplative nature that appeals to the mind as well as the heart.

Next we were introduced to our soloist for the evening, Soprano Katerina Mina. In a stunning blue evening dress she coquetted through Franz Lehar’s Meine Lippen from his operetta Giuditta, which was also new to me – it only had a few performances in the theatres of Vienna and Budapest in the mid-1930s and never reached London or New York. It’s a great little tune and Ms Mina was delightfully knowing and cheeky all the way through. The final piece before the interval was the Prelude to Act 1 of Wagner’s Meistersinger, which you might consider to be the German equivalent of the Pomp and Circumstance of Elgar; a Teutonic pageant of musical masterfulness. A fantastic way to lead you into your half-time Chardonnay.

Katerina MinaAfter the interval we started off with Glinka’s Overture to Ruslan and Ludmilla, another fizzy crowd pleaser. There’s an art to composing the perfect overture, and in this concert we had two of them. Then we welcomed Katerina Mina back to sing Vissi d’Arte from Puccini’s Tosca. I know it gets trundled out all the time but I think this is one of the most moving pieces of classical music ever written, and Ms Mina sang it with beautiful eloquence infused with tragedy. Absolutely stunning. Then we had Elgar’s Chanson de Nuit, a rather French title for a rather English composition; a lovely, stately ode to romance with just a tinge of Stiff Upper Lip, again beautifully played by the string section. We ended this sequence of music with a lively Slavonic Dance by Dvorak – No 8 in the first set; impossible not to be both shaken and stirred with this smile-inducing, fast paced dance that constantly switches from major to minor and back again.

That’s when Mr Davies gave us our cue that we could start to “join in”. Henry Wood’s heartfelt but introverted Tom Bowling and the always chirpy Hornpipe from his Fantasia on British Sea Songs got us started with the rhythmic clapping – but the audience started too loudly, as usual; then two verses from Rule Britannia, sung by Katerina Mina in a Sgt Pepper jacket and Napoleonic hat, following straight into Jerusalem (my favourite) and then ending up with Elgar’s Pomp and Circumstance No 1 and a rousing double portion of Land of Hope and Glory. We’re here for the music, said Mr Davies, and what’s not to like about that? A very happy crowd went home having wallowed in some of the best classical tunes there are. Huge congratulations to everyone involved!

RPOP. S. I didn’t much enjoy the Last Night of the Derngate Proms two years ago. It followed hard on the heels of the Brexit vote and the jingoistic fervour in the audience was overpoweringly abhorrent. Two years on, things have calmed down a bit and the patriotic fun in this year’s show was just about perfect.

P. P. S. Lord Prosecco says he was “just passing” the stage door when he bumped into the beautiful and charming Ms Katerina Mina, still dressed like an extra from Waterloo (the historical movie, not the Abba song). A Facebook selfie was taken to prove it. Not remotely jealous at all. No sirree.

P. P. P. S. Hope Duncan got his train.

Review – A Night at the Ballet, Royal Philharmonic Orchestra, Royal and Derngate, Northampton, 24th June 2018

A Night at the BalletWhoever it is at the Royal Philharmonic Orchestra who has the job of planning the content for their concerts must have an enjoyable but challenging task on their hands. To create an evening purely of ballet works – with such a range to choose from – must have been more endearment than endurance. Their latest concert, A Night at the Ballet, was jam-packed with punchy tunes and glorious melodies; all from the hands of four 19th century men who put ballet music centre stage (or should that be centre stave).

Unusually, we had no soloist to offer us a virtuoso performance of some great dramatic musical landmark; but I guess that’s typical of ballet music. If it’s designed to accompany a stage performance, it needs to be performed by no more people than you can fit into your average theatre orchestra pit; all hands on deck, and no room for a specialist as you might expect in a symphony or a concerto. Instead, we had the Royal Philharmonic on top form, this time under the baton of Nathan Fifield, a conductor new to us; he’s currently the principal conductor with Nashville Ballet and this is his debut performance with the RPO.

Nathan FifieldMr Fifield is a smart, dashing, clean-cut young gentleman (is it me, or are conductors getting younger nowadays) but with a genuine sense of the beauty of the ballet and delivering some well-chosen and thoughtful observations on the pieces that the orchestra were to play. He doesn’t seem to be one of those authoritarian conductors who impose themselves on the orchestra; he seems much more to be one of the lads, albeit with the extra task of being in charge.

Our first piece was the vivacious Dance of the Comedians from Smetana’s Bartered Bride. A fantastic way of getting the evening underway, with its triumphantly upbeat rhythms giving the orchestra a perfect opportunity to show their mettle. As well as the swirling violins, the brass and percussion also made a huge impact. It’s one of those pieces of music that, when you read the title on some paper, you’re not sure if you’ve heard it before; and when you do hear it, you’re full of the satisfied comfort of recognition and wonder why you don’t play it more often.

Next up, Mr Fifield introduced us to Delibes’ Sylvia Suite and Tchaikovsky’s Swan Lake Suite. He told the story of how Tchaikovsky was so impressed at Delibes’ work (and so unimpressed with his own) that if he’d heard the Delibes before sitting down to write Swan Lake, he’d never have bothered. Fortunately for the rest of mankind, that didn’t happen. I didn’t think I knew any of the Sylvia Suite, but of course I was wrong – this is an evening of Ballet’s Greatest Hits, after all – and the celebrated Pizzicato has been a mainstay of TV and radio adverts since the introduction of Independent Broadcasting. I know where Tchaikovsky is coming from, mind; that Sylvia Suite is a thing of true beauty. The grandeur of its opening and closing movements was stunningly performed by the RPO and the lightness of the Pizzicato is simply impossible not to smile at. But I was most impressed by the almost cumbersome and definitely eccentric Valse Lente, with what seems to have too many notes for its bars; I thought that was really engaging and enjoyable. Again, a fantastic job by the strings.

Mr Fifield said we should compare the Delibes and the Tchaikovsky. Hard to do, because (to me at least) Swan Lake is such a familiar piece of music – possibly one of the most engrossing and gripping works in the musical catalogue of all time. Mr Fifield conducted some parts of it – most notably the Valse and the Scene: Pas d’action – a little more slowly than I am used to hearing it – possibly the pace at which it is most frequently danced. I felt that whilst this enhanced the simple beauty of the melodies and the richness of the orchestra’s performance, it lost a little of the drama. But that’s just me. Daniel de Fry’s harp work was just sensational throughout and I particularly loved the Hungarian dance and the final Mazurka – which I was humming to myself all through the interval.

RPOgroupThe second half started with some more Delibes – this time the Prelude and Mazurka from Coppelia, and again, you are reminded just how famous some of these stonking great tunes are. Another really rousing performance from the RPO; I could imagine the lavishly dressed dancers in my mind’s eye. Next came the item that I had been looking forward to most: Saint-Saens’ Danse Macabre. This has been a favourite of mine since I was a very small child and in fact I even learned to play it on the piano when I was about 16 – I just about managed to scrape through it. Duncan Riddell’s magnificent violin playing brought out both the harsh eeriness and the light playfulness of the piece; I also loved the strident xylophone playing. A sheer joy throughout.

For a finale Mr Fifield brought us his own personal favourite ballet music – Tchaikovsky’s Sleeping Beauty Suite. It sure contains some stunning tunes but I have to say I still prefer Swan Lake! Again Mr de Fry’s golden touch on the harp was magnificent, and the performance by the whole orchestra of the Adagio was absolutely first class. So much so, that it outweighed the rest of the suite’s content, and the audience weren’t really sure that the concert had finished after the performance of the final waltz. Once they were absolutely convinced now was the right time to applaud, they certainly let rip.

It was definitely one of our favourite concerts from the Royal Philharmonic from all the years we’ve been coming to see them. It was just tutu good. Next month – the Last Night of the Derngate Proms, an excuse to get out your nationalist flags. It will also be the same day as the World Cup Final, so if England are still in the tournament…. I just hope no one mentions the B word.

Review – Alan Buribayev Conducts Chopin, Royal Philharmonic Orchestra, Derngate, Northampton, 8th April 2018

Alan Buribayev Conducts ChopinOnce again we welcome back the Royal Philharmonic Orchestra to one of their satellite venues around the UK here at the Royal and Derngate in Northampton, for an exciting programme of Czech, Polish and Finnish music. Our conductor was the ebullient and hard-working Alan Buribayev, whom we saw here two years ago in a fantastic concert that was the winner of the 2016 Annual Chrisparkle Award for Best Classical Concert. So we knew we were going to be in for a treat. This was also our first chance to see Alexandra Wood as First Violinist for the orchestra.

Alan BuribayevWe started with the overture to Smetana’s The Bartered Bride, his 1866 opera that remains one of his best-known works. The overture was written separately, before the rest of the opera, which possibly explains why it’s such an arresting stand-alone piece of music. The strings of the Royal Philharmonic could not resist the opportunity to launch into a full-scale attack on Smetana’s buzzy, vibrant, compelling arrangement, which gripped the audience instantly like a hundred angry bumble bees and did not let go for six brilliant minutes. A great way to start the concert.

Then it was time for the orchestra to disperse whilst the heavy mob brought in the Grand Steinway for our soloist for the afternoon, Alexander Romanovsky, a (fairly) last minute replacement for the original billing of Mark Bebbington, so we’d hoped he’d had long enough to practice Chopin’s Piano Concerto No 2 in F Minor, Op 21. We needn’t have worried. Mr Romanovsky takes to the stage like a snazzy younger version of Will Self, serious and controlled, seated business-like at the piano awaiting his cues. Whilst he’s not playing he simply looks straight ahead, relaxed but unemotional, almost like a non-participatory observer – but looks clearly can be deceptive.

Alexander RomanovskyIf he gives off an unemotional air, that doesn’t translate to his playing. He has the most exquisite lightness of touch, delicately coaxing the fullest and most resounding note from each deliberately pressed piano key. He’s the perfect exponent for Chopin at his most fluttery, his fingers going nineteen-to-the-dozen up and down the keyboard whilst his expression remains one of swan-like calm. It was an incredible performance; and really drew out all Chopin’s superb melodies that are packed into this vivacious concerto, especially the final movement, which I found particularly exciting. When it was all over, Mr Romanovsky allowed himself to crack a smile, so I guess he was pleased at the result. He certainly should have been.

After the interval we returned for a performance of Sibelius’ Symphony No 2 in D Major, Op 43. I’d not heard this symphony before and, I must confess gentle reader, I found it a real challenge. Whilst some of Sibelius’ music has an instant appeal, there’s also quite a lot that sounds to me rather murky and hard to appreciate on first hearing. The excellent programme notes discuss how the first movement of this piece is like a mosaic, with small fragments of music appearing disparately at first but finally coming together to create a whole. Well, I have to confess I found that rather obscure whole hard to recognise! Of course, the RPO were on great form, and individual moments sounded terrific. But I couldn’t grasp it somehow.

RPOgroupThe second movement felt easier: tempo andante, ma rubato – so, at a moderate pace but not rigidly; flexible, to bring out the emotion, and I thought the orchestra (and Mr Buribayev) achieved this brilliantly. The third and fourth movements seemed so crammed with all sorts of musical ideas, that it came across as a difficult and challenging piece to listen to, exhausting even; but also incredibly rewarding. There were some truly superb passages that really sang out, and I think I need to give the symphony another listen before long to try to appreciate what I missed!

Another superb performance by the Royal Philharmonic; when the audience’s sustained applause brought Mr Buribayev back to the podium for a fourth time, no one was in any doubt the extent to which the whole programme had been appreciated. This was another matinee performance by the RPO; it’s great if that encourages a wider age range of concertgoers, although I still, personally, prefer my classical concerts in the evening. I look forward to their evening of Ballet music coming up in June!

Review – Michael Petrov Performs Tchaikovsky, Royal Philharmonic Orchestra, Royal and Derngate, Northampton, 18th February 2018

Michael Petrov Performs TchaikovskyI reckon that attending live performances is habit-forming and after a while, if you see enough, you can end up on auto-pilot. That’s the reason that Mrs Chrisparkle and I kept checking our tickets on Sunday to ensure that this visit of the Royal Philharmonic Orchestra really was scheduled for 3pm and not the usual 7.30pm. It just didn’t quite feel right to be there in the afternoon! There’s no doubt, however, that the matinee performance enabled several more children to attend the concert which is a great thing, especially as this was by no means a children’s programme – there were four, perfectly meaty, substantial and adult pieces of classical music to enjoy, and I hope any new youthful concertgoers found it as exciting and rewarding as we did.

Rory MacdonaldOur conductor for this concert was Rory Macdonald, whom we’ve seen just once before, when Natalie Clein performed Dvořák’s Cello Concerto in B Minor three years ago. He still doesn’t seem to have aged at all, and I’m more than ever sure that he has a grand selfie mouldering in his attic somewhere. He’s an exuberant conductor, one who likes to reach out on tippytoes to get the maximum out of his musicians. With his sleek black hair and formal attire, I couldn’t get the vision of Mary Poppins’ cartoon penguins out of my head. But he does a great job, so far be it from me to take the mickey.

Our first piece was Beethoven’s Egmont Overture. What a grand way to start a concert, with its compelling tunes and robust orchestration. It’s a superbly muscular and self-confident piece of music – everything an overture should be – and the orchestra rose to the challenge magnificently. I also appreciated the slightly pacier tempo which made its strength and power stand out. A great start.

Next we had two pieces of music that were new to me. Two Elegiac Melodies, Op. 34 by Edvard Grieg. I love Grieg’s music and it was a treat to discover something new by him. All the woodwind and percussion left the stage so that we only had the string players – I say “only”, but the lush sound they produced was sensational for these two pure and sincere reflective pieces. There’s nothing comfortable about the Elegiac Melodies, and I found them strangely disconcerting; but I really loved the performance.

After this, there was some general reorganisation as the rest of the orchestra returned and a platform was provided, centre stage, for our soloist, the cellist Michael Petrov. Amongst all the black evening dresses of the ladies of the orchestra and the formal suits of the men, Mr Petrov strode on to the stage in a white shirt not tucked in at the waist, no collar, no jacket, no tie, but with a calm and creative aura about him. He looked like a benign dentist – the sort who doesn’t complain at you if he suspects you haven’t been cleaning your teeth properly.

Michael PetrovMr Petrov was there to play Tchaikovsky’s Variations on a Rococo Theme, Op 33. This was another piece I’d never heard before and I was instantly taken by it. Tchaikovsky takes a relatively simple theme and wraps it around his little finger with seven variations and an astonishing cadenza from Mr Petrov where you could hear a pin drop, so alert were the audience to the passionate tones he produced from his 1846 J B Vuillaume cello – proving that old is often best. The Variations are a great vehicle to show off a bravura performance and Mr Petrov did that with apparently effortless ease. He brought out the humour of some of the cheekier variations and the solemnity of the andante sections. No sheet music, no grand gestures; just a thoughtful and disciplined performance that held the audience spellbound. We absolutely loved it – and now I need to find a decent recording of this piece for my own music library.

This performance was of the Fitzenhagen arrangement of the Variations; Fitzenhagen was the principal cellist with the Orchestra of the Imperial Russian Music Society in Moscow, to whom Tchaikovsky had dedicated the work, but then who chopped and changed the Variations around, much to the annoyance of Tchaikovsky. But maybe Fitzenhagen knew what he was doing, because it’s such an enjoyable mini-concerto, and it’s usually his version that gets performed.

RPO3-300x200After the interval we returned for a performance of Mendelssohn’s Symphony No 4 in A Major, Op 40, better known as the Italian Symphony. As soon as its happy and playful major theme strikes up in the first movement, you’re transported away to sunny climates and a lovely Mediterranean lifestyle. Under Mr Macdonald’s enthusiastic direction, the orchestra brought us all the joy of the first movement, then to change dramatically to the crestfallen sound of the second movement, with its connotations of funereal respect, the stately minuet of the third movement and the raucous scampering of the saltarello dance of the fourth. It was all performed with amazing vigour and energy and had the audience on the edge of its seat with excitement at the end.

A fantastic concert that introduced me to some riveting new pieces and a super soloist. And it was all over by teatime! The next classical offering from the Royal Philharmonic will be in April, with a varied programme of Czech, Polish and Finnish music. Can’t wait!

Review – An Evening of Music and Dance with the Birmingham Royal Ballet and the Royal Ballet Sinfonia, Derngate, Northampton, 20th January 2018

An Evening of Music and DanceHaving an affinity for a particular theatre company, or dance company, or orchestra, is a matter of habit. For four years from 2003 to 2007 Mrs Chrisparkle and I were regulars at the Birmingham Royal Ballet. We would take our little nieces, or our Godchildren, plonk them down in the middle of the Birmingham Hippodrome stalls and they would be overwhelmed with the excitement, the colour, the beauty and the artistry of the dancers. We used to love it too. Then for some reason, we stopped. Mentally I still admired them from afar, but it’s taken ten full years since then to re-establish our proper and much missed acquaintance.

David Bintley

David Bintley

David Bintley, who compered this evening of Music and Dance, told us these shows were a regular phenomenon in Birmingham and have gone down a storm at the Symphony Hall for many years. For the first time they were stretching their wings and taking the show out of town – first stop (and indeed, only stop) Northampton. Thank you so much for thinking of us, BRB, because this was an evening of unmitigated delight that transported the audience from a wet January Saturday to a land of magic and escapism. Everything was beautiful at the ballet, sang the girls from A Chorus Line and if you ever needed proof of that, look no further.

Paul Murphy

Paul Murphy

When you enter the auditorium, the Royal Ballet Sinfonia are all in place on the stage and there’s a large empty area in front of them where the dancers can perform. Will the orchestra distract from the dancers? Will the dancers distract from the orchestra? Neither, somehow the staging seems to complement each other perfectly. Our conductor was Paul Murphy, an enthusiastic chap who’s not above encouraging the orchestra with a bit of jazz hands when a mere baton isn’t enough. He reminded me of a clean-shaven, smartened up and sober version of Father Jack. His utter delight in his work clearly transmits itself to the orchestra who in turn convey it to us. When you see an orchestral performance with a soloist on the violin or the piano, you know that the conductor has to split his attention 50:50 between orchestra and soloist. Similarly, it was fascinating to see how Mr Murphy had to keep one eye on the dancers as well as his musicians in order to keep perfect time with their moves. I’m sure that’s a particular skill that takes many years to achieve and he did it brilliantly.

SinfoniaThe structure of the show is that the Sinfonia performs one orchestral piece, then dancers come on stage and the Sinfonia play the accompaniment; then another piece, then another dance, alternating throughout the evening so that we enjoy twelve items in all – six orchestral pieces and six dances. To be honest, the balletomane in me would have been happy for each of the twelve pieces to have featured dance – I guess that’s what I was expecting – but I appreciate that the alternating pattern sustained the variety of the entertainment, which was probably wise. You can have too much of a good thing, after all.

Celine Gittens and Tyrone Singleton

Celine Gittens and Tyrone Singleton

We started with the cute confection that is the prelude to Engelbert Humperdinck’s Hansel and Gretel – Mrs C was a little disappointed that this wasn’t an orchestral version of The Last Waltz – and then our first dance was the Act III pas de deux from Tchaikovsky’s Sleeping Beauty. Can’t beat a spot of Petipa, and Principal Dancers Céline Gittens and Tyrone Singleton danced it magnificently, decked out in stunning white brocaded costumes. It wasn’t until this first dance that I realised our third row seat gave us an unusually close view of classical ballet – normally with an orchestra in the pit in a large theatre even front stalls seats can feel quite distant from the dancers. Not so this time; and our proximity to the stage gave me an opportunity to concentrate on the technical achievements of the dancers – the balance, the strength, the accuracy, which I find irresistibly rewarding to observe.

Jenna Roberts as Juliet

Jenna Roberts as Juliet

Elgar’s Wand of Youth Suite no 2, The Wild Bears, followed; I’d never heard it before and I was impressed by the way the orchestra threw themselves into its frenzied excitement – one of those pieces that is just great fun. Then our next dance was the pas de deux from After the Rain, by Arvo Pärt, choreographed by Christopher Wheeldon. The poignant, elegant music is played by just the solo violin – Sinfonia leader Robert Gibbs – and solo piano, played by Jonathan Higgins, which made a solemn contrast with the liveliness of what had gone before. It was danced by Principals Jenna Roberts and Iain Mackay on his very final show with the company; he’s been 19 years with the Birmingham Royal Ballet (I’m sure we saw him in Carmina Burana many years ago) and it turned out to be quite an emotional night. The dancers simply immersed themselves in the elegant choreography which managed to be both acrobatic and stately, and the power of the performance was literally breathtaking.

James Barton

James Barton

The next musical item was Korngold’s Adventures of Robin Hood Suite, another piece new to me that had something of a military march to it – I have to say it’s nothing like as evocative of Robin Hood as Carl Sigman’s TV theme, but then what do I know? I was more looking forward to the last dance before the interval, the famous and funny clog dance from La Fille mal gardée choreographed by Frederick Ashton. James Barton, fresh from his year dancing in An American in Paris, danced the role of the Widow, with a cheekily sprightly step and a scarcely suppressed titter. Four soloists, Yvette Knight, Laura Purkiss, Yaoqian Shang and Yijing Zhang completed the coquettishly clogging quintet. Enormous fun, and of course such a catchy piece of music played by the Sinfonia.

Cesar Morales

Cesar Morales

After the interval, we returned to hear Dvorak’s Slavonic Dance Op 46, No 8; the Slavonic Dances are among my favourite pieces of classical music and they gave it a blistering performance. Next up was Weber’s Spectre de la Rose, choreographed by Fokine and danced by Arancha Baselga and Cesar Morales. A very stylised piece, it features Ms Baselga languishing in a posh chair whilst Mr Morales leaps in through the (imaginary) window and cavorts around her. Despite occupying all the available dance space it still comes over as a remarkably intimate piece; and Mr Morales’ Nijinskyesque leaps were pretty phenomenal. A perfect balletic blend of the pure and fragile with the powerful and muscular – a superb performance.

 Iain Mackay in Taming of the Shrew

Iain Mackay in Taming of the Shrew

The Sinfonia then played Sibelius’ Valse Triste, a delicate and moving little piece that sways along; perhaps a little faster than it is normally played, and I think all the better for it. Compere David Bintley returned to introduce Jenna Roberts and Iain Mackay in what was to be his very final dance on stage in his career, Bintley’s own choreography to the much-loved Adagio from Spartacus by Khachaturian, a personal parting gift to the dancer from the director. Mr Mackay danced Spartacus and Ms Roberts his wife Phrygia, in a piece where she informs him she would be giving birth to his son. It was a truly wonderful piece of choreography; very moving, very joyous, and absolutely jam-packed with all different sorts of emotions. Fokine marvellous, in fact.

Momoko Hirata

Momoko Hirata

Before the final dance fireworks (Mr Bintley’s words – and so right he was), the Sinfonia performed two dances from Manuel de Falla’s The Three-Cornered Hat, the instruments positively buzzing with Falla’s fiery orchestrations. Our last item was the pas de deux and solos from Don Quixote; Petipa at his extravagant best. The dancers were Principals Momoko Hirata, performing those crowd-pleasing pirouettes with total joy, and Mathias Dingman who attacked those solo show-off sequences like there’s no tomorrow – his brisés in particular were immaculately executed.

Matthias Dingman

Matthias Dingman

The final standing ovation went for a very long time, with of course special hugs and appreciation for Iain Mackay’s two decades of duty with the company. What a hugely entertaining show; every orchestral piece brimmed with excitement, and every dance was in-your-face fantastic. It was a real privilege to be there. Birmingham Royal Ballet, I apologise for ignoring you over the last ten years. It’s been too long. Hope you’ll make this a regular date and even bring one of your full-length ballets our way some time soon.

The production photos are from a variety of online sources, and from different ballets from those performed in the concert; if they are yours, please let me know if you would like me to remove them.