WOMAD 2024
31 July 2024
The 2024 WOMAD Festival, at Charlton Park near Malmesbury in Wiltshire, took place over a gloriously sunny weekend. I saw 17 full performances and sampled many more, seeing artists from countries including Brazil, Bulgaria, India, Mongolia, Morocco, Taiwan, Tanzania and Tibet.
It was fascinating to see the Bhutan Balladeers at the Taste the World Stage, demonstrating how to cook a traditional Bhutanese curry (containing a massive bowl of chillies which they told us was half the amount they would normally use!) while singing traditional religious songs written in a language that nobody in Bhutan now speaks. None of the members of the band had ever been out of Bhutan before (and had never previously been on a plane) but they were wonderful ambassadors for this small, remote Himalayan country which has a population of around 800,000.
I was intrigued to see Sangjaru, a trio from South Korea who claimed to stitch together the swing of gypsy jazz with the folk traditions of their Korean homeland. They turned out to be even more eccentric than their description suggested, and great fun - though a little less gipsy jazz than I had hoped.
The Pankisi Ensemble are Cechens from Eastern Georgia - four women singing in achingly beautiful scrunchy harmonies. They were clearly more used to formal recitals than outdoor festivals but the rapturous reception they received from a packed crowd seemed to relax them and they began to smile and even offered an occasional dance move.
I really enjoyed Saigon Soul Revival, from Vietnam, and their very cool take on 60s psychedelia. But my favourite moment of this year's WOMAD was the performance by Duo Ruut - two Estonian women who have invented a completely new way to play the traditional Estonian plucked zither. Rather than sitting with the zither on the lap, the two of them stand facing each other across the instrument (on a high stand) and jointly pluck, bow and strum the single instrument (a bit like a four-handed piano piece) while singing into microphones placed above the zither. They perform their own, beautiful contemporary compositions. And, much like the Estonian zombie-folk duo Puuluup, who I saw at last year's WOMAD Festival (reviewed here in August 2023) Duo Ruut's patter between the songs was genuinely hilarious - and reinforced the idea that the only thing Estonians sing about is the weather! Fortunately WOMAD 2024 had near perfect weather.
You can see a selection of my photos from WOMAD 2024 at: https://culturaloutlook.blogspot.com/search/label/WOMAD2024
Labels: Concerts, Festivals, Music
London Athletics Meet 2024
25 July 2024
On Saturday we were back at the London Stadium in the Queen Elizabeth Olympic Park in East London for the Diamond League London Athletics Meet. We were part of a crowd of 60,000 watching some of the top athletes in the world in their final warm-up for the Paris Olympic and Paralympic Games. As at last year’s London Athletics Meet (reviewed here in July 2023), the stand-out performance was Femke Bol of the Netherlands in the Women's 400m Hurdles who looks on course both to win the Olympic title and to break the world record. Among the British Olympic hopefuls, Keely Hodgkinson ran the fastest 800m time since Caster Semenya in 2018, with Jemma Reekie and Georgia Bell making a British 1-2-3. And Matthew Hudson-Smith beat his own European 400m record to move to the top of the world rankings. It’s going to be interesting to watch them all compete in Paris.
Labels: Sport
Northampton Symphony Orchestra concert
19 July 2024
The Northampton Symphony Orchestra Friends Concert is always a lovely end-of-season party. Last Sunday the NSO gave Callie Rich, Callie Scully, Ian Jones and me the opportunity to reprise our performance of the 'Konzertstück for four Horns' by Heinrich Hübler which we first played with the orchestra in our concert in Grantham last year (reviewed here in November 2023). It’s a fun piece and we really enjoyed ourselves. The concert also featured a brilliant young flute soloist from Northamptonshire Music and Performing Arts trust playing the first movement of the ‘Flute Concerto’ by Carl Nielsen - a fiendishly difficult piece beautifully performed, which also included impressive solos by Kate Bradshaw on bass trombone and Christine Kelk on clarinet. We opened the concert with ‘The Merry Wives of Windsor’ Overture by Otto Nicolai and also played the Intermezzo from 'Fennimore And Gerda' by Frederick Delius which featured lovely solos from Helen Taylor (flute) and Harriet Brown (oboe). We finished with Hamish MacCunn’s ‘The Land of the Mountain and the Flood’ concert overture. It was a very enjoyable concert and a lovely way to say thank you to the Friends of the Orchestra at the end of our 2023-24 season.
Labels: Concerts, Music, NSO23-24
Wimbledon 2024
19 July 2024
In 2006 we saw 35 minutes of Kim Clijsters’ opening match on Number One Court at Wimbledon before spending 5 hours sheltering from the rain (reviewed here in June 2006). So last Saturday felt like long-awaited closure as we returned to Number One Court (with the retractable roof remaining open) to see Kim Clijsters win her match in the Ladies Invitation Doubles, playing with Martina Hingis against Sam Stosur and Cara Black. We had seen Martina Hingis playing in the Invitation draw in 2011, when she was barely old enough to be considered a senior player (reviewed here in June 2011) and it was lovely to see her still going strong 13 years later. We were also treated to a brilliantly entertaining Mens Invitation Doubles match between Bob and Mike Bryan & James Blake and Bruno Soares. We had previously seen the Bryan brothers win two of their Wimbledon Men's Doubles titles (reviewed here in July 2009 and July 2013) and, in retirement, they are still a formidable partnership. But this was a much less serious match, with some great clowning by all four players, all the more funny because of the incredible power and speed they brought to the trick shots and endless rapid-fire rallies at the net.
Labels: Sport
‘Sense and Sensibility’ by Jane Austen, adapted by Frances Poet
19 July 2024
When we took our seats at the outdoor Roman Theatre of Verulamium in St Albans the Saturday before last we were hopeful that we had avoided the predicted showers. But just before the show was due to start the sky darkened and an incredibly loud rumble of thunder was followed by a brief but torrential downpour. And, because of the potential dangers from an electrical storm, the performance was then delayed by 20 minutes while we sat in our wet clothes! Fortunately that was the worst of the rain and we were then able to enjoy the joint Pitlochry Festival Theatre and OVO Theatre production of ‘Sense and Sensibility’ by Jane Austen, adapted by Frances Poet. Like previous OVO productions we have seen at Verulamium (such as 'Much Ado About Nothing', reviewed here in July 2023 and 'The Importance of Being Earnest', reviewed here in July 2022) the scenes were interspersed with versions of modern pop songs - here sung in impressive harmony by the cast. But in ‘Sense and Sensibility’ this quirky insertion of songs by Beyoncé, Olivia Rodrigo and Sophie Ellis-Bextor felt out of keeping with what was otherwise a fairly straight, well-acted, period dramatisation. Nevertheless it was an enjoyable performance with Kirsty Findlay and Lola Aluko impressing as the Dashwood sisters, Elinor and Marianne.
Labels: Drama, Theatre
Northampton Symphony Orchestra concert
2 July 2024
For a horn player, the chance to play one of the symphonies of Anton Bruckner is a rare treat. During my time as a member of the Northampton Symphony Orchestra I’ve now been lucky enough to play the first horn part in three Bruckner symphonies: No 6 (reviewed here in March 2015), No 4 (reviewed here in February 2020) and No 7 which we performed at St Matthew's Church in Northampton last Saturday. Bruckner’s 7th symphony requires at least 8 horn players rather than the usual 4: for our performance there were 10 of us, including 3 former NSO members and 2 friends from Milton Keynes Sinfonia. Four of my colleagues played the Wagner tubas which feature in the wondrous slow movement and the dramatic finale. Their beautiful second movement quartet was particularly splendid, with Ian Jones’ melody gently soaring above the gorgeous harmonies. Bruckner 7 is a big work, comprising more than an hour of abstract orchestral music with no story to guide the listener through it. But it’s not difficult to listen to if you immerse yourself in it. As with all Bruckner’s symphonies there is beauty, glory and brilliance, tempered by humility and moments of unexpected gentleness. NSO conductor John Gibbons cleverly shaped our performance, resisting the temptation to over-romanticise by pulling the tempos about (as many recordings of the symphony do) and maintaining a steady pulsing momentum that let the music’s emotions reveal themselves. John managed to draw a stunning performance of this mammoth, challenging piece from the orchestra, with the endings of each of the four movements creating magical moments of breath-holding silence. The NSO as a whole seemed to rise to the challenge - even those players who are not such Bruckner fans - but, as I said after both of my previous experiences of playing Bruckner symphonies with NSO, mostly it was about the horns!
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The NSO horn section for Bruckner Symphony No 7
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The concert opened with Alexander Borodin’s ‘Prince Igor Overture’ which features some of the same tunes as the better-known ‘Polovtsian Dances’ and included a brilliant clarinet solo by Naomi Muller and a lovely horn solo by Ian Jones.
We also played Amy Beach’s ‘Piano Concerto’ with the amazing young pianist Julian Chan. The concerto, which was premiered in 1900 by the Boston Symphony Orchestra with the composer as the soloist, was the first piano concerto written by an American woman. It’s a big, dramatic, romantic piece in four movements that deserves to be much better-known. Julian Chan, who joined us last year to play Saint-Saens’ ‘Piano Concerto No 5’ (reviewed here in February 2023) learned the Amy Beach concerto specifically for our concert but gave the impression it had been in his repertoire for years. The lush sprawling piano chords of the lengthy first movement, the gentle clockwork perpetuum mobile piano notes throughout the second movement and the Chopinesque playfulness of the fourth movement were all brilliantly executed. It’s a lovely concerto - and it was a wonderful concert to mark the end of Emily Groom’s tenure as the orchestra’s leader.
Emily joined NSO in 2021, leading the orchestra in our first concert following the Covid-19 lockdowns in October 2021. Her many contributions to our concerts have included beautiful violin solos in 'Symphony No 9' by Ralph Vaughan Williams (reviewed here in October 2022), Rimsky Korsakov’s ‘Scheherazade’ (reviewed here in February 2023) and Beethoven’s ‘Romance for violin and orchestra No. 2 in F major’ (reviewed here in July 2023). Many thanks Emily and all best wishes for the future.
Labels: Concerts, Music, NSO23-24
