Meet Sally Matthews

Sally Matthews
Originally uploaded by Duchenj.

Apologies for lack of blog posts this week...it took a little time to recover from this particular birthday, never mind the associated hangover.

Having introduced one of the finest young pianists on the planet a few posts back, I'd now like to introduce one of the great sopranos of the century ahead. Sally Matthews sang Mahler 4 with the LPO yesterday (and is doing so again even as I write). She's been through some of the finest Young Artists schemes in the UK, including the Royal Opera House's, and was a huge hit in Gianni Schicchi at Glyndebourne last year. She tends to receive rave reviews wherever she goes and I think she's not yet out of her twenties. Last night was a prime example of why she is already so celebrated and why I reckon she will be even more so in ten years' time.

The voice is dark for a soprano - the richest vanilla ice cream swirled with dessert wine - and the clarity of the enunciation is exceptional. My German isn't brilliant, but I could hear the text and comprehend it quite well without even glancing at the words in the programme (I don't know this exquisite symphony intimately enough). Most magical of all, although her tone can be bright, large and glorious, were the soft passages: for a singer to create such absolute magic at PP level, while retaining all that beauty of tone and clarity of diction, is something special, unusual and marvellous. Given Sally's range and the richly romantic hue of her tone, I suspect that in a decade, or maybe sooner depending on her stamina and inclination, she might be Korngold's ideal Marietta...

The photo above is downloaded from her website.

It was just as well that Sally sang last night...Tom has threatened to have me assassinated if I say what I really thought about the conductor and the first half's piano soloist. Suffice it to say that there's a very, very kind review here, at Classical Souce.com.

Oy

It's my birthday. Solti the cat brought me not one mouse but two. I don't understand how that cat just knows. Please excuse me for a day or two while I go and have a quick midlife crisis.

Huge explosions early this morning at an oil refinery at Hemel Hempstead, north of London, that supplies Heathrow Airport et al. We live probably 40 miles away, but there's smoke in the sky. They're saying it's "an accident". Not sure anybody believes it.

Bad marks no.2

Was watching BBC Breakfast news today when in clocked a trailer. A woman walks along past Christmas decorations carrying huge bags of parcels, wearing headphones. We hear: the theme of the Goldberg Variations. Gradually the scenery around her fades away and she is walking through a pine forest, the sun filtering between the branches. What are they advertising? Glenn Gould? Canada? In comes the voice-over: "Escape to bok." Sorry, to where? Is this a travel programme about a little-known Indonesian mountain resort, perhaps? ...Oh...woops...It's Radio 3's BACH week. But you would never know it because the BBC voice-over can't pronounce Bach properly. Very bad A level grades: B.B.C...

Shameful.

UPDATE, 6.50pm: Would everyone who has written in to tell me I'm a snob please note the following:

1. I know.

2. I don't care.

3. This blog no longer accepts anonymous comments, or those from people claiming to be 19th-century authors, composers etc, unless we have a good idea who they are really from.

Quartet alert

Nick writes from the US to inform us of this disturbing development in the life of a fine string quartet:

AUDUBON QUARTET Members About to Lose Instruments. If you follow chamber music, you probably know of the Audubon Quartet, founded 30 years ago, it was the first US string quartet to win international competitions. In the year 2000, though, three of the quartet's members fired the first violinist for behavior incompatible with the concept of a closely knit ensemble -- he had told the others that he'd initiated two lawsuits agains the cellist (and original founder) Tom Shaw.Upon being fired, though, David Ehrlich filed a series of lawsuits against the three and against the quartet as a corporation. One was thrown out, but somehow, he won a judgement against the other three, and now, more than five years later, they are about to lose their instruments and other worldly possessions. It is a grim story. The quartet was in residence at Virginia Tech in 2000. After the lawsuits, the university let their contracts expire (but has since re-hired the violinist). Now members of the community in Blacksburg are trying to get the university to step in and make Ehrlich cease his actions against the others. You can read all about this at www.enditnow.org , the website created by community members. There is also a petition you can sign there.I think this is a matter of interest to all of us who love classical music and especially to the community of players in ensembles small and large.

Nick sent this originally as a comment on a previous post, but it merits a section to itself. I'm afraid I have not heard about this before and I don't know the ins and outs of the background and history, but please explore the link. Litigation culture run mad? Or classic string quartet acrimony meets the 21st century? Oh yes, classic. If you think orchestral life is stressful, just try being in a string quartet. Stories from the orchestras can be 'hair-raising', but with quartets, 'blood-curdling' doesn't begin to describe it.

Meet Simon Trpceski

Simon Trpceski
Originally uploaded by Duchenj.

If you haven't already. Simon is one of the greatest young pianistic talents I've ever heard. He's 26 and hails from Skopje, Macedonia. About five years ago he shot to fame - like so many others - by NOT getting first prize in a piano competition (London) where most people thought he should have. Since then his reputation has been more than consolidated by such things as inclusion in the BBC Radio 3/Wigmore Hall New Generations programme and performances and recordings that receive rave reviews. He'd blown my socks off a couple of times - I think he plays Pletnev's transcription of The Nutcracker better than Pletnev - and when I interviewed him for PIANIST Magazine's latest issue I discovered he was also one of the most charming, engaging, warm, natural and unpretentious musicians I'd come across.

Sounds excessive? Then just hear him play. Yesterday at the Queen Elizabeth Hall he gave a recital of works that he'd told me were all new to his repertoire - Brahms Op.117 and one piece from Op.118, Scriabin's Second Sonata and both books of Debussy's Images. The Brahms was very slow but hypnotically beautiful, with exquisite tonal control and a powerful inwardness that you don't expect from an otherwise extrovert youngster. The Scriabin drew on the music's gentler, Chopinesque aspects, with perfect clarity and power that didn't make sensitivity concede - and proved that you don't have to go nuts with Scriabin as so many do. The Debussy was to die for: I can't imagine it played more beautifully (and I've played Book II myself so tend to pick holes in it whenever possible!). Meanwhile, he'd played Shostakovich's First Piano Concerto with the LPO on Friday evening and is doing so again on Wednesday - fab ensemble with Vladimir Jurowski and an atmosphere as if everyone was having tremendous fun. That's what orchestral concerts should be about but unfortunately often aren't. If you can get to the QEH on Wednesday 7th, GET THERE.

The photo above is by Jillian Edelstein and is printed with my article in PIANIST.

UPDATE, Tuesday 1pm: Here's Robert Maycock's review of the LPO/Jurowski/Trpceski concert from today's Independent.