Sunday roundup from a very busy week

I've been burning the candle at both ends, to coin a phrase. It beats the hell out of sitting alone at home watching repeats of Midsomer Murders - something I have resolved never to do again.

Last Saturday, Don Carlo at the Royal Opera House. You wake up, the sun is shining, you're free, it's opening night at Covent Garden, Jonas is singing and you're not there? Unthinkable! I scooped a return and drank long and deep of the genius of Verdi. It was almost impossible to imagine a finer cast. Sometimes when Kaufmann is on stage, the rest can fade to insignificance, but here his peers matched him moment for moment.

This appears to be the one performance that the scheduled soprano, Anja Harteros, was able in the end to do, and the first time I've managed to hear her live. Her voice has an almost uncanny beauty along with extraordinary range of expression: the deepest levels enhanced by taut, dramatic diction, the uppermost soaring with rare 100-carat sheen. She's the perfect stage partner for Kaufmann, matching his sensitivity to nuance and blending with his multifaceted colourations, the final duet daringly hushed. Mariusz Kwiecien's double-edged charm and rich-flowing baritone, as Rodrigo, might otherwise have stolen the show, while Ferruccio Furlanetto's magnificently tortured and heartbreaking Philip II threatened to do likewise, with the type of voice and interpretation that brings every twist of phrase and fortune into close-up. Eric Halfvorsen's Grand Inquisitor rose to the challenge of one of Verdi's nastiest and truest personalities. In the pit, Tony Pappano and the orchestra plunged through the four-and-a-half hour span with passion undimmed; and the chorus was absolutely on fire for the auto da fe, a scene in which the confluence of symbol and drama could scarcely be finer.

Carlos is, after all, a German romantic hero - by Schiller - in all but moniker, a soul whose obsession with Elisabeth after one scant encounter in the forest can match that of Goethe's Werther for Charlotte. Flanders is Elisabeth; the burning heretics are the heart of Carlos, who burns inwardly for breaking the taboo of aching for his stepmother. Freud might have enjoyed that final moment of farewell when he addresses Elisabeth as 'mother'. What happened to Carlos's real mother anyway? We are not told.

Lianna Haroutounian has since stepped into Harteros's shoes, making her ROH debut; and the churlish anonymi grumbling on the ROH comments boxes that the house should have had a "name" as second cast may want to think again. Fiona Maddocks's review today declares: "Haroutounian seemed to pull forth ever-increasing vocal powers until you thought her heart, or yours, would burst."

On Tuesday we had the first run-through at home of the Hungarian Dances concert with the new team for the Ulverston and the St James Theatre June performances. David Le Page (violin) and Anthony Hewitt (piano) used to be duo partners in their teens, but hadn't met in 23 years...yet it was as if they'd last seen each other yesterday. And the intensity of their musical response to the story took me completely by surprise. It felt as these concerts probably should: we may be a reader and two musicians, but their engagement with the drama and the emotions in the narrative bounced different angles into the music, while their impassioned interpretations made me see new and darker corners in my own text. It was as if we all made music together, essentially. I'm hugely grateful to them and excited about sharing a stage with them. Ulverston is on 8 June, the St James Theatre Studio in central London is on 11 June, and booking is open.

On Wednesday, to St John's Smith Square to hear Angelo Villani in recital. Angelo, you remember, is the Italian-Australian pianist we talked to a little while back when he started to make his comeback after 20 years away from the concert platform due to a trapped nerve in his shoulder. He performs in white gloves. And there's something of the white gloves about his musicianship too, in the best sense: while some complained that the programme he chose consisted more of the slow and soft than the barnstorming so many people seem to expect of concert pianists these days, that was actually the point.

Whether in the freely-calibrated rubato of the Chopin Nocturnes Op.9, two of the Liszt Petrarch Sonnets and the Ballade No.2, or the Liebestod from Tristan und Isolde, adapted from Wagner by various hands including Von Bulow, Liszt and Villani himself, his exceptional and microscopic sensitivity, the way he immerses us in sonority, allows us to soak up the edges of vibration as if letting subtle-coloured dye infiltrate and diffuse through our inner worlds. It's unusual and it may not be for everyone, but this is fine-art pianism and it is good to know that it hasn't been entirely lost in the outside welter of the (largely positive but often noisy) Lang Lang Effect.

There's a wonderful story about Daniel Guilet, the founding violinist of the Beaux Arts Trio, as a young lad meeting Fauré in the foyer of the Paris Conservatoire. Monsieur le Directeur, as Fauré was then, said to Daniel: where are you going in such a hurry? "My violin lesson, sir." Ahh, said Fauré. You'll go to your lesson and you'll learn to play fast and loud. But to play slow and soft: that is really difficult.

On Thursday, my mates from the Culturekicks blog took me to the trendiest gig in town: The Knife, at the Roundhouse. I'll be writing about it more fully for them, but in brief, the experience was a polar opposite from Angelo's concert (=ear protectors) and in other ways just like the Proms, because if you're my height you can't see much. Music: Nordic Noir without the murders. More about it soon.

The great thing is that in this extraordinary world, and especially in this matchless city of ours, there's room for everything: music of different eras, angles, twists, turns, scale, substance and aspect. Try to do it all, if and when you have the chance. Because each experience feeds the next.

Last but not least, yesterday I went to a school reunion and saw friends I haven't seen since our A levels, more years ago than I'd like to admit, and they hadn't changed a bit. Time's a funny old thing. Just as an opera that is well over 100 years old can feel as fresh and relevant in terms of drama and emotional impact as an electro-post-pop band, the passing decades simply disappear when people's energies connect, reconnect and blossom. Yes, this was quite a week...

The Concert - the last word...

You know all that business about How Audiences Behave At Concerts? I think Jerome Robbins has to have the last word on that. Above, The Concert complete, including utterly exasperated pianist, from the Paris Opera Ballet.

Busy week. Proper catch-up soon.

Angelo Villani's back

.....well, THAT was Angelo's own transcription of the Liebestod from Wagner's Tristan und Isolde, played live in the BBC Radio 3 In Tune studio yesterday. Blimey. Come and hear him play it, Alkan, Liszt and more at St John's Smith Square tomorrow (Wednesday 8 May): http://www.sjss.org.uk/events/angelo-villani-piano-recital

If you missed our JDCMB Q&A with Angelo a few months back, here it is again. http://jessicamusic.blogspot.co.uk/2012/09/a-remarkable-pianist-is-due-to-make-his.html

Mitsuko and Mozart's dad

In today's Independent Mitsuko Uchida talks to me about the plight of prodigies who are pushed too far, too fast. She has some interesting words about her own experiences as a youngster, and it's clear that she possesses a remarkable facility for self-criticism, plus ferociously high standards that exceed those of most... The chocolate, incidentally, really was amazing.

Please note that she is actually doing a whole weekend of concerts with the Borletti-Buitoni Trust from 17-19 May at the South Bank, not just 18th.

Hope you've had a good bank holiday weekend, dear readers. I spent Saturday night at one of the best opera performances I've ever been to, and I go to quite a lot. More of that soon. For the moment - if you can beg/borrow/filch/pay through the nose for/get a return for/ Don Carlo at the ROH while Anja Harteros is still in it, then do.

Piano Passion in...Perivale and Ealing?

There've been some rather amazing noises coming out of what used to be a quiet corner of west London. Two churches - St Mary's, Perivale, and St Barnabas, Ealing - have in recent years sprouted extraordinary programmes of intense music-making, under the artistic direction of retired doctor and passionate pianist Hugh Mather.

With innovative schemes involving big screens for a better view, tickets issued on the door only and a Chopin Festival, which is coming up fast (11-12 May), comprising ten hours of piano music from a plethora of rising stars each playing for 20-30 minutes, it seems that Perivale and Ealing are reaching - with remarkable ease - ideas upon which bigger promoters fear to tread; and, best, making a success of them.

How does Hugh do it? I asked him for a JDCMB Q&A session...

JD: Hugh, you were a medic and now you're a concert promoter! Please tell us your own story? How did you get started in the music scene?

HM: I was a chorister at Westminster Abbey, and played the piano and organ from an early age, gaining the FRCO diploma while still at school, and subsequently the ARCM piano performer’s diploma. I then studied medicine at Cambridge and in London, and was appointed Consultant Physician at Ealing Hospital in 1982, specialising in diabetes. However, I always combined medicine with music, and continued to have piano lessons with the eminent teacher James Gibb, initially at the Guildhall and then privately, for over 30 years. I gave many concerts as a solo pianist, including concerti by Mozart, Beethoven, Mendelssohn, Brahms, Chopin, Grieg, and Schumann, and played Beethoven’s 'Hammerklavier' sonata at the Guildhall and elsewhere. In 1986 I commenced weekly classical concerts at Ealing Hospital, providing performing opportunities to musicians living around Ealing, and these continued for 20 years, with approximately 800 concerts. I retired from medicine in 2006 and since then I have developed a second career, promoting about 100 concerts per year - about 600 concerts since 2006 - at two contrasting Ealing venues, namely St Mary’s, Perivale, and St Barnabas Church.  

JD: Tell us about your two west London venues, St Mary's Perivale and St Barnabas Ealing - what makes them great places to play and listen to music?

HM: St Mary’s, Perivale, is a small, 12^th-century Grade 1-listed church hidden away within Ealing Golf Course, just off Western Avenue in Perivale, near the Hoover Building. It became redundant in 1973 but is now a flourishing concert venue, run by a charitable trust, the Friends of St Mary’s Perivale, of which I am Chairman. It is a stunningly beautiful building with a magical ambience, and provides the perfect setting for small-scale concerts, particularly instrumental and chamber music, with a capacity of 70. It has excellent acoustics, a good piano, and the audience appreciate being closer to the musicians than in most other venues. 

We cultivate a ‘club-like’ informal atmosphere, with free admission, free drinks and nibbles at the end of the concert. We hold about 50 concerts per year, most of which are ‘double concerts’ with different musicians performing in each half, as can be seen from the Archive section of our website (www.st-marys-perivale.org.uk/events.htm ). This has details of around 320 concerts since 2006, with performances from over 180 pianists and 100 violinists. The standard of performance is very high indeed, and is rising year by year. Musicians love the both the venue and our enthusiastic audience, and are invariably keen to return.  

We have informal links with the Royal Overseas League, who send their top prizewinners to play, as well as with the Royal Academy, the Royal College and the Guildhall, so we have a constant influx of the best new talent. We have excellent in-built video recording facilities, and produce a high-quality DVD recording of every performance, which is sent free of charge to all the musicians.  We have recently commenced putting some highlights onto our Youtube channel (www.youtube.com/user/StMarysPerivale) and so far have uploaded about 60 performances. These amply demonstrate the high calibre of our concerts.

St Barnabas Church, Pitshanger Lane, Ealing, is a large active Anglo-Catholic church built in 1916 with a fine choral tradition and a magnificent, newly-installed pipe organ. I have attended the church as a parishioner for many years, and in 2007 I bought a very good Bosendorfer concert grand, previously used by the BBC at the Maida Vale Studios for broadcasts, from Harrow School. This fine instrument has been the basis of all our subsequent concerts. The church has a much larger capacity than St Mary’s Perivale, and is used for Friday lunchtime recitals and occasional large festivals, such as the forthcoming Chopin festival. Since 2007 we have had 260 Friday lunchtime concerts. We have also held eight major festivals devoted to single composers, listed in www.barnabites.org/concerts/concertarchive/, and three series of Summer Proms, each with 12 concerts. About 170 pianists, listed in our archive, have played in concerts at St Barnabas. Concerts are held in the ‘round’, with the piano in the nave and the audience seated as close as possible.

We have developed a novel ‘big screen’ system. This was originally acquired for organ recitals, but is now proving immensely beneficial in piano festivals, enabling everyone to see each pianist in ‘close-up’. The concerts have been used to raise funds to pay for the new organ, and to date have raised over £130,000.       

JD: We hear that you don't sell tickets in advance - people just come along on the night and pay what they like in a retiring collection at the end. How does that turn out in practice? How do your musicians respond to this?

HM: We don’t sell tickets in advance, and all concerts at St Mary’s Perivale are indeed free admission with a retiring collection. This simplifies the administration of concerts, and encourages more people to attend.  In practice, the amount donated varies from £1 or less to £20 or more, and averages at about £6-7 per person. This attracts Gift Aid, raising the total to approximately £8 per person. Our Wednesday concerts at St Mary’s Perivale are ‘double concerts’ with different musicians in each half, so that we can provide more performing opportunities and the audience have a more varied and interesting evening. Soloists usually get paid around £100 for half a concert, or £200 for a whole recital, depending on the size of the audience, and we usually give ensembles £50-60 per person. We aim to give the musicians about 70% of our receipts and to keep 30% to pay our overheads. All musicians also receive a high-quality DVD of their performance free of charge.
       

At St Barnabas, our Friday lunchtime concerts are also free with a retiring collection, and we pay our musicians a fixed fee, namely £100 for a soloist, £120 for a duo, £150 for a trio and £200 for a quartet. We do charge a fixed fee for our festivals of £12 per session (afternoon or evening) (£6 for young people).

JD: Why a Chopin Festival, and why this very unusual format? Please tell us how it's going to work, why you're doing it and what you hope to achieve with it?

HM: The Chopin festival repeats the well-tried and successful formula used in previous festivals, as detailed in our archive www.barnabites.org/concerts/concertarchive/. These have covered all 32 Beethoven piano sonatas (twice), Liszt piano music, Chopin piano music, Haydn sonatas, the music of Schumann and Schubert (including chamber music as well), and an organ festival.

The formula really does work brilliantly well in practice. It is infinitely more interesting and rewarding to hear many different pianists playing similar repertoire on the same piano, rather than have a single artist, however good or eminent. We have an inevitable bias towards piano events because there are so many excellent pianists based around London who need  and deserve performing opportunities.

The St Barnabas Chopin Festival will take place on May 11^th and 12^th 2013 from 2.30-6.00pm and from 7.00-10.00pm on each day. A flyer with the detail, and full information on the pianists, their programmes and brief biographical notes, is on www.barnabites.org/chopinfestival/.

We have 21 pianists, including many prizewinners from international piano competitions, giving short recitals of 20-30 minutes, including virtually all the most famous Chopin works, comprising almost 10 hours of piano music. Admission is £12 per session, or £40 for the whole festival (four sessions), half price for young people under 16. No tickets will be issued beforehand – just turn up on the day. The church is large and admission is guaranteed. Free parking is available in nearby residential streets. There are regular breaks for refreshments, and tea and supper will be available.

All piano fans, and all lovers of Chopin, are encouraged to come along to this festival of fine piano playing. I am grateful to the support of both the Chopin Society and Liszt Society in helping to advertise this event. I have no doubt that it will be as successful as our several previous festivals have been.

JD: What are your aims for the future of your series ?

HM: My overall aims with my concert-promotion activites are threefold, namely 1) to provide vital performing experience for the best musicians based in London, particularly at the start of their careers, 2) to provide concert-goers in Ealing with much pleasure in their locality, without having to travel into central London, and 3) to raise funds to preserve St Mary’s, Perivale, in pristine condition for future generations, and funds to support St Barnabas Church. It is gratifying to see several of our regular musicians starting to make waves in the musical world.

As regards pianists, two of the finalists in the Leeds competition last year – Jayson Gillham and Andrejs Osokins – are regular performers, as are many other rising or established piano stars, such as Viv McLean, Ashley Fripp, Mishka Rushdie Momen, Mei Yi Foo, Ivana Gavric, Rustem Hayroudinoff, Jianing Kong, Meng Yang Pan, Konstantin Lapshin, Ji Liu, Evelina Puzaite, etc, and many of the best string players and chamber ensembles based in London have played at both our venues. 

JD: Anything you'd like to add?

HM: Only that organising 100 concerts a year, with all the fixing, advertising, publicity and sorting out arrangements, has now become a busy full-time job, but is an excellent and rewarding way of spending my retirement!