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REVIEW: Martin Dreyer’s verdict on Bojan Čičić, J S Bach Sonatas, NCEM, York, 10/12

Bojan Čičić: “Magical sounds”

York Early Music Christmas Festival: Bojan Čičić, JS Bach’s Sonatas for solo violin, National Centre for Early Music, York, December 10

SEEING is believing. The magical sounds that Bojan Čičić coaxes from his baroque violin have not only to be heard, they need to be seen.

In 1720, while part of Prince Leopold’s court at Cöthen, Bach wrote six sonatas and partitas (effectively suites) for the unaccompanied violin, three of each, in response to the violin’s newly developed capability to play chords. This meant the possibility of adding a bass line to a melody.

They represent the Everest of the solo violin repertoire (not forgetting the Paganini caprices) and are fiendishly demanding. But they hold no terrors for this supremo. He is playing all six at this festival on consecutive Saturday lunchtimes and began here with the three sonatas. All fall into four movements.

The first is invariably slow, giving the player time to find their feet. The second, believe it or not, is a fugue, allowing the possibility of two or even three lines to overlap or seem to do so. The third is slower, often with origins in the dance, and the fourth is (very) fast.

Bach demonstrates throughout his intimate understanding of violin techniques at what was the cutting edge in his own day. The first two sonatas are in minor keys – G and A – and their opening movements have an elegiac quality. The third sonata, in C major, has a positively chordal opening, almost like a chorale.

All three are deceptive, because the succeeding fugues sound unplayable by a single instrument. In all, but especially the first, Čičić delivered incredible clarity, even playing down the countersubjects so that they did not overshadow the main subjects. There was also a touch of sheer bravura at the end of the second fugue.

The stately siciliana of No 1 demanded intense multiple-stopping – two or three notes at once – and the Andante of No 2, also a third movement, was so dense that you could have sworn that you were hearing several instruments.

All three finales took the breath away. The first was a high-speed moto perpetuo, allowing the player no respite. The Allegro of No 2 began innocently enough, but turned fierce, even including echo effects. The dazzling virtuosity of No 3’s finale brought the house down.

Čičić’s bow is a magic wand, but he does not brandish it at all pompously. On the contrary, his approach is almost self-effacing. The result is all the more sensational.

I cannot recommend his recital of Bach’s three partitas on Saturday (17/12/2022), at 1pm, highly enough. On this evidence, it is a totally mouth-watering prospect. Box office: 01904 658338 or ncem.co.uk

Review by Martin Dreyer

The Marion Consort. Picture: Nick Rutter

REVIEW: Spiritato with The Marian Consort, Inspiring Bach, National Centre for Early Music, York, December 11

THIS was almost two concerts in one, combining two groups – instrumental and vocal – who normally lead quite independent existences.

Spiritato, led from the violin by Kinga Ujszászi, is a chamber orchestra of some 18 players, dedicated to rekindling the unique sounds of the mid-17th century.

Joining them in this exploration is the 12-voice Marian Consort under its director and countertenor Rory McCleery.

Their programme, entitled Inspiring Bach, dealt with some of the bigger names that preceded the great man. The most notable of these was Johann Christoph Bach (1642-1703), who is widely regarded as the most important member of the Bach family before Johann Sebastian himself (and not to be confused with a later JCB, Johann Christian, the ‘English’ Bach). He was a composer and organist, who spent virtually all his career as harpsichordist at the Duke of Eisenach’s court.

The first of JC’s two contributions here was an elegiac cantata featuring McCleery’s countertenor (though he sang it on ground level more or less behind a pillar). More compelling was Es Erhub Sich Ein Streit, (‘There Arose A War’, a Picander text which JSB used for his Cantata 19) in which a bass duet was accompanied by two trumpets, before the brilliant tutti of the final chorus.

Given that there were no less than four trumpets on hand, all valveless and without finger holes, they were bound to capture the spotlight – and thrilling they were.

Possibly Sebastian Knüpfer’s last work, written just before he died in 1676, was Die Turteltaube Lässt Sich Hören(‘The Voice Of The Turtle Dove Is Heard’). It made clever use of soloists across the choir, building towards a final chorus in which the trumpets truly blazed.

On either side of this, we heard both Pachelbel’s and Bach’s settings of Christ Lag In Todesbanden (‘Christ Lay In Death’s Bonds’), based on a Lutheran Easter hymn – not especially seasonal, but good pieces anyway.

Pachelbel omits trumpets and timpani from his version, but contrasts vigorous, optimistic choruses with lighter episodes. Bach’s more familiar setting was distinguished here by an exciting acceleration into and through the Alleluia of the opening chorus and a brisk fugal finale.

A Buxtehude sonata, spotlighting violin and viola da gamba, allowed a brief excursion northwards into Denmark. It all amounted to a delightful concoction                                               characterised as “music of healing in a time of catastrophe”.

Best of all, there was never a feeling, from either trumpets or strings, that the use of authentic instruments was in any way detracting from our enjoyment. On the contrary, these on-the-sleeve sounds enhanced our pleasure.

Review by Martin Dreyer

Orlando Consort: Bidding farewell after 35 years

REVIEW: Orlando Consort, National Centre for Early Music, York, December 15

ORCHESTRAS may go on forever, but smaller groups tend to have a more limited life-span. The Orlando Consort has existed for no less than 35 years.

Astonishingly, two of its members have lasted the full course since 1988, tenor Angus Smith and baritone Donald Greig. Its other current members are countertenor Matthew Venner and tenor Mark Dobell, who took over from Robert Harre-Jones and
Charles Daniels respectively.

Between them, these six have established the Orlando as a world-class ensemble. Now the group has decided to call it a day and will give its last performance in June. So this final
appearance in York, where it has become a familiar visitor, was tinged with sadness.

A touch of nostalgia was in order and each of the singers in turn reminisced between groups about their experiences touring the world.

A seasonal start took us back to a Christmas trio from the Winchester Troper, whose earliest scribe began work around 1000 A.D. It included some fascinating stresses. A Machaut group from around 300 years later was more melismatic – multiple notes to a single syllable of text. A countertenor solo here was wonderfully expressive.

Before we embarked on a continental tour, two English composers gave a good account of
themselves. An anonymous Credo from Fountains Abbey dating to the early 15th century was positively bouncy, especially in its upper two voices. John Plummer’s Anna Mater Matris Christi was delightfully studded with imitation between the parts, highlighting the two tenors.

The three lower voices delivered a nicely tongue-in-cheek farewell to the wines of Lannoy, while the three upper ones made the complications of Vergine Bella, also by Dufay, sound ridiculously easy.

The quartet was more full-throated in Hortus Conclusus by the Spaniard Rodrigo de Ceballos, but without endangering its smooth ensemble. Italy yielded the incredibly busy Plaude Decus Mundi by Cristoforo de Monte (early 15th century), again dispatched with cool panache.

The Flemish masters were kept back for the finale. Josquin’s imitative techniques depend on singers alive to where the shifting spotlight should fall among them. The Orlando did not disappoint: in two motets, one with refrain, the tension ebbed and flowed beautifully.

Nicolas Gombert’s Quam Pulchra Es, sung last, was the most intricate and varied piece of the evening. It was stunningly fresh, with interest revolving between the voices, no mean feat after a full programme sung without vibrato.

These singers have flown the flag for Britain with distinction in all corners of the globe. They deserve our wholehearted thanks. Any just society would deck them with medals. In the King’s next birthday honours perhaps? Let’s hope so.

Review by Martin Dreyer

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REVIEW: Martin Dreyer’s verdict on La Palatine and Ensemble Augelletti, NCEM, York Early Music Christmas Festival

La Palatine: “Building a happy hour around two important Italian visitors to Baroque Spain”

York Early Music Christmas Festival: La Palatine and Ensemble Augelletti, National Centre for Early Music, York, December 8 and 9

JUST as the nights turned chill, Early Music’s Christmas celebration in York blazed into life with two young groups determined to bring warmth. In their different ways, they succeeded.

La Palatine’s Fiesta Galante built a happy hour around two important Italian visitors to Baroque Spain, Domenico Scarlatti and Luigi Boccherini, framing them with lesser-known but equally talented locals.

Directed from the harpsichord by Guillaume Haldenwang, La Palatine’s complement includes soprano Marie Théoleyre, backed up by violin, cello and theorbo or guitar.

José de Nebra (1702-1768) is a name not as well known in this country as it should be, but he staged more than 50 zarzuela-style works in Madrid, while holding down a church job. His punchy rhythms reinforced by strumming were right up Théoleyre’s street, playing to the mezzo side of her voice.

In Nebra’s Que Contrario, Señor, which involved two arias, one song-like, one cheerful, Théoleyre delivered some tricky coloratura as she ornamented repeats, and her colleagues backed her to the hilt, especially violinist Murielle Pfister, who sometimes doubled her line.

Her style was less idiomatic, although equally fiery, in two higher-lying arias by Scarlatti, where she tended to fly off onto top notes without covering the tone.

More restrained was a trio sonata by Jose Herrando, although sunshine quickly re-emerged with Jeremy Nastasi’s account of Santiago de Murcia’s rhapsodic Marizapalos for solo guitar, which bordered on flamenco by the end. In such solo pieces, Nastasi would do well to face his audience so that his sound projects better into the audience.

A Boccherini cello sonata elicited much tricky double-stopping, which Cyril Poulet despatched briskly, especially in its central military allegro. A keyboard sonata by Scarlatti, K.144 in G (of no less than 555 that he wrote), enjoyed a smooth line at the hands of Haldenwang amid numerous deceptive cadences. A Spanish encore brought the full ensemble back into joyous life. More of that, please: it suits you perfectly.

Ensemble Augelletti: “A group whose enthusiasm is infectious”

The following evening saw Ensemble Augelletti, another quintet although all instrumental, take the stage in Pick A Card!, which highlighted some historical playing cards in the British Museum collection.

These were shown on a back-screen. They were amusing enough, although the link with the group’s Baroque programme was sometimes tenuous.

Olwen Foulkes, who is a dab hand on a variety of recorders, is the prime mover and most dominant voice among the Augellettis. But equally important to the ensemble’s success is the highly intelligent cello of Carina Drury, whose every note is attuned to what is going on around her. Her phrasing is exemplary.

She was largely responsible for the success of Bach’s Trio Sonata in G major, BWV 1039, especially in the incredibly active bass line of the concluding Presto. Its earlier Allegro had also generated terrific momentum. It was the group’s crowning glory.

Two dances from Purcell semi-operas were beautifully shaped and there was special entertainment in hearing Geminiani base his Third Trio Sonata on the folk-tune The Last Time I Came O’er The Moor.

After Handel at his most effervescent in part of a trio sonata, it was good to hear the dancing shepherds’ Piva from Messiah. It was immediately followed by Corelli’s Christmas’ Concerto Grosso, Op 6 No 8, moving gracefully from its dark opening through excitement into its closing lullaby. This was exactly what the festival needed.

Along the way we had appreciated Ellen Bundy’s lithe violin and Johan Lofving’s deft theorbo, but we had not heard quite enough from the harpsichord of Benedict Williams. Even so, this is a group whose enthusiasm is infectious.

Review by Martin Dreyer

York Early Music Christmas Festival runs until December 16. Full details at: ncem.co.uk. Box office: 01904 658338 or ncem.co.uk.

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REVIEW: Martin Dreyer’s verdict on Gemini, Unitarian Chapel, York, 3/12/2022

York composer Nicola LeFanu, pictured in 2003

Late Music presents Gemini, Unitarian Chapel, St Saviourgate, York, December 3

NICOLAS LeFanu’s 75th birthday earlier this year was celebrated in fine style by one of our most distinguished and long-lived groups, Gemini, itself only a year short of its half-century. Two of her own works framed eight others, including one by her husband David Lumsdaine.

Gemini is a flexible ensemble led from the clarinet by Ian Mitchell. Here he was joined by a piano trio for the premiere of LeFanu’s appropriately titled Gemini Quartet, newly commissioned and written only this summer.

As an opener it was designed to reflect how we welcome others, in a dozen or so brief “bagatelles” (her word), some of only a few seconds. It charms with surprises, moving seamlessly between comfort and anguish, impressionism and rhythm, sometimes noisy, more often gentle, using the instruments in a variety of different groupings. Gemini delivered it with loving care. I could only have wished its 13 minutes had lasted longer.

At the end of the evening, more than two hours later, we heard her Piano Trio of 2003. Its single movement is rhapsodic, all its material developed from high harmonics and tremolos, which are soon amplified by a piano solo. It charts a fascinating course between nerviness and relaxation, the two moods changing between strings and piano, as dialogue influences their responses to one another.

As always with LeFanu, her orchestration is imaginative. It eventually reaches a harmonious conclusion, with trills in the piano as the strings disappear into the ether. Gemini interacted intuitively throughout.

Only a handful of the other works on the programme reached these levels. One of them was another premiere, David Lancaster’s Hell’s Bells Bagatelles, inspired by church bells, especially those of York Minster, and conceived over the last five years.

In his words, its five sections may reflect ecstasy or doom, but within those extremes his use of rhythm verges on dance most appealingly and pizzicato cleverly and regularly evokes the percussive ping of bells.

Lumsdaine’s Blue Upon Blue (1991), for unaccompanied cello, also fell pleasingly on the ear, combining slow melody with more urgent, un-tuned ‘commentary’ from wood, gut and hair, and transitioning between the two by means of glissandos. Sophie Harris teased out its essential lyricism with focused intensity.

Thomas Adès’s suite from his 2005 opera The Tempest was predictably clear-cut in its reactions to six Shakespearean scenarios, always with an ear to vocal characteristics in the four instruments.

Space forbids discussion of the other works, most of which fell into the category of vignettes. For the record they included two pieces without piano, Dorothy Ker’s Water Mountain (1999) and Blaze And Fall (2017) by Charlotte Bray, Martin Suckling’s Three Venus Haikus (2009), setting poetry by George Bruce, and two lockdown pieces for solo piano (Aleksander Szram) by Janet Graham, Church Blackbird and Advent Thoughts. All had something positive to offer.

But most of all we were reminded just how valuable an asset Nicola LeFanu is to York, Yorkshire and well beyond. Many happy returns!

Review by Martin Dreyer

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REVIEW: Martin Dreyer’s verdict on Micklegate Singers, Unitarian Chapel, York

Nicholas Carter: Musical director of the Micklegate Singers

Late Music presents Micklegate Singers, Unitarian Chapel, St Saviouragte, York, December 3

LATE Music’s latest double-header – two concerts in one day on the first Saturday of autumn and winter months – welcomed the Micklegate Singers under Nicholas Carter at mid-day.

They belong under the Late Music umbrella: they established a reputation early on, under their founder-director Dennis Freeborn, for tackling new and often challenging repertoire.

This one was seasonal, entitled And There Were Shepherds…, but wisely included several Renaissance pieces alongside some 20th century favourites and others on which the ink was barely dry, the most recent being a new commission from James Else enjoying its premiere.

The Road Of Evening is a setting of Walter de la Mare’s Nod, which speaks of an old shepherd and his dog, Slumber-soon, and by inference of God tending his flock through the ages. Its Christmas message is negligible, but Else’s modal evocation of serene solitude is effective, if without focusing on any one aspect of the poetry.

Another premiere came with Absence, a setting by Joe Bates of various texts taken from William Penn’s More Fruits Of Solitude. This was the second of three pieces commissioned by the Micklegates from student composers at the University of York.

Bates’s penchant for parallel fifths is reminiscent of Vaughan Williams, although his use of two texts in conjunction, one in female voices, one in male, is certainly unusual – but it works. Humming later contributes to a sense of resolution from the conflicts of life; again, not specifically seasonal, but offering imaginative food for thought.

There were four other 21st century pieces. Bob Chilcott’s moving setting of Clive Sansom’s The Shepherd’s Carol (2000) was smoothly atmospheric, while the angular lines and bouncy rhythms of Cecilia McDowall’s Now May We Singen (2008) were the best projected of the evening.

The climax of U A Fanthorpe’s stunning poem BC – AD was not quite captured by David Bednall’s chordal setting of 2013. More effectively meditative was Alexander L’Estrange’s Epiphany Carol of the same year.

A Jonathan Dove lullaby joined other established favourites by Holst, Leighton, Poulenc and Richard Rodney Bennett, whose sensitivity to words was especially notable. The three Renaissance pieces, healthy reminders of a 500-year tradition of Christmas music, were by Palestrina, Lassus and Dering, all keenly negotiated.

The Micklegates tended to go easy on their diction in slower numbers, but in general we should rejoice that they are back from lockdown in fine fettle.

Review by Martin Dreyer

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More Things To Do In York and beyond to warm the art as temperatures plummet. Hutch’s List No. 109, from The Press

Into The Lights, digital photomontage by Adele Karmazyn, from her Hidden Spaces exhibition at City Screen Picturehouse, York

IT’S beginning to look a lot like Christmas will be the be all and end all of Charles Hutchinson’s list. Except for a bite of comedy, a Scotsman and hidden digital artworks, that is.

Exhibition launch of the week: Adele Karmazyn, Hidden Spaces, City Screen Picturehouse café, York, from Monday to January 14 2023

INSPIRED by this year’s York Unlocked event, York Open Studios regular Adele Karmazyn has embraced the opportunity to visit this historic city’s hidden spaces, taking photographs on the way.

These photos create the backdrop for her new body of work, each piece evolving into an individual story when she brings in her 19th century characters, taken from old cabinet photographs, and combines these with other photographs of objects, landscapes and creatures in her digital photomontages. By merging multiple layers and concentrating on light and depth, Adele creates “realistic, believable scenarios, which at the same time could never possibly be”.

Promenade light for dark nights: Quinn Richards leads the way as Charles Dickens in Be Amazing Arts’ A Christmas Carol in Malton Market Place

Promenade event of the week: Be Amazing Arts in A Christmas Carol, Malton Market Place, until December 24, 7pm nightly (except December 16 and 22); 5pm on Christmas Eve

AFTER a sell-out debut run in 2021, Be Amazing Arts return to Malton Market Place with Rozanna Klimaszewska’s promenade adaptation of Charles Dickens’s A Christmas Carol in the market town where Dickens himself performed at the long-gone theatre.

Starting out at Kemps General Store, this immersive theatre and dining experience invites you to follow Dickens (Quinn Richards, who also plays Ebenezer Scrooge) as he tells the story and brings to life Dickens’s characters alongside fellow professionals James Rotchell and Kirsty Wolff and Be Amazing’s Young Company. Festive canapes and a warming winter drink are provided by The Cook’s Place. Box office: 01653 917271 or beamazingarts.co.uk.

Mari Christmas: Mari Wilson in festive mood at Selby Town Hall tonight

Have yourself a Mari little Christmas: Mari Wilson, Selby Town Hall, tonight, 8pm

JUST what you always wanted: A Mari Christmas from Neasden’s “Nymphette of Nail Varnish and High Priestess of Hair Spray”, Miss Beehive, songstress Mari Wilson, who will be combining her Eighties’ hits with tunes of Yuletide yesterdays, a Singalong-a-Christmas and seasonal surprises. Dressing up is a must for the complete Wilsational night. Box office: 01757 708449 or selbytownhall.co.uk.

Fresh from Squeeze’s Food For Thought autumn tour, Chris Difford is doing the solo rounds, returning to Selby on Friday. Sold out, alas.

Mostly Autumn: Winter songs at The Crescent

Entirely winter from… Mostly Autumn Christmas Show!, The Crescent, York, Sunday, 8pm (doors 7pm)

YORK prog-rockers Mostly Autumn celebrate Christmas with a standing show at The Crescent, sure to feature For Everyone At Christmastime. Expect hard rock, Celtic themes, traces of trad folk and more contemporary influences too in a set of festive fireworks from Bryan Josh, Olivia Sparnenn-Josh, Angela Gordon and co for devotes of Seventies’ Genesis, Pink Floyd, Camel, Renaissance and Jethro Tull, before they head off to Belgium next week. Box office: thecrescentyork.com.

O little voices of Barbican: York’s community carol concert

Christmas institution of the week: York Community Carol Concert, York Barbican, Sunday, 2pm

AFTER 64 years, York’s community carol concert draws in all ages and still plays to full houses. Taking part this time will be York Railway Institute Band; Osbaldwick Primary Academy Choir; St Oswald’s CE Primary School; Stamford Bridge Community Choir and York singer, songwriter and guitarist Steve Cassidy. 

Mike Pratt is the musical director, with the Reverend Andrew Foster and BBC Radio York presenter Adam Tomlinson as the co-hosts, for an afternoon of Christmas carols and songs in aid of the Lord Mayor and Sheriff of York’s Christmas Cheer Fund and Martin House Children’s Hospice. Box office: yorkbarbican.co.uk.

Rick Wakeman: Re-awakening songs with a Christmas twist and festive flair at York Barbican

More Christmas events at York Barbican: Disney’s The Muppet Christmas Carol: Live In Concert, Monday, 7pm; Rick Wakeman’s Grumpy Christmas Stocking, Tuesday, 7.30pm; Emma Bunton: The Christmas Show 2022, December 16, 8pm

DISNEY’S The Muppet Christmas Carol, the one with Kermit the Frog as Bob Cratchit, Michael Caine as stingy Ebenezer Scrooge, Gonzo as Charles Dickens and Miss Piggy as Emily Cratchit, will be accompanied by a live performance of the musical score.

Yes organist Rick Wakeman gives a Yuletide twist to his grand piano and electric keyboard arrangements of songs from his own career and others, plus a few surprises, punctuated by stories.

Emma Bunton spices up her Christmas Party with solo career hits, Spice Girls staples and festive favourites. Box office: yorkbarbican.co.uk.

No More, vows Steve Mason, in his tour show at The Crescent, York

Most welcome Scottish visitor of the week: Steve Mason, No More Tour, The Crescent, York, Thursday, 7.30pm

SCOTSMAN Steve Mason is joined by keyboardist Darren Morris on his No More Tour, named after his new single. Melodious material from his Beta Band days and solo catalogue are promised, along with a showcase of songs from Brothers And Sisters, his first album since January 2019’s About The Light, ready for release in 2023. Cobain Jones is the support act. Box office: thecrescentyork.com.

Russell Kane: His strain of comedy will keep on running in 2022

Comedy gigs of the week: Russell Kane Live!: The Essex Variant, York Barbican, Wednesday, 8pm; Dara OBriain: So…Where Were We?, York Barbican, Thursday, 8pm

MAN Baggage and Evil Genius podcaster, comedian, actor, writer and presenter Russell Kane discusses “the two years we’ve just gone through” in his Essex variant of Covid comedy.

By way of contrast, in his sold-out return, Irishman Dara OBriain will “hardly mention the last year and a half, because, Jesus, who wants to hear about that but will instead fire out the usual mix of stories, one-liners and audience messing”.  Box office: for Kane tickets only, yorkbarbican.co.uk.

So…where are you on Tuesday, Dara? At a sold out York Barbican for “the usual mix of stories, one-liners and audience messing”
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Baritone Sam Hird heads home with guitarist Tom Bennett for A Winter Night’s Recital by candlelight at All Saints’ Church

Baritone Sam Hird and guitarist Tom Bennett outside the Royal College of Music

JOIN York baritone Sam Hird and his fellow Royal College of Music graduate, guitarist Tom Bennett, for classical music by candlelight at All Saints’ Church, North Street, York, tomorrow night (9/12/2022).

A Winter Night’s Recital will feature songs from around the world including Schubert, Faure and Britten, complemented by festive favourites such as Adeste Fideles, O Holy Night and A Cradle In Bethlehem to stir the Christmas spirit at this cosy evening of December entertainment.

The 15th century All Saints’ Church will be the “perfect backdrop” to this 7pm to 9pm concert.  A glass of mulled wine and a mince pie is included in the ticket price of £10 plus booking fee, available from samhirdmusic.co.uk or on the door.

Heading north for Christmas: Tom Bennett and Sam Hird

Here, CharlesHutchPress welcomes Sam Hird back home to York ahead of his first professional solo recital

Why did you choose All Saints for this concert, Sam? What makes it a “perfect setting”? 

“I fell in love with this church a few years ago after being taken to a traditional service there. The acoustics were gorgeous, the church was beautiful – especially the mediaeval stained glass windows – and above all the atmosphere was incredible. As with so many places in York, you can really feel the history when you’re inside the building.”

Have you sung there before?

“I rehearsed there around the same time as that service. A particularly memorable moment was getting to sing Make Our Garden Grow from Bernstein’s Candide. Surrounded by a host of marvellous singers, I remember getting shivers from the sound ringing round the whole church after we’d finished the final ‘grow!’ of the piece.” 

Congratulations on graduating this year with a First, Sam. How have you found the experience of studying at the Royal College of Music? 

“It has always been an exhilarating experience from day one. Getting to learn from incredible industry professionals and singers that I’ve always looked up to, like the brilliant Sally Burgess, was invaluable. The astonishing feeling of walking through the same corridors that Benjamin Britten would have walked through has never worn off.” 

How has the training had an impact on your singing?

“It’s had a huge impact. Most of my experience in York before moving to the Royal College in London was in acting through song in musicals such Sweeney Todd, Assassins, My Fair Lady and playing Jean Valjean in Les Miserables.

“The vocal training at the RCM, through so many top-notch practitioners, including my singing teacher, the baritone Peter Savidge, has built up my classical voice and given me a whole new toolkit for singing at a different level.”

Sam Hird and Tom Bennett performing an Elizabethan ballad in Pick Me Up Theatre’s April production of Shakespeare In Love, directed by Sam’s father, Mark Hird, at Theatre@41, Monkgate, York


When did you first perform with Tom?

“We used to play through Benjamin Britten folk songs in my room in halls in our first year, as and when we wanted some respite from pizza and the students’ union bar!

“But we first performed in front of an audience for my third-year recital, where we did some French folk songs and an aria from Don Giovanni.

“We also performed in York together in April when Tom’s guitar playing was an important part of Pick Me Up Theatre’s production of Shakespeare In Love at Theatre@41, Monkgate, and we performed a beautiful Elizabethan ballad together. We’ll reprise it in our winter concert in a sequence of Shakespeare songs.”

What do you enjoy about performing to guitar accompaniment?

“It’s a completely different experience to singing with a piano; somehow it instantly feels more intimate. I find the sound-worlds of the voice and guitar blend really beautifully, and I like that there’s more scope to be a little more daring in terms of the quieter moments.” 

When choosing a programme, what factors do you take into consideration to achieve balance?

“When Tom and I set out with programming, one of the key factors is available music, as most of what is written for voice and guitar is for tenors – lucky things! But we like to have sections in different languages with ebbs and flows in each part.

Sam Hird and Tom Bennett in a light moment outside the Royal College of Music

“We really enjoy putting in the first few pieces from a song cycle (like Schubert’s Die Schöne Müllerin) as that gives us a clear, defined journey to try and take the audience on with us.”  

How has the winter season infiltrated tomorrow night’s programming?

“We’ll be covering a lot of ground in terms of styles and sound worlds but the candlelit winter setting with mulled wine definitely made us want to find some ‘cosy-sounding’ songs to suit the season – and a few classic Christmas tunes tucked themselves in early on in the planning stages.” 

On leaving college, how do you go about building your career?

“Thankfully, I have another two years of Masters to try and get the definitive answer to that excellent question! I’ll be putting myself forward for quite a few competitions and keeping an eye out for auditions for appropriate solo opportunities.

“But the dream would be to join a Young Artist’s Programme, where I would hope to cover some main roles and perform smaller parts in operas. That would be an incredible learning experience and hopefully an important stepping stone for my musical career.” 

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The Ebor Singers to celebrate Christmas with Handel and Britten carols at St Olave’s

The Ebor Singers: Christmas concert at St Olave’s Church

THE Ebor Singers serve up a double festive treat of Part One of Handel’s Messiah and Britten’s A Ceremony of Carols in A Christmas Celebration in York on Sunday, December 18.

This is the second of the York choir’s Christmas concerts, wherein the 7.30pm programme will be performed in the intimate surroundings of St Olave’s Church, Marygate.

The choir will be joined by a string quartet and organist Keith Wright for Handel’s work; harpist Rachel Dent for Britten’s carols. Solos will be taken on by choir members.

“Part One of Handel’s Messiah takes us from prophecy to the birth of Jesus, and Britten’s A Ceremony of Carols takes up the story of the nativity,” says musical director Paul Gameson. “Although 200 years separate these two works, they both speak with similar directness and freshness.

“Handel draws on the most popular musical genres of the day for his Messiah: part-German passion, part-Italian opera, part-English anthem. Britten followed a trend of his contemporaries, exploring medieval poetry, but his music – scored for female voices and harp – established the new quintessential ‘sound’ of Christmas music.

A Christmas Celebration also showcases pieces from The Ebor Singers’ new album of American Christmas music, Wishes And Candles.

Tickets (£15, concessions £12, students aged 16 plus £7, children free) are available from eventbrite.co.uk or on the door.

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James celebrate 40 years with orchestral tour & double album. York Barbican sold out

James on stage: Next spring their ranks will swell by 30 when joined by an orchestra and gospel choir

ENDURING Manchester band James will play York Barbican on April 28 on next spring’s James Lasted Orchestral Tour.

Led as ever by Boston Spa-born singer Tim Booth, this 40th anniversary celebration will come loaded with a 22-piece orchestra and eight-strong gospel choir conducted by Joe Dundell.

The tour title is presumably a nod to both James’s longevity and to the orchestral music once synonymous with James Last, the German composer, jazz double bassist big band leader of the James Last Orchestra.

All 15 dates on the 2023 orchestral tour have sold out already, including Sheffield City Hall on May 4 as well as Liverpool’s Philharmonic Hall, Birmingham Symphony Hall and a Royal Albert Hall finale in London.

That itinerary will be accompanied by a double album of new versions of James’s greatest hits, fan favourites and deep cuts, plus one new composition, as yet untitled. Full details including release date, tracklisting and formats are to be announced soon.

The poster for the James Lasted Orchestral tour in 2023

Recorded at Blueprint Studios, Manchester, the album was arranged and conducted by Duddell – whose credits include Elbow and New Order – working in tandem with Orca, the orchestra assigned to the tour too, and a gospel choir.

Since playing as James for the first time when supporting Big Country at Manchester’s Hacienda on November 17 1982, they have released 16 studio albums, sold 25 million records, and enjoyed an Indian summer renaissance with a run of Top Five albums with Girl At The End Of The World, narrowly missing out on the top spot in 2016 to Adele’s 25, 2018’s Living In Extraordinary Times and 2021’s The Colours Of You.

Last December’s arena tour, taking in Leeds First Direct Arena with fellow Mancunians Happy Mondays in support, was their biggest selling and most successful to date.

Looking ahead to the 2023 tour and double album release, Booth, 62, says: “There are a number of great bands who have been around for 40 [years]. But to get here and to be having the best time of our lives. To be part of a supportive loving family that still has something to say and new ways to say it. To be turned on by every gig and song. To fall in love over and over again, Groundhog Day, with our bandmates and audience. Damn. That’s time well spent.

James, at Broughton Hall, near Skipton, in May 2021, when gathered for rehearsals and promotional duties for 16th studio All The Colours Of You. Picture: Lewis Knaggs

“We should have recorded the orchestra tour first time round, as many of you have reminded us. Well, we’ve done it now. And here comes the tour. The orchestra and gospel singers expand our palette, heighten the tenderness, heighten the celebration and, despite their numbers, somehow leave us feeling more naked and raw. It will be different, probably each night, because we are James and Joe [Duddell] knows how to dance with us. And because you are different, each night.”

Bassist Jim Glennie, 59, adds: “Has it really been 40 years? In some ways it feels like yesterday and in others, many lifetimes. A family of brothers and sisters, willing to support each other musically and emotionally. Uniquely challenging, always pushing ourselves into the new and taking risks collectively and individually, looking for transcendence.”

Joining Booth and Glennie in the tour line-up will be Saul Davies, Adrian Oxaal, David Baynton-Power, Mark Hunter, Andy Diagram, Chloe Alper and Deborah Knox-Hewson.  

Marking diaries for next summer’s outdoor concert season, James are booked in to play Live At The Piece Hall 2023 in Halifax, West Yorkshire, on July 7 and a hastily added second show on July 8, due to “phenomenal demand”.  

Already confirmed for The Piece Hall in 2023 are Madness on June 16 and 17; The War On Drugs, June 21; Rag’n’Bone Man, June 23; Embrace, July 1; Sting, July 3, and The Lumineers, July 9, with plenty more acts yet to be announced.  Box office: thepiecehall.co.uk.

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REVIEW: Martin Dreyer’s verdict on University of York Choir & Baroque Ensemble’s Christmas concert

Robert Hollingworth: Conductor of the University of York’s largest choir

University of York Choir & Baroque Ensemble, Central Hall, University of York, November 30

CHRISTMAS music of the Baroque and the 20th century were contrasted here in the five sections of Charpentier’s Messe de Minuit and four carol-anthems by Howells.

Interwoven with these were five extracts from A Child’s Christmas In Wales by Dylan Thomas. It was an ingenious idea, although none of these strands had much in common beyond the seasonal message.

Robert Hollingworth, who is now conductor of this choir, the university’s largest, read the passages from Thomas’s nostalgic view of a childhood Christmas, blanket-wrapped in an armchair and adopting an impressive Welsh lilt (that softened a bit towards the end). It was cosy, fireside stuff, with larger-than-life characters springing from the pages.

Charpentier’s late-17th century mass is almost balletic in its attempt to appeal to popular taste. The Baroque Ensemble, with guests leading three of its string sections, responded stylishly, with keen rhythm and taut ensemble.

The choir did not catch quite the same sense of urgency, perhaps feeling that Hollingworth’s baton was directed more at the players. That said, the tempo changes in the middle of the Credo were well managed. Alexander Kyle took over conducting for the final two sections, including a surprisingly jaunty Agnus Dei.

Variety came with several passages from a semi-chorus that additionally supplied soloists, who were at their most appealing when sopranos intertwined with recorders. A choir this size ranged on three flanks is always going to have difficulties with blend, especially in the very dry acoustic of Central Hall.

So, it was a pity that the least-known – and most recent – of the Howells pieces, Long, Long Ago, came first, before the choir had found its feet.

Here Is The Little Door, conducted by Kyle, was the best-shaped of the Howells. In contrast, A Spotless Rose was a little too fast for there to be no feel of the bar-line and the crunchy harmonies at the end, symptomatic of icy winter, were fudged. Bo Holten’s First Snow made an effective finisher.

Hollingworth is deservedly recognised as a first-class choir trainer. He will need just a little longer to stamp his mark on this choir. Watch this space.

Review by Martin Dreyer

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The Ebor Singers mark release of American Christmas album Wishes And Candles with candlelit concert at St Lawrence’s Church

The Ebor Singers: Two Christmas concerts in York

PAUL Gameson directs The Ebor Singers tonight in an evening of beautiful choral arrangements for Christmastide at St Lawrence Parish Church, Lawrence Street, York.

The 7.30pm concert, A Christmas Celebration By Candlelight, also marks the launch of the York choir’s CD recording of Christmas music by contemporary American composers, Wishes And Candles.

Pieces from the disc, featuring works by Morten Lauridsen, Eric Whitacre, Dan Forrest, Abbie Bettinis and Matthew Culloton, will be complemented by festive compositions by John Rutter and Bob Chilcott.

“We’re looking forward to sharing music from our new album,” says Paul. “It took two years to put this together, thanks to a two-year Covid-enforced hiatus between recording sessions, so it was particularly enjoyable completing this in April this year.

“Music by Lauridsen and Whitacre is featured, but so too are other composers whose names and music deserve to be more widely known, such as Forrest, Bettinis and Culloton. There’ll also be some audience-participation carol singing, so bring your voices too!”

Tickets (£15, concessions £12, students £7 (16 plus), children free) are on sale at eventbrite.co.uk or on the door.

A Christmas Celebration is the first of two Christmas concerts in York for the choir, who will perform Part 1 of Handel’s Messiah (featuring the Christmas story) and Britten’s A Ceremony of Carols on Sunday, December 18 at 7.30pm  at St Olave’s Church, Marygate. Tickets: eventbrite.co.uk.