Linus Karp: Invitation to join Diana in heaven as she shares the untold and untrue tale of her extraordinary life at Theatre@41. Picture: Dave Bird
FROM a drag Diana to a DIY staging of Harry Potter, synth pop turned symphonic to a long-running Agatha Christie mystery, Charles Hutchinson goes in search of entertainment new and old.
Royal verité show? Probably not! Linus Karp in Diana: The Untold And Untrue Story, Theatre@41, Monkgate, York, February 3 and 4, 7.30pm
DO you know the story of Diana? Probably. But do you know writer-performer Linus Karp’s story of Diana? “We very much doubt it,” say Awkward Productions, the harbingers of theatrical chaos responsible for this humorous, if tasteless, celebration of the people’s princess.
Join Diana in heaven as she shares the untold and untrue tale of her extraordinary life through a combination of drag, multimedia, audience interaction, puppetry and “a lot of queer joy”. Box office: tickets.41monkgate.co.uk.
Sketch of Lendal and street in progress by Steve Beadle, one of the Navigators Art artists exhibiting at Helmsley Arts Centre
Exhibition of the week: Navigators Art, Moving Pictures II, at Helmsley Arts Centre, until March 3;Tuesdays, Wednesdays and Fridays, 10am to 3pm; Thursdays, 11am to 3pm, and during event opening times
YORK collective Navigators Art are represented by seven artists at Helmsley: Kai Amafé, prints and 3D work; Steve Beadle, paintings and drawings; Michael Dawson, paintings; Richard Kitchen, prints and collages; Katie Lewis, textiles and paintings; Timothy Morrison, constructions, and Peter Roman, paintings.
“The title Moving Pictures is deliberately open to interpretation by the audience as well as the artists,” says co-founder Richard Kitchen, who will be stewarding an 11am to 3pm open day tomorrow (15/1/2023). Exhibition entry is free.
Textile art by Katie Lewis, another of the Navigators Art artists on show in Moving Pictures II at Helmsley Arts Centre
Fundraiser of the week:White Rose Theatre in A Gala Night (and day) Of Musical Theatre, Joseph Rowntree Theatre, York, today, 2.30pm and 7.30pm
THE Katie Ventress School of Dance, York Musical Theatre Company and guest soloists will be accompanied by a band under the musical direction of John Atkin in these uplifting gala concerts to blow away the post-Christmas blues.
Favourites from Les Miserables, Jesus Christ Superstar and Anything Goesare promised. All proceeds will go to the JoRo’s Raise The Roof campaign. Box office for the last few tickets: 01904 501935 or josephrowntreetheatre.co.uk.
Electrifying Eighties: Calling Planet Earth gives a symphonic coating to Duran Duran and co
Nostalgia of the week: Calling Planet Earth, A New Romantic Symphony, York Barbican, January 21, 8pm
A NEW Romantic Symphony heads out on a journey through the electrifying Eighties to revisit the songs of Duran Duran, Spandau Ballet, The Human League, Ultravox, Tears For Fears, Depeche Mode, Japan, ABC, Soft Cell and Orchestral Manoeuvres In The Dark.
Symphonic arrangements combine with “stunning vocals” in a parade of hits that defined a decade. Box office: yorkbarbican.co.uk.
Pottervision: Lukas Kirkby and Tom Lawrinson re-create first film Harry Potter And The Philosopher’s Stone with DIY props, wigs and charity-shop costumes
Magic with mayhem? Pottervision, Stephen Joseph Theatre, Scarborough, February 10, 7.45pm
LUKAS Kirkby and Tom Lawrinson gather up DIY props, charity-shop costumes and wizarding wigs for their “ridiculous re-creation” of Harry Potter And The Philosopher’s Stone, staged with multiple role-playing and limited resources after two fellow performers drop out.
What could possibly go wrong?! Find out in Pottervision, a fantastical spectacular for casual fan and avid squib alike. Please note: suitable for age 16 upwards on account of adult language and dark humour. Box office: 01723 370541 or sjt.uk.com.
Miles & The Chain Gang: New single to promote at Alne Village Hall
Back on the Chain Gang: Alne Music Club presents Miles & The Chain Gang, Alne Village Hall, Main Street, Alne, February 11, 7.30pm
YORK band Miles & The Chain Gang head to their first gig of the year with an imminent new single in their locker, Charlie. Recorded last September at Young Thugs Studio in York, it features Miles Salter, guitar and vocals, Tim Bruce, bass, Daniel Bowater, keyboards, Steve Purton, drums, and Mat Watt, guitar.
“We’re filming the video in the next few days with our video guru Dave Thorp,” says Salter. Tickets: from d.lepper27@btinternet.com or on 01347 838114.
Dimitra Ananiadou: Violinist to peform recital with pianist Richard Whalley at NCEM
Take a bow:Dimitra Ananiadou & Richard Whalley, A Travel Through Time, National Centre for Early Music, York, February 25, 7pm
DIMITRA Ananiadou returns to York to travel back in time for a violin recital that explores the creation of Baroque, classical and 20th century music with the aid of her special bows.
Composer and pianist Richard Whalley will be accompanying her on the journey through JS Bach’s Violin Partita No. 2 in D minor (Ciaccona), Niccolò Paganini’s Caprice for Solo Violin No. 24 Op. 1, Beethoven’s Violin Sonata Op. 30 No. 2 and Fritz Kreisler’s Praeludium and Allegro in the style of Gaetano Pugnani. Box office: 01904 658338 or ncem.co.uk.
Todd Carty: Playing Major Metcalf in 70th anniversary tour of The Mousetrap
Mystery play in York:The Mousetrap, Grand Opera House, March 6 to 11, 7.30pm plus 2.30pm Wednesday and Saturday matinees
AGATHA Christie’s mystery The Mousetrap, “the longest running play in the world”, takes in more than 70 venues on its 70th anniversary tour, including a return to York’s Grand Opera House.
EastEnders’ duo Todd Carty, as Major Metcalf, and Gwyneth Strong, as Mrs Boyle, feature in Ian Talbot’s cast for this tale of intrigue and suspense set at Monkswell Manor, a stately countryside guesthouse where seven strangers find themselves snowed in as news spreads of a murder in London. When a police sergeant arrives, the guests discover – to their horror – that a killer is in their midst. Whodunnit? Box office: atgtickets.com/York.
Solomon’s Knot: Thrilling programme of Christmas cantatas. Picture: Dan Joy
York Early Music Christmas Festival, Solomon’s Knot, Johann Kuhnau: Christmas Cantatas, National Centre for Early Music, York, December 16
JOHANN Kuhnau’s name has not carried much resonance in this country until recently. Even if you have played some of his keyboard music, you might still be unaware that he wrote some terrific music for voices.
That is all changing, thanks to Solomon’s Knot and its director Jonathan Sells. His ensemble of eight voices (including the bass of Sells himself) and 18 players delivered a thrilling programme of Christmas cantatas, three of them British premieres, which is extraordinary when you consider that the German composer died exactly 300 years ago.
The London premieres, incidentally, took place the following night: another feather in this festival’s cap.
So who was he – and why have we taken so long to acknowledge him? The fault lies with J S Bach, who in 1722 succeeded Kuhnau as Kantor (music director) at the prestigious Thomasschule in Leipzig.
Kuhnau’s choral works have slumbered in Bach’s long shadow ever since. Not Bach’s fault really, of course, but we have been distracted. For Bach learned a lot from Kuhnau and the proof was right here.
All five cantatas followed a similar pattern: a short orchestral intro (not a full overture) preceded a combination of recitative, aria and choruses, many of those being a heady mixture of chordal material and fugal procedures.
Unlike Bach, he made little use of formal chorales, incorporating them into orchestral textures. Nor did he mark off the various styles into separate numbers: they flow seamlessly from one to another. This enormously enhances their dramatic effect.
Alex Ashworth: Smoothly sung bass aria
The first of the premieres, Singet dem Herrn, which uses two trumpets and a bassoon alongside strings and continuo, bore similarities to what in this country we call a verse anthem, solo voices incorporated into predominantly choral passages.
The final fugue ended slowly and majestically, à la Handel. O Heilige Zeit was not a premiere but is known to have a libretto by Erdmann Neumeister, Kuhnau’s go-to poet, who was widely popular for his cantata texts.
It opened with what to my ears was a full-scale double fugue. After a forceful bass aria, alternating long melismas with syllabic text-setting and sung by Sells, it peaked with a persuasive contralto aria delivered by Kate Symonds-Joy with excellent diction, before the final chorus.
Clarino trumpets returned for Das Alte Ist Vergangen, another premiere, which contrasted the old year and the New Year, via an analogy with the Old and New Testaments. Thus an old-style alto aria larded with coloratura was complemented by a more ‘modern’ bass aria smoothly sung by Alex Ashworth. The final ‘Happy New Year’ chorus was decidedly upbeat, trumpets dancing in triple time.
Not a premiere, but making colourful use of the familiar chorale of the same name, was Wie Schön Leuchtet der Morgenstern, where horns – with their bells upwards – and flutes added to the joy of the choruses.
Finally, and closest in style to Bach, we had another premiere in Frohlocket, Ihr Völker, which was notable for a stunning tenor aria beautifully articulated by James Way (who must make a superb Bach Evangelist). Its opening chorus, with trumpets and timpani back in the fray, had set the scene sensationally – and the finale was almost its equal.
The excitement generated throughout the evening was the musical equivalent of discovering Tutankhamun’s tomb: Solomon’s Knot has put Kuhnau firmly back on the map, and in marvellous style.
Review byMartin Dreyer
York Early Music Christmas Festival 2022 is streaming until January 31 2023 at ncem.co.uk, for £10 per concert or £45 for all seven festival events recorded at the NCEM.
Bojan Čičić: “The prospect of his playing Bach’s three solo partitas was irresistible”
York Early Music Christmas Festival: Bojan Čičić, Part 2, JS Bach Partitas, National Centre for Early Music, York, December 17
IT was never my intention to cover both Bojan Čičić recitals, but so compelling was the first – Bach’s solo violin sonatas on December 10 – that the prospect of his playing Bach’s three solo partitas was irresistible.
The partitas are essentially suites of dances. In addition, each of the four dances of Partita No 1 in B minor is followed by a ‘Double’. Common in French harpsichord suites, a double is a variation on the dance it partners, usually twice or three times as fast as the original. Thus, after the Corrente (Courant), there is a double marked Presto. Čičić took this at an incredible pace, showcasing his daring virtuosity.
In the Sarabande that followed his triple-stopping was chordal and deliberate, with an arpeggiated double to follow: in its way, this was as breath-taking as the Corrente.
No 2 in D minor was no less striking. After an intimate Allemanda, with fluent ornamentation, the different registers of the Corrente were strongly differentiated, so that we sensed three simultaneous lines.
The Giga was another dazzler. The concluding chaconne started innocently enough, but built into some fearsome runs, which were despatched nonchalantly. In the middle of all this was a D major interlude of teasing suspensions.
The pastoral No 3 in E major was a gentler affair. Its well-known Gavotte was positively bouncy, its two minuets exquisitely graceful and its final Gigue (offshoot of the original English jig) brilliantly steady. This unassuming virtuoso had worked his magic again.
Reviewby Martin Dreyer
YORK Early Music Christmas Festival 2022 is streaming online until January 31 2023 at ncem.co.uk, at £10 per concert or £45 for all seven festival concerts recorded at the NCEM.
A mouse on skis at the Fairfax House exhibition A Townmouse Christmas
A MOUSE house invasion, Christmas concerts galore, a much-loved musical and a cracking ballet are Charles Hutchinson’s festive fancies.
Exhibition of the week: A Townmouse Christmas, Fairfax House, York, until December 23, 11am to 4pm, last entry, 3.30pm
‘TWAS the night before Christmas, when all through the house, not a creature was stirring. Not true! In among the Georgian festive decor, hundreds of decorative town-mice have descended on Fairfax House.
Stealing the cheese and biscuits, running up and down the clocks, even skiing down the banisters, the charming magical mousey scenes complement the 18th-century-style festive foliage that evoke a Fairfax family Christmas of a bygone era in York. Tickets: fairfaxhouse.co.uk.
Chapter House Choir: Candle-lit carol singing in the nave of York Minster
Christmas institution of the week in York: Chapter House Choir’s Carols By Candlelight, York Minster, tonight, 7.30pm; doors, 6.45pm
DIRECTED by Benjamin Morris, the Chapter House Choir will be joined in the central nave by the Chapter House Youth Choir, the choir’s Handbell Ringers and York organist William Campbell for a feast of festive music, combining familiar carols with new and exciting compositions.
Jesus Christ The Apple Tree, a carol composed for the choir by founder Andrew Carter, will be premiered. The 90-minute concert with no interval will be dedicated to the memory of Dr Alvan White, the choir’s Candlelighter-in-Chief for these concerts from 2003 to 2018, who died in August. Tickets: “Selling very well” at yorkminster.org.
Sanna Jeppsson’s Maria Rainer sings to the von Trapp children in Pick Me Up Theatre’s The Sound Of Music
Musical of the week: Pick Me Up Theatre in The Sound Of Music, Theatre@41, Monkgate, York, until December 30.
COMMONWEALTH Games squash gold medallist and Harrogate man of the musicals James Willstrop plays Captain von Tropp opposite Swedish-born Sanna Jeppsson’s trainee nun turned free-spirited nanny, Maria Rainer, in Robert Readman’s production of Rodgers & Hammerstein’s final collaboration.
Three teams of von Trapp children, Team Vienna, Team Graz and Team Linz, will share out the performances at 7.30pm tonight, then December 19, 21, 23, 27, 28 and 29, and at 2.30pm, today, tomorrow, then December 20, 22, 27, 29 and 30. Box office: tickets.41monkgate.co.uk.
Holly head: Kate Rusby crowned in festive foliage for her Christmas celebrations
Festive folk concert of the week: Kate Rusby At Christmas, York Barbican, tomorrow, 7.30pm
AFTER marking her 30th anniversary in the folk fold with 30: Happy Returns, an album of collaborations with Ladysmith Black Mambazo, Richard Hawley and KT Tunstall, Barnsley folk nightingale Kate Rusby ends the year with her customary Christmas tour.
Joined by her regular folk band, led by husband Damien O’Kane, and her Brass Boys quintet, Rusby draws on South Yorkshire’s Sunday lunchtime pub tradition of singing carols once frowned on by Victorian churches for being too jolly, complemented by festive favourites and her own winter songs. Box office: yorkbarbican.co.uk.
Merry Christmas from The Howl & The Hum
Christmas fancy dress of the week: Please Please You presents The Howl & The Hum, The Crescent, York, Monday and Tuesday, 7.30pm, both sold out
DEMAND was so high for York band The Howl & The Hum’s now traditional Yuletide celebration at The Crescent that a Monday show was added to the fully booked Tuesday gig. All tickets have gone for that night too.
What will frontman Sam Griffiths wear after raiding the Nativity Play dressing-up box for angel wings in 2019 and bedecking himself as a lit-up Christmas tree in 2021? And which Christmas classic will they reinvent in the wake of The Pogues’ Fairytale Of New York last time when joined by fellow York combo Bull?
The New York Brass Band’s two Xmas Party gigs on December 22 and 23 at 7.30pm have sold out too.
Christmas revival of the week: Northern Ballet in The Nutcracker, Leeds Grand Theatre, Tuesday to January 7 2023
The Nutcracker: Northern Ballet’s festive delight returns to Leeds Grand Theatre. Picture: Emily Nuttall
LEEDS company Northern Ballet’s touring revival of former artistic director David Nixon’s festive favourite heads home for a three-week finale at the Grand, replete with gorgeous Regency-style sets by Charles Cusick Smith.
“The Nutcracker is not just a ballet, it is a tradition for many families and generations, a way of having shared memories at a time of year when togetherness turns to the fore,” says Nixon. “I believe that The Nutcracker offers the perfect festive escapism for every generation, a chance to revel in the child-like magic of Christmas.” Box office: 0113 243 0808 or leedsheritagetheatres.com.
The York Waits: Christmas music on shawms, sackbuts, curtals, crumhorns, bagpipesand more
The wait is almost over for…The York Waits’ Christmas concert: The Waits’ Wassail: Music for Advent and Christmas, National Centre for Early Music, York, Tuesday, 7.30pm
THE York Waits, now in their 45th year of re-creating the historic city band, present Mirth & Melody Of Angels, music for Christmas and the festive season from medieval and renaissance Europe, performed by Tim Bayley, Lizzie Gutteridge, Anna Marshall, Susan Marshall and William Marshall with singer Deborah Catterall.
Angels abound, from the 1350’s Angelus ad Virginem to Orlando Gibbons’ Thus Angels Sung from the late-Elizabethan era. Familiar German chorales are followed by French Noels and Mediterranean folk songs, played on shawms, sackbuts, curtals, crumhorns, bagpipes, recorders, flutes, fiddles, rebec, guitar, hurdy gurdy and portative organ. Box office: 01904 658338 or ncem.co.uk.
Baaaaaarrrrgggghhhhhhbican frustration! Ricky Gervais’s brace of Armageddon dates at York Barbican sold out in 27 minutes
Apocalypse next month: Ricky Gervais, Armageddon, York Barbican, January 10 and 11 2023, 7.30pm precisely
ARMAGEDDON is not the end of the world as we know it but the name of grouchy comedian, actor, screenwriter, director, singer, podcaster and awards ceremony host Ricky Gervais’s new tour show.
Gervais, 61, will be torching “woke over-earnestness and the contradictions of modern political correctness while imagining how it all might end for our ‘one species of narcissistic ape’,” according to the Guardian review of his Manchester Apollo gig. Box office? Oh dear, you’re too late for Armageddon; both nights have sold out.
Also recommended but selling out fast: The Shepherd Group Brass Band Christmas Concert, Joseph Rowntree Theatre, York, tonight, 7.30pm
ONLY the last few tickets remain for this Christmas concert featuring all the bands that make up the Shepherd Group Brass Band, from their Brass Roots absolute beginners to the championship section Senior Band, playing a variety of Christmas and seasonal music with plenty of audience participation. Box office: josephrowntreetheatre.co.uk.
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.
Goose by the Ouse: Dame Berwick Kaler, centre, with Martin Barrass, left, AJ Powell, Suzy Cooper and David Leonard, gathering again at the Grand Opera House, York, for The Adventures Of Old Mother Goose. Picture: David Harrison
KALER on the loose, Christmas music, art and crafts and a stellar trio on the horizon have Charles Hutchinson hopping between diaries
Berwick’s back: The Adventures Of Old Granny Goose, Grand Opera House, York, December 10 to January 8
THE script is complete, as of 6am on Thursday morning, for writer, director and perennial York dame Berwick Kaler’s second year at his adopted panto home, presented in tandem with the Grand Opera House’s new partners in pantomime, UK Productions.
At 76, expect a greater emphasis on the verbal jousting from Dame Berwick, but still with slapstick aplenty in the familiar company of sidekick Martin Barrass, villain David Leonard, principal gal Suzy Cooper, luverly Brummie AJ Powell and ever-game dancer Jake Lindsay in his tenth Kaler panto, me babbies, me bairns. Box office: 0844 871 7615 or atgtickets.com/York.
Angel With Gift, linocut print by Anita Klein, part of The Christmas Collection at Pyramid Gallery, York
Exhibition launch of the week: The Christmas Collection at Pyramid Gallery, Stonegate, York, today until January 12, open daily
YORK ceramicist Ben Arnup opens The Christmas Collection, the last exhibition of Pyramid Gallery’s 40th anniversary celebrations, at midday today. He will be exhibiting 12 new trompe l’oeil ceramic sculptures too.
Gallery curator Terry Brett has invited London printmaker Anita Kelin to fill the walls with 15 large linocut original prints and two paintings in her 28th year of showing her depictions of family life at Pyramid. Exhibiting too will be printmaker Mychael Barratt, sculptors Christine Pike and Jennie McCall, ceramicist Katie Braida and glassmakers Rachel Elliott, Alison Vincent, Keith Cummings and David Reekie, plus 50 jewellery makers.
Sara Davies: Crafty ideas for Christmas at York Barbican
Return to York of the week: Craft Your Christmas with Sara Davies, York Barbican, tonight, 7.30pm
DRAGONS’ Den entrepreneur Sara Davies, who founded her Crafter’s Companion company in 2005 while studying at the University of York, offers practical demonstrations, creative ideas and a healthy slice of down-to-earth know-how.
Taking you from gifts to garlands, cards to crackers, via a peek into the Den and a sprinkling of Strictly Come Dancing sparkle, Sara will help you to create your own unique handmade Christmas. Box office: yorkbarbican.co.uk.
The Ebor Singers: Christmas music from America and Britain at St Lawrence Parish Church
Christmas concert of the week: The Ebor Singers, A Christmas Celebration By Candlelight, St Lawrence Parish Church, Lawrence Street, York, tonight, 7.30pm
PAUL Gameson directs The Ebor Singers in an evening of beautiful choral arrangements for Christmastide that 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. Expect audience participation in carol singing too. Tickets: eventbrite.co.uk and on the door.
Russell Watson and Aled Jones
Festive musical duo of the week: Aled Jones and Russell Watson, Christmas With Aled & Russell York Barbican, Tuesday, 8pm
ALED Jones and Russell Watson are reuniting for Christmas 2022, combining a new album and tour. Performing together again after a three-year hiatus, the classical singers will be promoting their November 4 release of Christmas With Aled And Russell.
The album features new recordings of traditional carols such as O Holy Night, O Little Town Of Bethlehem and In The Bleak Midwinter, alongside festive favourites White Christmas, It’s Beginning To Look A Lot Like Christmas, Little Drummer Boy and Mistletoe And Wine, complemented by a duet rendition of Walking In The Air. Box office: yorkbarbican.co.uk
York Mystery Plays Supporters Trust cast members in rehearsal for A Nativity for York. Picture: John Saunders
Nativity play of the week: York Mystery Plays Supporters Trust in A Nativity for York, Spurriergate Centre, Spurriergate, York, Thursday, Friday, 7.30pm; Saturday, Sunday, 3pm, 5pm and 7.30pm
A NATIVITY for York returns to the Spurriergate Centre following a two-year enforced break, staged by York Mystery Plays Supporters Trust (YMPST). After directing the Last Judgement plays on the city streets in 2018 and 2022, Alan Heaven has created a fresh, vibrant and magical retelling of the Nativity, combining “music, dance, sorrows and joys and some audience participation”.
Heaven’s company of actors, dancers and musicians is drawn from a wide range of community volunteers, in keeping with the YMPST productions of A Nativity for York in 2019 and A Resurrection for York in 2021. Tickets: 01904 623568, at yorktheatreroyal.co.uk or in person from the Theatre Royal box office.
Solomon’s Knot: Christmas Cantatas at Sir Jack Lyons Concert Hall, University of York, in York Early Music Christmas Festival 2022’s concluding concert
Festival of the week: York Early Music Christmas Festival, mainly at NCEM, Walmgate, December 8 to 16; online box set, December 19 to January 31
MUSIC, minstrels, merriment, mulled wine and mince pies combine in York Early Music Christmas Festival 2022, to be complemented by an online box set of festival highlights post-festival.
Taking part will be La Palatine (Fiesta Galante); Ensemble Augelletti (Pick A Card!); Solomon’s Knot (Johann Kuhnau’s Christmas Cantatas); Spiritato and The Marion Consort (Inspiring Bach); Ensemble Moliere (Good Soup); Bojan Čičić (Bach’s Sonatas and Partitas); The Orlando Consort (Adieu) and Yorkshire Bach Choir & Yorkshire Baroque Soloists (Handel’s Brockes Passion). Box office: 01904 658338 or ncem.co.uk.
Guitarist Tom Bennett and baritone Sam Hird, outside their training ground, the Royal College of Music. On Friday, they perform a Christmas recital in York
Homecoming of the week: Sam Hird and Tom Bennett, A Winter Night’s Recital, All Saints’ Church, North Street, York, Friday, 7pm to 9pm
YORK baritone Sam Hird and his fellow Royal College of Music graduate, guitarist Tom Bennett, perfrom classical songs from around the world, by 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.
The 15th century All Saints’ Church will be the “perfect backdrop” to this candlelit concert, Hird’s professional solo debut. 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 and on the door.
Big jumpers, big songs: Alistair Griffin presents The Big Christmas Concert, St Michael le Belfrey Church, York, December 9, 10 and 17, 8pm; doors, 7.30pm
Alistair Griffin: Christmas hits
BILLED as “the biggest Christmas concert in York”, singer-songwriter Alistair Griffin’s winter warmer returns with classic Christmas tunes, carols and bags of festive cheer, heralded by a brass band.
The Big Christmas Concert takes a festive musical journey from acoustic versions of traditional carols to Wizzard, Slade and The Pogues, as audiences sing along and sip mulled wine while enjoying the fairytale of old York. Christmas jumpers and Christmas attire are encouraged; a prize will be given for the best costume. Box office: www.alistairgriffin.com.
One way or another, you’re gonna get ya ticket for Blondie at Scarborough Open Air Theatre next summer
Booking ahead: Blondie, Scarborough Open Air Theatre, June 22 2023
LOWER East Side New York trailblazers Blondie are off to the East Coast next summer to play Britain’s largest outdoor concert arena.
The Rock and Roll Hall of Fame icons will be led as ever by pioneering frontwoman/songwriter Debbie Harry, 77, guitarist/conceptual mastermind Chris Stein and powerhouse drummer Clem Burke, joined by former Sex Pistols bassist Glen Matlock, guitarist Tommy Kessler and keyboardist Matt Katz-Bohen.
Blondie join Sting, Pulp, rock supergroup Hollywood Vampires, N-Dubz, Olly Murs and Mamma Mia! among Scarborough OAT’s 2023 headliners, with plenty more to be added. Box office: scarboroughopenairtheatre.com.
The Waterboys: 40th anniversary celebrations in 2023, taking in York Barbican
Booking ahead too: The Waterboys, York Barbican, October 12 2023, 7.30pm
GREAT, Scott will be back for yet another evening with The Waterboys at York Barbican, this time to mark the Scottish-founded folk, rock, soul and blues band’s 40th anniversary.
Mike Scott, 63, has made a habit of playing the Barbican, laying on the “Big Music” in 2012, 2013, 2014, 2015, 2018 and October 2021, since when The Waterboys have released 15th studio album All Souls Hill in May. Box office: yorkbarbican.co.uk.
Grayson Perry: A Show All About You…and surely about him too at Harrogate Convention Centre?
A brush with an artist: Grayson Perry: A Show All About You, Harrogate Convention Centre, October 1 2023, 7.30pm
ARTIST, iconoclast and TV presenter Grayson Perry follows up A Show For Normal People with A Show All About You, wherein he asks, “What makes you, you?”. Is there a part deep inside that no-one understands? Have you found your tribe or are you a unique human being? Or is it more complicated than that?
Perry, “white, male, heterosexual, able bodied, English, southerner, baby boomer and member of the establishment”, takes a mischievous look at the nature of identity, promising to make you laugh, shudder, and reassess who you really are. Box office: 01423 502116 or harrogatetheatre.co.uk.
Also recommended but sold out: The Cure, The Lost World Tour 2022, Leeds First Direct Arena, Tuesday, doors, 6pm
ROBERT Smith’s ever-changing band play Leeds for the first time since September 21 1985 at the whatever-happened-to-the Queens Hall. Expect a long, long set of all the heavenly, hippy pop hits, the gloomier goth stalwarts and more than a glimpse of the long-promised 14th studio album, Songs Of A Lost World, pencilled in for 2023.
Next Door But One founder and artistic director Matt Harper-Hardcastle. Picture: Esme Mai
NEXT Door But One may be new to Art Council England’s National Portfolio, but this York community interest company (CIC) has been a familiar, welcoming face to many in the community for ten years.
When Arts Council England announced its £446 million investment in 990 organisations each year from 2023 to 2026, to “bring art, culture and creativity to more people in more place across the country”, six York organisations were given funding, alongside such big hitters as the Royal Opera House and Royal Shakespeare Company.
Maintaining their previous NPO status are York Theatre Royal, York Museums Trust, the National Centre for Early Music and Pilot Theatre, while Next Door But One (NDB1) and Explore York/York Explore Library and Archive both join for the first time.
“It might sound bizarre, but it’s OK if people haven’t heard of us yet,” says NDB1 founder and artistic director Matt Harper-Hardcastle. “We’ve been busy in residential settings, youth centres, pub courtyards and even the odd portable cabin or two – making sure that we get theatre to people who want it, in a way that is accessible, relevant and meaningful to them.
“People have always come first, and profile second. But now becoming an NPO allows us to shout louder about our work and reach out to even more people.”
Set up by Matt in 2013, the applied theatre company cum community arts collective began by using improvisation to tell the stories of women’s groups, Muslim families and people new to York.
“Soon our storytelling was being used to make research for the Joseph Rowntree Foundation and enabling City of York’s training programmes to be more engaging and accessible,” he says.
Ceridwen Smithin Next Door But One’s production of The Firework Maker’s Daughter. Picture: James Drury
“Our original productions were then showcased at York Disability Pride, the Great Yorkshire Fringe and York’s Dead Good Festival. From 2016, we’d honed our model of co-production and created partnerships with Camphill Village Trust, The Snappy Trust, York Carers Centre and Converge, to name a few.
“In the last year, we engaged more than 600 participants and 2,000 audience members. Something that, as a part-time team of five, we’re incredibly proud of.”
At the height of the Covid pandemic, NDB1’s activity went up by 61 per cent. “This was due to our community partners turning to us and saying ‘Can you help keep our communities connected and creative?’,” says creative producer El Stannage.
“So, we made digital performances for neurodivergent young people, online Forum Theatre to support the wellbeing of adults with learning disabilities and ran three online theatre courses for adults accessing mental health services, LGBTQ+ teenagers and unpaid carers.
“The need for our work has not decreased, even once lockdown restrictions were lifted, and that’s why we applied to be an NPO; to sustain our increased programme and to reassure our community groups that we’re still going to be there for them.”
This work’s impact on the York community has been acknowledged with formal recognition and awards from the Lord Mayor of York, the Archbishop of York and as a finalist in the Visit York Tourism Awards for “Innovation and Resilience”.
Anne Stamp, service manager at The Snappy Trust, is delighted that NDB1 are to become an NPO, helping to continue their long-standing collaboration. “Next Door But One is a much-needed service in York: a great resource for many and a service that helps to provide children and young people with a wider range of experiences, enabling them to learn, grow and have fun,” she says.
NDB1 are finalising their plans for 2023 but are working already on revivals of performances that toured to their fellow NPO, York Explore, including The Firework-Maker’s Daughter and Operation Hummingbird, as well as expanding their professional development offer for local performing arts professionals that originally produced Yorkshire Trios at The Gillygate pub in April 2021; the first live, in-person performances that year in York once lockdown restrictions were lifted.
“All NPOs must go into a negotiation phase with Arts Council England until early 2023, but for now what Next Door But One are saying is, ‘We are here and we can’t wait to continue working with communities across York or meet new people for the first time, and create together,” says Matt.
Artistic director Matt Harper-Hardcastle answers CharlesHutchPress’s questions on what lies ahead for Next Door But One, York’s community arts collective
Next Door But One artistic director Matt Harper-Hardcastle making a point in rehearsal as actress Emma Liversidge-Smith looks on
From Harrogate Theatre to Pocklington Arts Centre and English National Opera, venues and companies have suffered blows in Arts Council England’s National Portfolio awards for 2023-2026. What were the factors that meant Next Door But One NDB1) was selected as one of the new recipients in a climate where ACE talked of “levelling up” in its allocations?
“While we’re delighted to receive the NPO support, we are equally devastated for our peers across the industry who did not receive the support they had hoped for.
“We see us receiving the funding as validation for our community-driven approach, which makes our work inclusive and relevant to those we serve, while also taking on the responsibility to support our peers and create partnerships with those who aren’t part of the portfolio, so we can all continue to deliver our equally valuable work.”
York has come out of the NPO awards with tails up: York Theatre Royal, York Museums Trust, the National Centre for Early Music and Pilot Theatre retaining NPO status; Next Door But One and York Explore Library and Archive joining for the first time. What does that say about the health and diversity of arts provision in York?
“I think we’ve known for a long time just how much the city is steeped in arts a culture, and as you suggest, this goes towards celebrating that – and what a diversity of offerings York will have over the coming three years.
“From central building-based theatres, to touring companies, music, museums, libraries and a nimble participatory company like us, there really is going to be something for everyone, and we’re proud to be contributing to that collective.”
What are the benefits to NDB1 of acquiring NPO status?
“The main benefit for us is sustainability. Over the years, we’ve been able to do what we do by working hard on securing project grant funding, but this can become time consuming and resource heavy.
James Lewis Knight, left, as Jimmy and Matt Stradling as James in Next Door But One’s Operation Hummingbird. Picture: James Drury
“Knowing that we have our core funds secured for three years means we can really invest in current delivery while also having more headspace to think strategically about how we continue even further into the future.
“On the day we got the funding announcement [November 4], I phoned or emailed every partner we work with to tell them ‘We will still be here for you’ and that’s what it really means to us to become an NPO.”
Being a participatory arts and community-focused performance organisation gives you a different profile to other arts organisations in the city. All that with a part-time team of five. Discuss…
“It does, and I think that’s the real joy of the portfolio, particularly in York. We’re part of this great network of arts and culture creators, all approaching it from different angles, which should mean that everyone in York can access the things they want in a way that works for them.
“There can be a mistake when there are lots of organisations doing similar things into viewing it as ‘competition’, when it’s not. It’s complementary and collaborative. In fact, we’ve already had many discussions and meetings with fellow NPOs to see how we can support one another; how our work can go to their venue or how our participatory approach can strengthen a certain one of their projects.
“As for the part-time team, it’s great to have stability in our roles, which means we can grow both in terms of impact and by working with more York freelancers on upcoming projects.
“Even though it’s a full-time passion, we see our ‘part-timeness’ as a real strength; among our team we have those that in other areas of their working week are arts and mental health programme managers, music specialists, campaigners and directors of other theatre companies. All that additional skill and insight is really welcomed into NDB1.”
Is this the key: “Making sure that we get theatre to people who want it, in a way that is accessible, relevant and meaningful to them. People have always come first, and profile second”?
“Yes, we pride ourselves on meeting people where they are, in terms of geography but also in terms of experience and aspiration. So, whether that is taking performances to community libraries or residential gardens, or workshops to children’s centres and support groups, we go to where we’re needed, connect and create together.
First orders: Next Door But One’s Yorkshire Trios reopened outdoor theatre in The Gillygate pub garden after lockdown restrictions were lifted. Picture: James Drury
“This can often mean we don’t inhabit large, prolific buildings or that our work has huge visibility, but as long as we remain meaningful to those we do engage, then that’s what counts to us. And being an NPO will enable us to sustain this work while also reaching out to new communities and asking them what they want from us.”
Within the York community, you involve people who would not otherwise participate in the arts. Discuss…
“Well, rather than saying ‘We have this thing and you need to get involved’, we approach it the other way around by saying ‘We know about theatre, you tell us how you want that to work for you’.
“For example, our programme of Forum Theatre came about through communities of people with learning disabilities, their support staff and family wanting safe yet productive ways of exploring independent living.
“So, we worked with members of The Snappy Trust and Camphill Village Trust to gather the tricky situations that they wanted to explore, trialled the format with them, evaluated together and now this has become an embedded process and programme of engagement.
“This has been the same with us using storytelling and performance skills to increase the self-confidence of unpaid carers wanting to apply for volunteering and employed work, or offering online creative writing sessions to keep LGBTQ+ young people connected and openly exploring topics important to them.
“Our approach is for the community to identify what they want, and then our responsibility is to shape the theatre with them to meet that goal.”
Lastly, Matt, put some flesh on the bones of what you have planned for next year…
“So, as every NPO now must do, we’re in a negotiation phase until the end of January 2023 to confirm the first year of plans with ACE, but in short, both programmes of Forum Theatre for people with disabilities will continue and increase, as will our training course in Playback Theatre for adults with mental ill health.
“We’ll also be remounting our 2021 production of Operation Hummingbird with York Explore, creating new audiences with our adaptation of The Firework-Maker’s Daughter, building on our relationships with schools and universities with a new tour of She Was Walking Home and supporting a cohort of local performing arts professionals with a series of mentoring and skills-based workshops.”
She Was Walking Home: the back story
“We cannot let statistics dehumanise what’s actually happening or forget the real voices behind each lived experience,” saysKate Veysey, associate director of Next Door But One
PROMPTED by the kidnap and murder of York-born Sarah Everard in March 2021, Next Door But One mounted a city-centre audio walk last year, in response to “the reaction from women in our community and the unfortunate subsequent attacks and murders”.
Subsequently, it was expanded by Rachel Price into a live adaptation this spring, performed by a cast of four women at York Explore on May 5, Theatre@41, Monkgate, on May 20, The Gillygate pub, May 26, and University of York, June 14.
“She Was Walking Home aims to put the focus on the voices of local women, but not the responsibility or accountability for their safety,” says NDB1 associate director Kate Veysey.
Last year, for the first time, The Office for National Statistics (ONS) released data on how safe people feel in different public settings. One in two women felt unsafe walking alone after dark in a quiet street near their home, or in a busy public place, and two out of three women aged 16 to 34 experienced one form of harassment in the previous 12 months.
Cast member Anna Johnston in the rehearsal room for She Was Walking Home
“Behind every one of these statistics is a true story of harassment, abuse, rape or even murder – a life changed forever,” says Kate. “We cannot let statistics dehumanise what’s actually happening or forget the real voices behind each lived experience.”
She Was Walking Home takes the form of a series of monologues created from the testimonies of women living, working and studying in York. “We created this production in response to the heart-breaking murder of Sarah Everard and the understandable shock and uncertainty it caused in our local community,” says Kate.
“We wanted to amplify the voices of local women, while also prompting conversations around where responsibility and accountability lies for their safety. Since the original audio walk, listened to by almost 800 people, there have been further attacks and murders of women, including Sabina Nessa and Ashling Murphy, and still the rhetoric seems to be skewed towards rape alarms, trackers, self-defence classes and dress codes being the solution. We needed to continue and challenge this conversation.”
The 2022 tour to libraries, pubs, theatres and universities in May and June aimed to “bring this very real issue home with the experiences encountered on the very streets that make up York. “The invitation was to come and watch, listen, but also to think ‘What is it that I can do in making the women in our community safer?’,” says Kate.
Cast member Emma Liversisdge-Smith with Next Door But One artistic director Matt Harper-Hardcastle alongside her
Alongside the touring performance, Next Door But One have created a digital pack for schools and community groups, including a recording of the performance and a workbook containing prompts for debate and conversations that will lead to change.
“As a company, we want the theatre we make to be as useful as it can be; a tool that supports people in the ways they need,” says creative producer El Stannage.
“The tour reached different communities through the venues we visited, but equally the digital pack can be used to evoke conversations now, for change that will be seen into the future; empowering girls to report experiences of abuse and harassment and raising awareness of how boys and young men can be better allies in keeping women safe, for example.”
Watch this space for details of the upcoming performances in 2023.
Next Door But One’s tour poster for She Was Walking Home
El Gran Teatro del Mundo: Undertaking first tour to be arranged by the National Centre for Early Music, York
CONCLUDING a six-stop tour around Britain, organised by the NCEM, El Gran Teatro del Mundo pitched up in York. I’m very glad they did.
As their name suggests – taken from by a 1655 mystery play by Pedro Calderón – they reflect the theatre of Baroque music, not physically, but through their instruments.
Beginning and ending with Germany, with three Vivaldi works between, they put a tasty sonata by the unknown Catalan composer Josep (aka José) Pla into the middle of their sandwich.
Oboe and recorder jostled happily at the opening of a Fasch sonata, later joined by violin in a vivacious finale, with rhythms firmly underlined by theorbo continuo. Fasch reappeared in a concerto, which also boasted a witty final Allegro.
There were stylish echo effects from violinist Claudio Rado in a trio by Vivaldi. In a concerto da camera for all six of the group, also by Vivaldi, there was some neat syncopation in the main motif, and a breath-taking furioso finale. But its real beauty lay in the central Largo, for recorder, violin and cello alone.
A second Vivaldi concerto, notable for the way the soloists bounced their lines off one another, finished with a spectacular chaconne, whose bass line was joyfully jazzed by cellist Bruno Hurtado.
At the heart of Pla’s sonata, which was in galant – post-Baroque, almost Classical – style, lay a lovely cadenza for violin and oboe. It finished with a thrilling Allegro assai. The work was handsomely introduced by an improvisation from harpsichordist Julio Caballero, who directs the ensemble. He was a mainstay throughout the evening.
Caballero delivered another cracking improvisation during the final Telemann concerto, as if it were a riff in a jazz session, before the supreme virtuosity of recorder, oboe and violin in its closing Vivace. This is a supremely talented ensemble, individually expert but also able to react to one another with spontaneity. They must return soon.
Solomon’s Knot: Premiering Johann Kuhnau’s Christmas Cantatas on December 16. Picture: Dan Joy
YORK Early Music Christmas Festival 2022’s combination of music, minstrels, merriment, mulled wine and mince pies can be savoured from December 8 to 17.
The live festival will be complemented by a festive online box set, comprising highlights of seven concerts available to watch on demand from 12 noon on December 19 to January 31 2023.
Run by the National Centre for Early Music (NCEM), at St Margaret’s Church, Walmgate, the 2022 festival features both Early and folk music performed by an array of artists from Great Britain, Europe and York itself.
“The NCEM welcomes old friends and new faces for this musical celebration of Christmas,” says director Dr Delma Tomlin. “As well as concerts from some of the world’s foremost exponents of Early Music, this year’s Christmas programme brings you festive cheer from The Furrow Collective, Green Matthews and The York Waits, thanks to a special Events and Festivals Grant from Make It York.
“This is the perfect choice for an atmospheric Yuletide evening away from the crowds as the York Early Music Christmas Festival transports you to a magical Christmas past, with mice pies and mulled wine available at most concerts.”
La Palatine: Opening York Early Music Christmas Festival 2022with Fiesta Galante concert
Returning after their sparkling debut in York last year, French baroque ensemble La Palatine open the festival on December 8 at 7pm at the NCEM with Fiesta Galante, a festive and colourful spread of different musical genres marking the accession of the Bourbons to the Spanish throne in 1700.
These rising stars of Creative Europe’s EEEmerging+ programme – to support the development of young professional ensembles – will be performing acrobatic sonatas, dancing cantatas and guitar pieces, capturing how the new Italianate spirit spread through Spain. Led by soprano Marie Théoleyre, the highlight will be Nebra’s sacred cantatas.
“The relationship with Europe (through EEEmerging) has been fabulous, allowing us to share these wonderful musicians’ skills,” says Delma. “Post-Brexit, the bridges will still be there; they still want to collaborate, and so do I.
“Last December, La Palatine made the audience cry…in a very positive way with the beauty of their music, especially the last song. Marie Théoleyre is such an engaging singer. People were still not getting out to many concerts, and there was such a sense of joy in being there.
“La Palatine will be here for a few days, and as part of their residency, for Restoration, a UK network of Early Music promoters, they will be presenting a private concert to be shared online, giving the promoters the chance to talk to the artists with a view to further engagements.”
Ensemble Augelletti: Invitation to Pick A Card! Picture: Luke Avery
Expect to hear fantasias as they have never been played before when improvising violinist Nina Kumin gives an illustrated concert as part of this University of York PhD student’s doctorate in Telemann’s Fantasy: The Genius Behind The Music (NCEM, December 9, 12.30pm, free admission).
Looking at how fantasias capture the style and the spirit of the Baroque, this Peter Seymour pupil will open with Telemann’s fantasias for solo violin, then will address two questions: how did baroque musicians create fantasias, and from where did they gain inspiration?
Kumin, by the way, has taken over as the director of the Minster Minstrels, the NCEM’s Early Music ensemble for school-age musicians.
In Pick A Card! (NCEM, December 9, 7pm), London’s Ensemble Augelletti explore playing card designs from the 14th century to the present day, connecting each card to a different piece of music to tell seasonal stories of people, places and animals in winter.
Olwen Foulkes, recorders, Ellen Bundy, violin, Carina Drury, cello, Toby Carr, lutes, and Benedict Willliams, keyboards, play music by Handel, Corelli, Rossi, Purcell and Ucellini to conjure up cosy evenings of playing cards around a fire, an ancient pastime for family celebrations and gatherings.
Clowning around in Ensemble Molière’s Good Soup performance on December 12
Audiences can enjoy a brace of intimate yet extrovert celebrations of JS Bach’s music in solo violin lunchtime concerts over the festival’s two weekends. Festival favourite Bojan Čičić returns to the NCEM to interpret Bach’s Sonatas (December 10, 1pm) and Partitas (December 17, 1pm), ahead of the release of his latest recording with Delphian.
York’s Yorkshire Bach Choir and the Yorkshire Baroque Soloists return to the Sir Jack Lyons Concert Hall, University of York (December 10, 7pm to 10pm), with soprano Bethany Seymour and Hannah Morrison, tenor James Gilchrist and bass Johnny Herford as the soloists for Handel’s Brockes Passion.
After languishing in the margins of musical history, Handel’s only Passion setting – first performed in Hamburg in 1719 – receives its debut performance in the North of England, with its vivid mixture of chorales, choruses and emotive recitatives, under conductor Peter Seymour.
Baroque ensemble Spiritato and York vocal group The Marian Consort join forces at the NCEM (December 11, 5pm) to present Inspiring Bach, an exciting, moving and profound performance featuring music and composers admired by Johann Sebastian Bach: Pachelbel, JC Bach, Knupfer and Buxtehude.
“These large-scale, uplifting works, composed after the trauma of the Thirty Years War, have a remarkable resonance today,” says Delma. “Featuring composers you might surmise were inspired by Bach or inspired the man himself, this is music form the very soul of the 17th century, crowned with soaring melodies and the glorious sound of trumpets and drums.
Ensemble Molière: NCEM’s New Generation Baroque Ensemble
“We’re delighted Spiritato are returning to York; they’re an absolutely smashing young ensemble, working incredibly hard to present unfamiliar repertoire and making a real go of it.”
To celebrate French playwright Molière’s 400th anniversary, Ensemble Molière, the first NCEM/BBC Radio 3/Royal College of Music New Generation Baroque Ensemble, re-create a time of environmental catastrophe, war and pestilence set around the table of the Sun King, Louis XIV, in Good Soup at the NCEM (December 12, 7.30pm).
“Very different from a normal baroque programme”, the evening of music, absurdist theatre, slapstick and puppetry features works by Jean-Baptiste Lully, Couperin, Marais, Dumont, Charpentier and Jean Chardevoine, complemented by clowns and performers James Oldham and Lizzy Shakespeare. Klara Kofen is the dramaturg and puppeteer; Rachel Wise, the movement director and fellow puppeteer.
The NCEM and partners will be seeking a new New Generation ensemble from next September. In the meantime, Ensemble Molière will record their debut album at the NCEM next spring, on top of their work for BBC Radio 3.
The Orlando Consort’s Matthew Venner (countertenor), Mark Dobell (tenor), Angus Smith (tenor) and Donald Greig (baritone) mark their final year of performing and recording together with Adieu, presenting a selection of pieces they have particularly enjoyed singing over the past 35 years, at the NCEM (December 15, 6.30pm, moved from 7.30pm).
The Orlando Consort: Saying goodbye with Adieu, an evening of music and conversation on December 15
The mellifluous sequence of music from across Europe ranges from the hypnotic beauty of 1,000-year-old polyphony, through the Medieval age, and onwards to the early Renaissance.
In addition, Consort members will be sharing reflections on their musical journey in a handful of behind-the-scenes touring anecdotes. That journey included a commission from Gabriel Jackson to mark the opening of the NCEM in 2000.
The main festival concludes with Solomon’s Knot’s focus on Johann Kuhnau’s Christmas Cantatas, directed by Jonathan Sells, now at the NCEM, rather than the Lyons (December 16, 6.30pm).
“Three hundred years after his death, it must be high time to bring Johann Kuhnau – the 16th cantor of the Thomasschule in Leipzig – out of the eclipsing shadow of his well-known successor, JS Bach,” says Delma.
The Furrow Collective: Opening their winter tour at the NCEM on December 2
“Thanks to the pioneering work of scholar and countertenor David Erler, his sparkling works are ever more widely available. Solomon’s Knot return to the festival to give three of them their UK premiere in York, to be followed by a second performance at Wigmore Hall, in London, the next day.
“Featuring full choir and orchestra – 25 performers in all – these cantatas will ‘raise the roof’ of our 2022 Christmas celebrations, with festive trumpets, horns, and drums providing the perfect soundtrack for Christmas and New Year.”
In further festive concerts at the NCEM, English/Scottish band The Furrow Collective present We Know By The Moon, a spine-tingling evening of storytelling and harmony, bringing light into the wintry gloom (December 2, 7.30pm), while modern-day balladeers Green Matthews evoke the spirit of Christmas past, bringing600 years of music to life in a riot of sound and colour (December 17, 7.30pm).
In the NCEM’s last Christmas concert, the stalwart York Waits celebrate the 45th anniversary of their re-creation of York’s historic city band with The Waits’ Wassail in Music for Advent and Christmas, exploring festive music from the 14th to the 17th century (December 20, 7.30pm).
For full programme details, go to ncem.co.uk. Tickets are on sale on 01904 658338, at ncem.co.uk or in person from the NCEM.
El Gran Teatro Del Mundo: Part of the NCEM’s online box set
FOR the festive online box set, the NCEM concerts by La Palatine, Bojan Čičić, Spiritato & The Marian Consort, The Orlando Consort and Solomon’s Knot will be filmed and recorded by Ben Pugh and Tim Archer, formerly of the BBC’s Manchester studios, to enjoy from the comfort of home.
The set will be completed by El Gran Teatro Del Mundo’s concert, The Art Of Conversation, filmed on November 20. A festival pass costs £45 for the seven concerts; individual concerts, £10, at ncem.co.uk, and the concerts may be watched any number of times.
NCEM director Dr Delma Tomlin says: “York Early Music Festival is one of the highlights of the city’s Christmas calendar and the online programme offers the chance for everyone to enjoy these glorious concerts wherever they are in the world, giving access to people unable to go out or attend.
“As always, we’re welcoming old friends and new to the festival, which features an extraordinary wealth of music associated with Advent, Christmas and Epiphany. Our programme is the perfect accompaniment to Yuletide festivities and can be streamed well beyond Twelfth Night, so if you can’t join us in York this year, you can celebrate with us at home from December 19 to January 31.”
York Early Music Christmas Festival director Dr Delma Tomlin: “Welcoming old friends and new”
Wind-blown: The English Cornett & Sackbut Ensemble members Adrian France, Tom Lees, Gawain Glenton, Conor Hastings, Andy Harwood-White and Emily White
ENTRIES are sought for the NCEM Young Composers Award 2023.
Each year the award is presented by the National Centre for Early Music, York, in association with BBC Radio 3, who welcome the English Cornett & Sackbut Ensemble as partners for next year.
Young composers are invited to write a new piece for this virtuoso period instrument group based on a popular tune from the Spanish “Golden Age” of the 16th and 17th centuries, creating their composition in the same spirit by using the melody as a starting point for musical ideas.
The award is open to young composers resident in Great Britain up to the age of 25 and is judged in two age categories: 18 and under and 19 to 25.
NCEM director Dr Delma Tomlin says: “The Young Composers Award continues to be one of the highlights on the NCEM’s calendar and is an extremely important part of the organisation’s work.
“For the 2023 awards, we are delighted to be working with the English Cornett & Sackbut Ensemble, an award-winning group with a host of distinguished recordings to its name.
“The winning compositions will be broadcast on BBC Radio 3’s Early Music Show, a wonderful way to launch the careers of aspiring young composers.”
NCEM direcor Dr Delma Tomlin: “The Young Composers Award continues to be one of the highlights on the NCEM’s calendar”
BBC Radio 3 controller Alan Davey says: “Here at Radio 3, we believe that it is vital to encourage and support creative exploration, as this is the only way to keep classical music alive with the idea of an ever-growing canon, attracting new audiences with a sense of exploration and discovery.
“That is why we are so proud to partner with the National Centre for Early Music once more for its 2023 Young Composers Award. This collaboration enables us to expose our audiences at home to some of the brightest talents in Early Music practice, broadcasting their works on our Early Music Show.”
Gawain Glenton, the English Cornett & Sackbut Ensemble’s co-director, says: “A key part of our mission as an ensemble is to expand the horizons of our beautiful instruments.
“We’re therefore thrilled to return as the ensemble-in-residence and can’t wait to see what the young composers write for us. Pieces from our last appearance in 2018 have since become part of our core repertoire. We’re looking forward to once again showcasing the work of the UK’s wonderful young artistic voices.”
Composers must register their interest by 12 noon on February 17 and scores should be submitted by March 17 2023. Full details, including the English Cornett & Sackbut Ensemble’s guide on how to write for their instruments, can be found at: https://www.youngcomposersaward.co.uk/
The shortlisted composers will be invited to a collaborative workshop at the NCEM, at St Margaret’s Church, Walmgate, York, led by composer Christopher Fox and the English Cornett & Sackbut Ensemble. In the evening, the shortlisted pieces will be performed with the judges present, when the two winning compositions will be announced. The NCEM will meet all travel and accommodation costs for those selected to attend.
The winning works will be premiered in a public performance at the Stoller Hall in Manchester on November 9 2023, when the concert will be recorded for broadcast on BBC Radio 3’s Early Music Show.
