Unlike classical music, performances of contemporary works often happen once only.
Devon Baroque has always come up with interesting and varied programmes, usually with a well-defined theme.
The Bournemouth Symphony Orchestra marked its long-overdue return to the Guildhall with a delightful mix of classical and neo-classical works, under the inspired direction of Frank Zielhorst.
The Ten Tors at Tavistock isn’t just mere alliteration – it’s a well-established annual event that truly marks the final countdown to Christmas, in a delightful moorland setting.
It felt wonderfully apt to round off this splendid Christmas Concert by Dartington Community Choir with a number of congregational carols.
Playwright and critic George Bernard Shaw wasn’t overly impressed by Mendelssohn’s Elijah, when he wrote that he’d sat through a performance as an act of professional devotion.
When the University of Plymouth Choral Society presents its annual Christmas Concert, you can always expect a varied programme of shorter, and often less-familiar works, excellent young soloists, and, most important, a tangible feeling of genuine enjoyment from the choir.
Most orchestral programmes include a concerto, which not only gives the players an opportunity to perform alongside some of the top names, but also can make programmes considerably more attractive in helping to fill a venue.
Nordic Waves might sound more like the name of a deodorant, but it proved the ideal title for this delightful programme of chamber music from Northern Europe,
A light and frothy performance of Mozart’s effervescent Marriage of Figaro Overture provided the perfect opener, with especially neat articulation from upper woodwind, and strings, led with usual aplomb by Mary Eade.
Although it wasn’t an especially cold autumn evening, the church heating had only just switched on shortly before the performance was due to start.
You always get an adrenaline rush when you’ve enjoyed a really good concert, either as performer or audience member.
Strings are generally regarded as the backbone of any orchestral ensemble, and this quite superb concert by the Ten Tors Strings under conductor Simon Ible not only attested to the skill of the players, but also confirmed why the orchestra, in full rig, can make such a fine sound, too.
Music has that wonderful ability to transcend political oppression, and indeed, in the case of the Boyan Ensemble, to crank up the emotions, particularly in the second half of this highly-enjoyable concert, when the singers featured folk music from their native Ukraine.