A month in the classics: An unmissable blend of gospel and Baroque
A month in the classics: An unmissable blend of gospel and Baroque
Huw Lewis takes a look forward and pick out some highlights from the North East's classical calendar
A Child of Our Time is a giant work for voices and orchestra written at the outbreak of World War Two in response to the rise of Hitler and the persecution of minorities in Germany.
As the world experiences major conflict and the prospect of a man with fascist leanings being elected President of the USA, its performance at The Glasshouse later this month could not be more timely.
Royal Northern Sinfonia conductor Dinis Souza directs a star line-up of soloists and mass forces of professional and part-time musicians in what is likely to be the musical event of the autumn, if not the whole year.
If that has not persuaded you to get tickets then it may well be the name of the composer is putting you off – because who is Michael Tippett?
For many casual concertgoers Tippett is a name you might have seen many times without ever hearing the sound he makes. Tippett’s modern-day place in concert repertoire is small because he has been, frankly, overshadowed by the giant presence of Benjamin Britten among British post-war composers - though he’s not the only person you could say that about.
A Child of Our Time is Tippett’s masterpiece but bumps up against Britten’s better-known War Requiem in both theme and scale. Each requires significant resources to bring to a concert hall but they are works of equal impact and quality: Our world is big enough for them both, and both have something important to say.
And what Tippett does is unique: He starts with the baroque choral forms of Handel and Bach (think the Messiah or the Passions) and blends in African-American spirituals. Tippett made this decision for good reason – he felt that these songs born out of had something to say that was absent from the hymns of the Anglican and Catholic churches. In a piece of music about oppression they carry a universal, connecting resonance.
At The Glasshouse this month the solo parts will be taken by some giants of British song: The deep tones of bass baritone Sir Willard White, who has himself recorded much African-American music, Nicky Spence, County Durham-born mezzo Dame Sarah Connolly and soaring above them South African soprano Masabane Cecilia Rangwanasha, winner of Cardiff Singer of the World in 2021
This is a quartet that you would pay money to hear doing a tipsy karaoke at Cozy Joe’s on the Bigg Market – to hear them together in this work, in this venue is unmissable.
Five more classical highlights in November
There’s still time to drop everything and head to The Glasshouse Hall 2 to catch Claire Booth performing Schoenberg’s unique blend of song, speech and theatre Pierrot Lunaire (Nov 2) amid a stack of music by the composer’s pupils Webern and Berg.
Maria Wtoszczowska’s new freedom as Artistic Partner of the Sinfonia leave everyone a winner – as well as programming the Viennese deep-dive mentioned above she will be at Alnwick Playhouse on November 5 performing works for violin and piano by Schubert, Strauss and Fauré, marking 100 years of the Frenchman’s death.
Opera North bring Gilbert and Sullivan’s Ruddigore to the Theatre Royal on November 7. There are a few tickets left for what will be a fun night for fans of the Victorian hitmakers.
Gaming takes over on November 14 at The Glasshouse as the Royal Northern Sinfonia performs tunes and sounds from across the decades at a concert titled Electric Arcade on. Expect the music to range from Tetris to Fortnite and Final Fantasy 7 … so something for both mum, dad and the kids!
Warm, cosy and Christmassy as mulled wine, the Royal Northern Sinfonia’s Winter Tour is coming to a church near you from November 28 to December 5. Vivaldi, Corelli and Sibelius all feature with venues including Durham, Bishop Auckland, Hexham, Alnwick, Berwick, Cullercoats and Sunderland.