2022 – The Week in the Classics: Dahlia; Ukrainian Freedom Orchestra and Aurora Concerts – Review | classic music

yJust like Garsington Dalia Her last note came, an RAF plane taking off from Brize Norton to cheer on the lionesses at Wembley (and flew almost directly over the Chilterns home at the Opera Festival in East Flight). The timing of last Sunday’s concert, the last of three, was perfect in every respect. With music by Roxana Panovnik and Jessica Duchenne’s libretto, this new collaborative opera had a connection no one expected when the work was commissioned (after the same team’s success with silver birch in 2017).

Women play the “man’s sport”, in this case cricket, part of the two-headed theme. The other is the global refugee crisis. Syrian girl Dalia Khaled, whose home and family were destroyed, is taken care of by her family in the United Kingdom. Despite her love and support, she faced prejudice until she discovered her passion for cricket. Her bowling skill gives her confidence and comfort in the face of disaster. Featuring 180 artists – High Wycombe School children, adult amateurs, opera professionals and the Philharmonia Orchestra – Dalia It has a wide range. The participation of the Al Farah Choir in Damascus and the Amwaj Choir in Bethlehem and Hebron, and their singing is part of the performance. There is also a lute player (Rachel Pickles Wilson) and a dog. Garsington’s artistic director, Douglas Boyd, directs. The streamlined show is directed by Karen Gillingham and designed by Rhiannon Newman Brown and her team.

Few composers know how to treat mass opera, with its connotations as worthy and perhaps not very good. Benjamin Britten proved us wrong Noice Flood. Jonathan Duff won with Paradise Palace (2000) and others since. Welsh National Opera Migrations, the work of many hands and composer Will Todd, is a recent success. With Duchen, Panufnik also knows how to turn the mix into something sharp, thorough and impressive. I watched anxiously the man next to me sniffing his handkerchief and exploding, thinking I should help him with a spare mask. He mourned. It takes special talent and artistic selflessness to create something for all kinds of talents, including very young children who get bored easily. (In the ladies line, a little girl asked me about my condition. I said I’m fine, thanks, and if she’d sing along Dalia? to sing And the By proxy came her emphatic and enthusiastic response).

Work moves quickly. Big, attractive choirs keep the company busy and occupied. Professional soloists, each with a song that fills their life story, allow Panufnik to write without artistic limitations. Kate Royal (custodial mother), Jonathan Limalo (adoptive father), Ed Leon (cricket champion), and Andrew Watts (fuzzy cricketer) delivered attractive and candid performances. Sixteen-year-old Adriana Forbes Durant, the perfect and persuasive actress, starred in the title role (it was Flora in the Garsington movie) screw rotation), starring Joshey Newynskyj and Erin Field as young brothers whose family life is disrupted by the arrival of Dahlia. The music ranges from petty thrust in simple style to impromptu lament between oud player and Aisha (Merrit Arian), Dalia’s mother, who is in the Dover concentration camp. There’s a clever and weird twist on “Here we go, here we go, and here we go.” Only the phrase “it’s going home” was missing, but it was cricket. Even my Client Center was present.

Ukrainian Freedom Orchestra and soloists conducted by Keri Lynn Wilson at the Royal Albert Hall. Photo: Mark Allan/BBC

Earlier the same day it Ukrainian Freedom Orchestra He made his UK debut in The Ball by Keri Lynn Wilson (on BBC Two tomorrow night). The Royal Albert Hall was decorated with blue and yellow flags, but the event was mainly somber, with the music industry taking center stage. The musicians, dubbed “the greatest Ukrainian musicians”, opened some of the youngest refugees, the work of their compatriot Valentin Silvestrov (born 1937), who has been uprooted in Germany since February of this year. Symphony No. 7 is a solo chant-like movement, covered with bells, vibraphones, gongs, and boba, to offset the aerial swing of the strings. On the other hand, Chopin’s No. 2 piano concerto in F minor, with Anna Fyodorova as the soloist, was minuscule. Then the soprano Lyudmila Monasterska raged strongly in Beethoven’s The Great Abhorrent. Fidelio, with the wonderful wind in obbligato profusion of melody. The trumpets (it could have been where I was seated), loud and loud, also popped into Brahms’ Symphony No. 4. After a quiet performance of the Ukrainian national anthem and the constant applause of these brave musicians, it was all over.

or was it? Indeed, but not in the echo. On Tuesday’s concert he gave Aurora Orchestra, Patricia Kopachinskaya, a Moldovan, Austrian and Swiss violinist, played Shostakovich’s No. 1 Violin Concerto in a small film (1947-48). This painful act was carried out only in 1955 because the Soviet composer was indicted. The entire piece, its core, is covered in tattoos with Shostakovich’s musical signature, the idea for DSCH, based on his name. The long movement of the third movement, with its mixture of technical and emotional challenges, pushes the soloist to the edge of danger. Kopatchinskaja metaphorically risks life and limbs with every performance she performs. This was no exception.

“On the Brink”: Patricia Kopachinskaya with the Aurora Orchestra, conducted by Nicholas Colon. Marcus Alan

The artistic danger lies in the DNA of fellow Aurora musicians, whose talents include memorizing compositions. Her choice for this concert was the most famous symphony of all time, Beethoven’s Fifth. I find the tightrope game to my heart’s content so stressful that I can’t really focus on the music – my fault. So I listened to this concert on Radio 3. Nicholas Colon, founder of Aurora, lead leader and inspiring genius – in live conversation with Tom Service on Radio 3 – gave us a clear explanation of the work’s germination and the brilliance of its inlays. Can listening to a heart track change the sound? I don’t know, but the excitement and ingenuity of the players blasted through the airwaves like an adrenaline rush.

Star rating (out of five)
Dalia: a community opera
★★★★
Ukrainian Freedom Orchestra
★★★★
Aurora Orchestra
★★★★

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