The 100 Club 13.5.2011 UPDATED with VIDEOS

This club, for me, is one of the genuine articles. A piece of history. Not the photos that adorn the walls, but the acts I've seen here myself. First was Siouxsie and the Banshees, supported by John Cooper Clarke. Next was Nicola Benedetti. Natalie Clien and an Azerbaijani ensemble led by Sabina Rakcheyeva was the last time I was in the 100 Club.

The evening consisted of 5 acts, (a full list is here) beginning with JC Ryan, fresh from her residency at The Castle in Portobello. Tonight she was sporting a full band line-up and the magnificent Babs on backing vocals. Her self-penned tunes in a similar vein to other female singer-songwriters are given an added attraction, which is her unique, soulful voice. Try to catch her at The Castle if you get a chance.

Video 1   Video 2   (Thanks Elena)

The next act that caught my attention was Rhys Williams. Easily the most experienced performer of the evening, a tight, well-rehearsed band, crafted songs and a history that includes playing with Morrissey. Friday the 13th saw the release of his 2nd CD on Vinegar Alley Records, Great Falls, recorded in Virginia and London, and finished at Abbey Road. One to watch out for, make sure you bookmark his website.

Wolfette was certainly full of energy and enthusiasm. I assume she writes her own material, but her voice was overpowered by the rhythm section. A better balance of sound would have improved the clarity of her performance. Similar problems also beset the remaining two bands.

The Empty Headz gave the audience a lively set (one or two fans in the house, I think) giving it their all, though again the bass and drums were overpowering. Probably down to lack of experience and a firm guiding hand in rehearsals. Nothing wrong with the music, just a full-on presentation with amps set to 11. Oh, and they're lovely people.

Top of the bill were The Electric Flowers. The 80's were worshipped with full abandon, even sartorially. I was unsure if they were doing this ironically, but was assured there was no irony intended. This is much the same confusion that surrounded Ladytron when they began their career. Ladytron's way to drive the message home was to record and gig constantly, silencing the critics with their enthusiastic and unashamed keyboard driven tunes. Once again, most of what I heard had the full-on sound of unbalanced drums and bass. I swear my eyeballs were vibrating. Experience will make all the difference, and these guys will have lots of gigs to refine their sound. Hopefully they'll have as much success as Ladytron in the future.

The whole evening was well-balanced between the up-and-comers and the more experienced performers. Folk, electronica, rock and ballads made for an eclectic mix of musical styles. Each of the acts performed well and I expect to hear more from all of them, Rhys Williams and JC Ryan especially, that's just my taste.

Wolfette, Empty Headz and The Electric Flowers only lack experience and possibly a guiding hand in the recording/rehearsal studio. Fingers crossed for all of them.

My 2nd Rosenblatt Recital...

I suppose, like most people, I took time to get into classical music in the first place. Listening to opera on the radio, or seeing it performed on TV was, well, like listening to snooker or watching cricket; always better live. I didn't realise this until I went to see Carmen (chosen because I love the music, who doesn't?) at The Royal Opera House, Covent Garden. After I'd seen Carmen performed live, I heard it with new ears. Now I understand why people listen to opera on the radio, or watch on TV. But it's usually the same popular pieces on the radio, or the same shows beamed into the local cinema (great idea) or shown on the big screen around the UK (another great idea).

Tonight I listened to a Rosenblatt Recital featuring Serena Malfi accompanied by Angelo Michele Errico. I was expecting opera arias, lieder, possibly something based on folk melodies and poems. It didn't work out as I expected, bearing in mind that I'd only ever heard of two of the composers featured tonight; Mozart and Rossini.

Beginning with three pieces by Vincenzo Righini I suspected I was in for a challenge. Forty minutes passed like five as I was slowly seduced by the subtlety of bel-canto. Yes, me too. I had no idea that there was something that opera singers sang that wasn't opera or lieder songs. My fault entirely, I just didn't know. I know now.

Spontini followed, then an aria from Mozart's 'La Clemenza di Tito'. Each piece sung and played beautifully, the piano a perfect fit for Serena's voice which was just getting ready to spring its first surprise; Romeo. Serena sang the part of Romeo (from some play or other) in arias by Vaccai and Bellini. Girls sang the boys parts in those days, or when it was convenient, or possibly cheaper.

At this point, I make a small confession; much of the information regarding these unknown (to me) works comes courtesy of the amazingly informative programme for the performance. Performers details, composers details, librettist/poets details, the lyrics in the original tongue and also in english.

After the interval we were treated to Caracciolo, Mattei (who was probably a musical god in London, at the time, from the info I have here) and Tosti, I mention these three because I'll probably try to find more of their work. Costa's 'Dark Eyes' continues the evening's trend of more dynamic, rhythmic and dramatic pieces, enhanced further by three pieces written by singers. Maria Mailibran and her sister, Pauline Viardot Garcia wrote for themselves, and these songs display more humour and melody than their male counterparts, possibly because they were written by women, for women. Serena seemed to enjoy singing them, and we certainly enjoyed listening to them.

Rossini rounded off the programme nicely, as you would expect, an aria from La Cerenentola (I need to hear more opera, I swear) "I was born to suffering....." A narrative familiar to anyone who has read or seen Cinderella.

A first encore was a short by Salieri, yes, that one. The next was by Vivaldi, from Il Giustino (click translate) and for my money the Vivaldi was the best piece of the evening, mainly because it showed how versatile Serena's voice is.

I've left describing Serena's voice until now for a reason, it's a revelation for someone, like me, who grew up listening to very talented but untutored non-operatic, non-classical singers. Smooth and strong, a complete lack of harshness, coupled with great control. I don't understand Italian, my french is sketchy, but listening to Serena sing, it didn't matter. Her voice, alongside the playing of Angelo Michele Errico was a joy.

There are probably many technical terms to describe voices, but the only terms that make sense to me are those used for wines. Serena's voice is full-bodied, sometimes sparkling (the Malibran pieces) with strong aftertones (the Vivaldi). words like caramel and honey also spring to mind, mostly because they're both smooth and delicious.

In short, a voluptuous, mature voice with a lot of growing room. If you get a chance to hear her, in recital or opera (in Paris and Vienna) buy a ticket. If you're not enchanted, I'll be very surprised. I think tonight's performance was being filmed, so I'll keep you informed about that. In the meantime, here she is in a suit.

And, for a certain Italian friend, Serena's dress was fabulous!

UPDATE: When the video is available, it will appear here.

Friday 13th at The 100 Club

The listing for the evening consistes of The Electric Flowers, Rhys Williams, Empty Headz, Wolfette and Jo Ryan. Everything kicks off at 7:30, so don't arrive late or you'll miss Jo, and you'll kick yourself forever if you miss Jo at the 100 Club. You'll feel like the guy who passed on signing the Beatles. Or the lifeboat inspector on the Titanic.

Check out the links above and see you on Friday.

A week of music.........

My week of music began on Friday the 6th with an impromptu piano recital by Stefano Orioli. The venue was the Italian Cultural Institute in Belgrave Square. The playing was very accomplished, as you would expect of a pianist of his experience. The recital was well balanced with works by classical composers Scarlatti and Clementi followed by romantic works by Debussy and Liszt.

Sunday was a little unexpected. I'd been invited to a concert at the Purcell Room at the Southbank Centre. The event was 'Breaking Boundaries'. On the bill were Kosmos, Paprika and She'Koyokh. Kosmos opened the evening with a mixture of jazz, klezmer and tango, spiced up with gypsy and arabic melodies. Milos, the accordionist (one of the two) from Paprika joined for Piazzolla's 'Libertango' bringing a touch of familiarity to the evening, giving us a foretaste of what to expect for the rest of the evening.

Next up was Paprika, featuring the charismatic violinist Bogdan Vacarescu, joined by Meg Hamilton of Kosmos (cross-pollination is a feature of this evening), who regaled us with Serbian, Balkan, Romanian and gypsy folk songs and melodies. The use of two accordions in a call-and-response setting was inspired. It was at about this point that the audience became aware that they were in a seated venue, listening to what was, essentially, music for dancing. More on that later.

After the break came She'Koyokh. The theme of the evening reached its peak with this ensemble. Featuring one of the most versatile vocalists I've heard since Elizabeth Fraser, Cigdem Aslan sang bulgarian folk, managing to sound eerily like the Voix Bulgares, veering off around the Balkans on a melodic and linguistic ending up somewhere around the Black Sea. During the course of the evening, I lost count of the number of languages I heard her sing. The ensemble itself performed all this music and more. Stand-out performances from Susi Evans on clarinet (perhaps previously owned by Faust) and Matt Bacon on guitar. Not to forget Paul on the accordion who had us all singin the yiddish chorus to 'die Philosope'. The finale was a klezmer super-group. All the members of the previous groups joined She'Koyokh onstage for a melange which featured the individual mixes of all the bands. The result was an irresistable urge to dance. I resisted, most didn't. Clapping to the klezmer, dancing to folk melodies from around the balkans and the middle-east, rapt silence as Susi on clarinet duelled with the guitarists, pulling off a win using circular-breathing and a healthy dash of chutzpah!
All these bands are highly recommended, unless you have something against having fun.

My week continues on Wednesday 11th, with the second of the Rosenblatt Recitals series, this one featuring Serena Malfi, once again at St John's, Smith Square.
And if you are dithering, wondering if you should come on Wednesday or not, here's your invitation!

Following that, on Friday 13th, is my friend Jo Ryan at the 100 Club.

Blog reviews following both of these concerts.

Opera and languages.

Do you speak Italian? French? Spanish? Perhaps German? No? Then maybe Opera is not for you. Too much trouble for the english/french/italian/german/spanish audience.

So, english watching german opera, italian trying to understand anything but italian opera (just joking) the problem is language.

Thanks to a friend of mine, I think the whole experience of Opera will become more enjoyable to me. Here's how it goes:

1, If you think you 'may' go to an opera, download the libretto.
2, If you don't go, save it.
3, When you actually do go, read the libretto, get an idea, then buy (or don't buy) the ticket.
4, If you are young and love opera, you can do the standing thing. It's quite fun. Until you love opera and you're 50 or older.
5, Duh, take the libretto. Know the story. Remember it. The stories of any opera are not very difficult. Ever.
6, Enjoy the music and the voices.
7. Don't even try to understand the language
8. Enjoy the music and voices. (yes, it's the same as No. 6, but you weren't really listening.)


9, Go to an opera performance.

10, What is the one musical instrument ALL human beings possess?

11. What songs do you enjoy listening to? Songs you'd like to sing?

12, Sing. Sing. Sing. The best practice for any singer. ' "How do you sing so well?". Sing. All the time.


Just to say, I'll be going to see the Big Apple (just to hear 'Summertime", then go to see Opera in the Park. Try it.

An Evening with Elizabeth Llewellyn

Last night's Rosenblatt Recital at St John's, Smith Square, was a true eye-opener.
Following two opening Handel Arias, Elizabeth's voice began to warm considerably. Elizabeth conveyed Countess Rosina's wistful state in her third piece; Mozart's 'Dove sono i bei momenti', from The Marriage of Figaro. Her powerful voice clear on all registers, every syllable audible regardless of the required dynamics, her control was second to none.

With the following five pieces by William Walton, Elizabeth exceeded my expectations. Flowing effortlessly from the quietest to the strongest phrases, up to the highest crescendi, swooping down again with admirable control. 'Old Wapping Stairs' was a joy to listen to, the depth of her voice becoming more apparent as more was required of it. Elizabeth appeared to be enjoying the Walton songs as much as the audience.

Following the interval came my surprise. I've heard Strauss lieder performed before and it's not really my thing, but Elizabeth's voice (and I must also mention the excellent accompaniment by Simon Lepper) made them seem new and refreshing. Five lieder later I came to appreciate R. Strauss a little more.

Fresh from her rôle as Mimi in La Bohème, we were treated to a warm and delicate piece, made all the more fragile by the clear enunciation of even the softest phrases. A very moving aria indeed.

Arias from Verdi's 'Simon Boccanegra' and Gounod's 'Faust' rounded of the evening's program superbly. The audience persuaded Elizabeth to come back for an encore of Michael Head's 'Sweet Chance'.

Elizabeth Llewellyn demonstrated not only that she has technical ability and is able to sing everything from baroque, through opera to lieder, but last night she also showcased the 'character' of her voice; that quality which makes a performer's voice unique and identifiable. It has warmth, depth and a richness all her own.

I wish her all the best in what will undoubtedly be a long and interesting career.

I'm looking forward to seeing her next at Hanover Square singing 'Summertime', possibly one of the best songs ever written.

Here's to the next in the Rosenblatt Recitals series, Italian mezzo-soprano Serena Malfi!

And don't forget to bookmark the Rosenblatt Recitals YouTube page in case you've missed any of the series and to view the upcoming video of Elizabeth Llewellyn.

Rosenblatt Recitals Series: Elizabeth Llewellyn

Just a heads-up to anyone who enjoys vocal talent of the highest order, I'll be going to see one of the Rosenblatt Recitals on Weds. April 13th. This particular recital is provided by Elizabeth Llewellyn, accompanied by Simon Lepper.

More details here.