Evaluation of the Hallé filmed live performance on the Bridgewater Corridor, launched eleventh February 2021


The Hallé with conductor Stephen Bell  credit score The Hallé

‘Episode 4’ of the Hallé’s ongoing collection
of filmed performances is completely different from those the got here earlier than. It’s the
just one thus far to be programmed within the type of the Saturday Pops concert events that
conductor Stephen Bell has made deservedly widespread in recent times, and he’s
the maestro on the Bridgewater Corridor podium for this, with the orchestra laid
out in socially distanced seating on the massively enlarged stage.

‘Film Classics’ is the title, and all of the quick
items have been used on movie soundtracks in some unspecified time in the future (or a number of factors),
but it surely may simply as properly have been a typical classical pops programme – besides
that the linking feedback by Petroc Trelawny are almost all concerning the movies,
and so are the write-ups within the on-line programme ‘booklet’ … and even the one
piece of filmed dialog (it comes simply half-way by, to introduce
Elgar’s Nimrod), between Stephen Bell and the Hallé’s everlasting visitor chief,
Paul Barritt, begins off that means. They do go on to speak concerning the music’s personal
qualities, thank goodness.

There’s a lot to take heed to right here, almost an
hour and half in complete, and it’s value listening to even for those who didn’t know the
associations with each well-known and half-forgotten movies.

The visible presentation, by the identical workforce
from Maestro Broadcasting that has introduced us Episodes 1 to three, is clearly on a
completely different budgetary stage from that supplied for Sir Mark Elder’s live performance: the
lighting is comparatively subdued, there are fewer digital camera positions and fewer
formidable enhancing, and among the pictures appeared to be of the soft-focus kind.

However there are two soloists (the orchestra
politely applauds them and the conductor, to keep away from the sense of anticlimax that
would possibly in any other case happen): the Hallé’s personal principal clarinet, Sergio Castelló-López,
and mezzo-soprano Nardus Williams, a younger British singer who’s on the brink
of a global operatic profession. She is a assured, fantastically managed
classical singer with a heat tone and wealthy vibrato, already, judging by her
profession notes, properly in a position to take roles of mature and highly effective girls on the

The music varies from Purcell’s ‘When I’m
laid in earth’ from Dido and Aeneas by way of Handel’s The Arrival of the
Queen of Sheba
, Mendelssohn’s Marriage ceremony March for A Midsummer Evening’s
, Verdi’s La Forza del Destino overture, Dvorak’s Music to the
Moon from Rusalka and Ponchielli’s Dance of the Hours to the
overture to Offenbach’s Orpheus within the Underworld (described within the ‘booklet’
as simply the Can-Can, however together with extra tunes than that).

My favourites had been the waltz from
Tchaikovsky’s The Sleeping Magnificence, exhibiting the Hallé at its resonant
greatest in its full-orchestra scoring, the sluggish motion from Mozart’s Clarinet
– I may take heed to Sergio Castelló-López’s enjoying all day, in
this or another music, so stunning is the sound he makes with a clarinet – the
Blue Danube Waltz by Johann Strauss II (whisking us away to Vienna and the
sound of one other orchestra, which performs nearly as properly within the live performance corridor however
obtained overwhelmed by the Hallé when it got here to soccer whereas they had been each in
Salzburg), Elgar’s ‘Nimrod’ from the Enigma Variations, which they’ve
performed for Sir Mark Elder typically sufficient and one way or the other appears to retain his passionate
frisson whoever is up-front, and Verdi’s ‘Sempre Libera’ from La Traviata,
the place Nardus Williams actually comes into her personal as a dramatic singer of fireplace
and energy.

Hyperlink:  https://www.halle.co.uk/


Soloists Nardus Williams and Sergio Castelló-López credit score The Hallé


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