CAMBRIDGE PHILHARMONIC ORCHESTRA
The Cambridge Philharmonic Orchestra do not let the grass grow under their feet. Yes, they are well known for some cracking recitals of classics, but last night’s concert mix went further. What a blend of music. And a showcase of dazzling talent. West Road Concert Hall was heaving with players, singers and audience for a vibrant mix as eclectic as it was moving.
Cambridge Philharmonic players and singers
It began with the premiere of a new choral / orchestral work by young composer Lucy Armstrong, entitled The Alchemical Kitchen. With words by Rebecca Hirst – it had energy, even cacophony and vigour . Much anticipated it certainly transcended its domestic inspiration – this surely was a success for its bright young creative in the world of accessible music.
For me the Illuminations themselves were the brilliant centrepiece of the first half. Our own Benjamin Britten born in Ipswich, I usually associate with his sea borne operas. But here he was boldly grappling with the great French surrealist poet Arthur Rimbaud in an inspiring song sequence. Acclaimed tenor Nicholas Mulroy joined the orchestra for this intriguing and mystical work. It was a brilliant experience. Nicholas cut a dashing figure in a superb navy blue velvet jacket and sang with wonderful ease – a kind of warm interpretation of the songs, he acted as well as vocalized them. The poet’s defiant opener gave us a clue to the strange complex lyricism ahead “I alone have the key to this savage parade” was the strange defiant claim from the young poet. The performance, supported so brilliantly by the orchestra, made for an enchanted journey, conducted by the estimable Tom Primrose. So youthful and heart-warming (even if I didn’t really recognize most of the words) the song cycle came alive and my own admiration for all of it, most of all Britten.
The highlight of the second half was the Choir’s remarkable performance of Poulenc’s Gloria. How many parts of the Mass have morphed into memorable pieces of music? Without it you wonder what the great composers would do for constant and reliable inspiration. This Gloria was a kind of modern and subversive contemplation of the majesty of God and our joy as humans in praise of it. The words are familiar – even in Latin -‘Gloria in excelsis Deo’ Glory to God in the Highest is simply a core part of English and European culture and even belief. The choir took up the repetitive lines ‘we praise you; we bless you, we adore you, we glorify you’. It had a hypnotic earnest feel. And then the drama,, guest Soprano Ellie Laugharne. A presence of Hollywood glamour and heavenly singing, she imbued the piece with angelic charm; a wonderful voice that for me, resonated all the way home. The final Amen was just beautiful, a cross cutting between soloist and choir.
Rarely sung music by Lili Boulanger, a heart- melting familiar composition from Ravel. Classical music may be in crisis, with the scandalous dismissal of the BBC Singers, but the Cambridge Philharmonic orchestra and chorus show are not in retreat. On a rainy Saturday night in chilly March, they put on a concert to remember.
“There’s nothing like live music, the young woman next to me asserted - with feeling.
