THE SOUNDS OF SHAKESPEARE - CAMBRIDGE PHILHARMONIC
Music is indeed the food of love. If you had any doubts those would have been quashed at last night’s wonderful concert combining Shakespeare with great (but in one case strangely neglected) musical works. I’ve written this before, but will write it again: we are so lucky to have the Cambridge Phiharmonic. They are not only a great sounding orchestra but also have a penchant for bold, innovative programming. ‘The Sounds of Shakespeare’ was no exception.
LUCY HOLLINS
Under the baton of their newish conductor Lucy Hollins, the band was in top form producing four exciting, moving and delightful pieces two of which were unfamiliar to this reviewer’s half century of concert going. Perhaps though the boldest move was in what the excellent programme (the best two-pounds worth in Cambridge) called ‘readings’ by two actors.
This was a massive underselling: Anna Tolputt and Matt Pinches gave us powerfully delivered, physical, tearfully moving excerpts from ‘Hamlet’ and ‘Romeo and Juliet’. Equipped with roving mics, the dramatic pair used the whole space of the concert hall: the balconies, the stage, the aisles…to provide Shakespearian context to the music being played. Sometimes the Bard’s words were acted before the music, other times interspersed within the score but without (cleverly) spoiling the flow of notes.
The programme began with a seldom heard masterpiece of Tchaikovsky (yes, that sounds like a contradiction). His ‘Hamlet Overture-Fantasia’ is one powerful supercharged work. Its beefy orchestrations, tragic fate themes interspersed with flowing romanticism of Ophelia’s motif (almost Elgarian in its sweeping melancholy) had me gripped to the seat. The Phil produced its characteristic huge sound – each section playing faultlessly. It’s hard to know why this opening piece is rarely played – its themes and counter themes often clash as though one is staring at the tragedy through the ripples of Ophelia’s drowning pool. I want to hear it again.
Next up was Shostakovitch’s ‘Hamlet Suite’. Its thirteen short movements reflect its purpose – an avant-garde take on the tragic prince’s story. Thus we get sardonic marches, sinister circus music, exciting marches – a taste of what might have become of a Shostakovitch-Brecht partnership.
The second half began with the familiar but gorgeous ‘Romeo and Juliet Fantasy Overture’ – Tchaikovsky again. Handsomely played once more the Classic FM favourite never fails to charm especially with THAT great love theme. With our actors now as Jets, Sharks, Maria and Tony, the evening ended with Bernstein’s thrilling ‘Symphonic Dances from West Side Story’. Audaciously orchestrated, the Phil at times sounded like a great Count Basie band – it is a brilliant fusion of jazz and classical and they were more than up to the challenge. With its bongos, thumb clicks and shouts of ‘mambo’ it was only English reserve (and maybe Velcro pants) that kept the audience in its seats. Music is the food of love, and last night was a banquet.
