Archive for National Concert Hall

Mahler & Schubert at the National Concert Hall

Posted in Music with tags , , , , , , on May 28, 2022 by telescoper

Yesterday evening, after a very pleasant wine reception at the end of ITP2022, I walked to the National Concert Hall in Dublin for my second concert in two days. Before the lockdown I used to go regularly to the Friday evening performances by the National Symphony Orchestra but until last night I hadn’t attended one since February 2022. Since I was in Dublin anyway and Mahler was on the menu I couldn’t resist this one and have now at last added to my stock of souvenir programmes. Last night’s concert was actually the last of the season but hopefully I’ll be able to go more frequently from September when the next season starts.

Last night’s performance began with Mahler’s Blumine which began life as the second movement (marked Andante) of his First Symphony but which was subsequently deleted. We heard the four-movement version of the work (i.e. without this part) in the second half of the concert. Blumine is a nice enough piece, relaxed and lyrical, but it is difficult to see how it was supposed to fit in with the rest of the symphony which is now always performed without it. Still, it served as a very good warm-up for the orchestra which, under the direction of Jaime Martín, established a polished tone and warm colour for this piece and for the rest of the evening.

After Blumine a large fraction of the orchestra left the stage to leave a pared-down version for some Lieder by Franz Schubert performed by legendary Swedish mezzo soprano Anne Sofie von Otter who was resplendent for the occasion in an emerald green dress.

You wait two years to go a concert and then along come two in the space of two days! Only one of the songs, the first, Romanze from the incidental music for the play Rosamunde, was actually orchestrated by Schubert; the other were written with piano accompaniment and then orchestrated by others. I have to say I didn’t find the addition of a full orchestra added much to these songs, many of which have a rather spare piano accompaniment that works superbly well. A good example is An Sylvia which has its origins in Shakespeare’s play The Two Gentlemen of Verona. I love the sprightly version of this with piano accompaniment but the orchestrated version was much slower, as if weighed down by the arrangement. Still, these pieces were beautifully sung and that made them very enjoyable. After rapturous applause, Anne Sofie von Otter returned to give an encore of the old song The Last Rose of Summer which, as you can imagine because it is set to a traditional Irish tune, went down very well with the Irish audience.

After the interval the full orchestra returned to deliver a powerfully impressive performance of Mahler’s First Symphony. The programme notes remind us that for much of his life Gustav Mahler was celebrated as a conductor rather than a composer, and the First Symphony was not well received largely because it was deemed in some quarters at the time to have a structure that was insufficiently symphonic. There’s no reason why we should pay much attention the opinions of over a hundred years ago. The symphonic form has been pulled around in many directions since this work, not least by Mahler himself, and I think Mahler 1 is a very fine work. I always particularly enjoy the 3rd movement, with its occasionally raucous evocation of a Klezmer band.

The final movement brought the piece – and the whole concert – to a thrilling climax. Near the end, the entire brass section of the orchestra (7 horns, 5 trumpets, 4 trombones, and a tuba) stood up at which point I thought “this is going to be loud”. It was. Gloriously loud.

I’ve said before on this blog how much I enjoy watching a full orchestra in action. From my position at the right of the auditorium I had a great view of the double basses who were working very hard but clearly enjoying themselves.

Anyway, last night’s concert was broadcast live on the radio and also streamed and you don’t have to take my word for anything because you can watch the whole thing yourself here:

John McLaughlin & The Fourth Dimension

Posted in Jazz with tags , , , , , on May 27, 2022 by telescoper
John McLaughlin last night (Picture Credit National Concert Hall)

Last night I went to the National Concert Hall in Dublin for a superb gig by guitarist John McLaughlin with his band The Fourth Dimension. This was the first time I’d seen him live though I have known some of his music on disc, especially two albums he made with Miles Davis in the late Sixties, Bitches Brew and In A Silent Way. Since then John McLaughlin has been consistently regarded as one of the best jazz guitarists ever. He is now eighty years old but apart from the fact that his hair is white you would never guess that. He looks as fit as a fiddle, and last the band played for over 90 minutes without a break.

John McLaughlin (who was born in Doncaster but who referred to Ireland as “the land of my ancestors”) is currently on a European tour and he began his concert last night with a heartfelt expression of his gratitude for being able to perform in person with his band after a gap of over two years. This period has been particularly difficult for Jazz musicians who depend so much on mutual interaction when performing. The first number they played was called Lockdown Blues

The band The 4th Dimension brings together excellent musicians from different cultures and musical traditions, integrating their all cultural influences in a unique way while at the same time preserving the spontaneity of jazz. The result is hard to classify – there’s definitely more than an echo of McLaughlin’s earlier musical work in jazz/rock fusion, but with diverse elements of world music thrown in. His own musical style is instantly recognizable to anyone who has heard music from his back catalogue, but subtly altered to suit his current band.

Gary Husband (right in the picture), who is from the UK, played keyboards (and drums on a couple of numbers). Ranjit Barot – Indian by birth and living in Mumbai – was the main drummer (sometimes playing together with Husband, hence the two kits in the picture); he also made various vocal contributions. On electric bass (left) was the extraordinarily virtuosic Étienne M’Bappé who is of Senegalese origins. The band played collectively but also in various combinations with and without McLaughlin, who tended to move around the stage generally encouraging and directing the traffic.

It was a fantastic gig with a wide range of musical influences being evidence. I noticed two pieces made famous by Pharaoh Sanders – The Creator has a Master Plan and The Light at the Edge of the World – but there were also numerous references to McLaughlin’s work with Indian musicians.

It was a very enjoyable performance that generated a huge response from the audience. The NCH wasn’t quite full, but it was a good crowd. I think I was in danger of forgetting how much I enjoy watching musicians as well as listening to their music.

So after a break since February 2020 I’ve finally resumed concert-going. It’s not only the musicians who have missed live music! As a matter of fact I’ll be back at the National Concert Hall this very evening after the final day of ITP2022, for a very different concert…

Handel’s Messiah at the National Concert Hall

Posted in Music with tags , , on April 16, 2022 by telescoper

I wasn’t there in person yesterday – I haven’t been to a concert for a couple of years now – but I thought I’d share this recording of the sold-out Good Friday performance of Handel’s Messiah from the National Concert Hall in Dublin. Although nowadays associated mainly with Christmas, Messiah was intended to be performed at Easter and had its premiere 280 years ago in Dublin on Good Friday in 1742. The National Symphony Orchestra was conducted by Nicholas McGegan, with soloists including Máire Flavin (soprano) James Oxley (tenor) and Stephan Loges (bass-baritone) with the National Symphony Chorus (David Young, chorus director). Enjoy!

Songs of Comfort and Hope

Posted in Covid-19, Music with tags , , on June 12, 2020 by telescoper

I was just looking back at a post I wrote early in the New Year and saw that top of the list of things I resolved to do more of in 2020 were (1) to go to more live concerts and (2) to see more of Ireland. Unfortunately the Covid-19 Pandemic put paid to both of those (and the other things on the list too). I haven’t listened to live music since March and haven’t set foot outside Maynooth in that time either!

Anyway, someone at the National Concert Hall in Dublin hit on the idea of putting on live concerts without an audience. I wasn’t sure it would work but based on this concert, broadcast a couple of weeks ago, and now available as a recording on Youtube I think it does. This recital features wonderful Irish mezzo-soprano Tara Erraught and pianist Dearbhla Collins in a programme of songs by Franz Liszt, Franz Schubert, Aaron Copeland and Richard Strauss followed by some Irish folk songs. I think it’s a lovely performance, and I found the setting of an empty hall unexpectedly moving.

Wagner & Bruckner at the National Concert Hall

Posted in Music with tags , , , , , , , on February 22, 2020 by telescoper

I had to brave some very inclement weather on the way to last night’s performance at the National Concert Hall in Dublin for a performance by the RTÉ National Symphony Orchestra, under the direction of Mihhail Gerts (deputising for Natalie Stutzmann who had to withdraw “due to unforeseen circumstances”). The concert consisted of the Prelude to Act I and the Good Friday Music from the Opera Parsifal by Richard Wagner followed by Symphony No. 7 by Anton Bruckner. To my surprise these pieces were performed without a wine break interval.

As was the case a couple of weeks ago for Bruckner 8, a big orchestra was required, including a quartet of Wagnertuben.

While not everyone likes Wagnerian Opera performed in entirety there must be very few people who don’t enjoy the overtures. A programme consisting entirely of Richard Wagner’s Preludes would make for a wonderful concert, and the Prelude to Act I of Parsifal, although very familiar, is so beautiful that it bears repeated listening. Whenever I hear it I can’t help thinking of the poignant last scene of the very last episode of Inspector Morse: `Goodbye Sir’, says Lewis and kisses the dead Morse on the forehead to the accompaniment of this music from Parsifal.

The Good Friday Music occurs at the start of the Third Act of Parsifal so is in a sense also a Prelude. Even out of the context of the Opera, it provides a wonderful opportunity for reflection and contemplation because it is so subtle and understated, somewhat uncharacteristically for Wagner.

These two pieces last about half an hour, and normally one would expect an interval after them, especially since the Symphony is over an hour in duration. I’m not sure what the reason was for playing the Bruckner straight after the Wagner, but it seems to have been a last minute decision. The printed programme contains the usual `INTERVAL_ 20 minutes’ so I had ordered a drink for the interval; nobody had told the bar staff there wouldn’t be one. I got my money back, though.

One positive aspect of the lack of a pause was that it made the connection between Bruckner’s composition and Wagner even more obvious. The radiant first movement of Bruckner’s Seventh Symphony, with its noble melody soaring over shimmering violin tremolos is very reminiscent of Wagner, as is much of the rest of the Symphony (including the orchestration). Bruckner famously idolized Wagner and this composition is at least partly a tribute to his musical hero. It is said that Bruckner had a premonition of Wagner’s death in 1883 and the cymbal crash during the second (slow) movement symbolizes the moment that he found out that his premonition had come true. That whole movement (marked Sehr feierlich und sehr langsam; very solemn and very slow) is very moving: sombre though not excessively mournful. The third movement Scherzo is marked Sehr Schnell (very fast) but I found the tempo last night rather restrained. I was expecting something a bit wilder. The last movement actually sounded to me more like Mahler than Wagner.

The Seventh is probably Bruckner’s best known and most performed Symphony. It was certainly a big hit for him when it was first performed in 1884. I enjoyed last night’s performance. Usually videos of these concerts are put on the Lyric FM Youtube channel shortly after the performance, but when I looked just now last night’s wasn’t there yet. I’ll put a link up as soon as it appears.

UPDATE: Here, as promised, is the recording:

 

The picture above was taken a while before the performance and, although quite a few more people came in before it started, there were still quite a few empty seats. The National Concert Hall posted a (small) financial loss last year. I do the best I can to support it by attending as frequently as I can, but I am always saddened a bit to see so many empty seats. Anyway, I shall be back there this evening for a special event which is part of the Beethoven 250 celebrations, so watch this space!

Bruckner: Symphony No. 8

Posted in Music with tags , , , , , on February 8, 2020 by telescoper

Last night I once again found myself settling into a seat at the National Concert Hall in Dublin for a performance by the RTÉ National Symphony Orchestra, this time under the direction of Mihhail Gerts. There was only one item on the menu – the Symphony No. 8 by Anton Bruckner – but what a feast it turned out to be!

Bruckner had a habit of making multiple revisions to his scores, and the Eighth Symphony is no exception to this. There are two major versions (usually referred to as the 1887 and 1890 versions) but also numerous edited variations of these two. For the record last night we heard the edition made by Robert Haas, based mainly on the 1890 version, but replacing some pieces which had been edited out of the 1887, perhaps most notably a quiet passage in the Third (Adagio) Movement.

This is a colossal work, lasting about 90 minutes in performance and requiring a huge orchestra so the stage was very crowded when the concert got under way.

As well as larger than usual string sections, the brass section comprises no less than eight horns, three trumpets, three trombones and a tuba as well as a quartet of Wagnertuben which you don’t often see in a symphony orchestra. These instruments have a sound somewhere between that of the horns and the trombones and they add an immense solidity to the section that produces a wall of sound that has an extraordinary effect when heard live, especially during the fortissimo passages (of which there are several in this work).

Woodwinds include a bass clarinet and a contrabassoon alongside the more usual clarinets and flutes, and there are three harps and percussion. A special mention must be made of the timpanist (Grahame King) who was given a huge amount to do, and did it all exceptionally well.

The work is structured in four movements, each of which involves a shift from minor to major (the piece opens in C minor) but each covers a very varied musical landscape. The overall atmosphere of the work varies too. At times it is tranquil (or perhaps merely resigned) but it often evokes a sense of conflict and sometimes even terror. It does, however, end in a glorious crescendo that gives a sense of triumph. Along the way there is some truly memorable passages: a gorgeous dialogue between flutes and clarinets in the 2nd Movement (Scherzo) comes to mind, and the Adagio as a whole is just magnificent.

I have never heard this work performed live, and have to admit I got completely lost in the performance. Despite the length of the concert, I never looked at my watch once during the whole thing. Congratulations to Mihhail Gerts and the entire orchestra for taking us on such an epic journey. I enjoyed every second of it, and so I think did the rest of the audience, because the end was greeted with a standing ovation.

But you don’t need to rely on my opinion. You can’t beat live music, but the entire concert is here for you to enjoy as live on the Lyric FM stream. Enjoy!

The Dvořák Requiem at the National Concert Hall in Dublin

Posted in Music with tags , , , , , on January 18, 2020 by telescoper

Following my decision to see more live music in 2020, last night found me taking my seat at the National Concert Hall in Dublin for a performance of the Requiem in Bminor by Antonín Dvořák (Op. 89) featuring the RTÉ National Symphony Orchestra and the RTÉ Philharmonia Choir conducted by Patrik Ringborg with solo vocalists Adrienn Miksch (soprano), Patricia Bardon (alto-, Julian Hubbard (tenor) and William Thomas (bass). The members of the choir were just taking their places as I sat down (as were other members of the audience).

I hadn’t heard Dvořák’s Requiem before last night’s concert. Indeed before I saw the advert for the concert I didn’t even know it existed. It just doesn’t seem to be performed vary often. Heaven knows why, because it’s actually rather wonderful. It does involve large orchestral forces, a full choir and a concert organ, but then so do many other works that are performed very frequently in concert halls around the world.

The Dvořák Requiem consists of thirteen sections divided into two Parts (with an interval between them) and is based on settings of the traditional Latin mass for the dead. The music lasts about 95 minutes altogether. The prevailing mood for Part 1 is at times mysterious, restless, questioning and reflective while Part 2 is much more affirmative, even at times joyous, with some uplifting (and wonderfully loud) tutti passages. Although ostensibly in a minor key, there’s much more of the feeling of a major key tonality during the later stages. Overall the piece ends up seeming more of a celebration of life rather than a lament for the dead. Throughout the piece there’s interesting interplay between choir, orchestra and soloists and it’s also very tuneful, as you would probably expect from Dvořák.

After a slightly hesitant start, both choir and orchestra soon got into the swing of things and produced a superb concert that ended up drawing a standing ovation from the audience in the National Concert Hall. Last night’s concert was, I’m glad to say, sold out.

Anyway, you don’t have to take my word for it: the whole concert is on Youtube (it starts about 3 minutes in).

P.S. You will soon see that the presenter last night was not the usual Paul Herriott, but Aedín Gormley.

Between your love and mine

Posted in Music with tags , , on September 22, 2019 by telescoper

Yesterday, 21st September 2019, would have been Leonard Cohen‘s 85th birthday, which made last night’s performance of Between your love and mine at the National Concert Hall in Dublin an especially moving occasion.

The piece – a Requiem by Leonard Cohen, rather than a Requiem for Leonard Cohen – was created by John MacKenna who, in the summer of 2016 approached Leonard Cohen with the idea of creating a requiem in memory of young people who had died tragically, and for those grieving for them. It roughly follows the liturgical form of the Requiem mass but with text and music provided entirely by Cohen. Leonard Cohen – a Jew who had embraced Buddhism – often referred to Catholic themes and imagery in his songs and poems so the work is in no way a contrivance but has a compelling unity and honesty about it.

The first `hymn’ Come Healing sets the tone:

And let the heavens hear it,
the penitential hymn,
come healing of the spirit,
come healing of the limb.
Behold the gates of mercy
in arbitrary space
and none of us deserving
the cruelty or the grace.

Some of the songs were unfamiliar to me, but there are some of Leonard Cohen’s famous songs in Between love and mine, including Anthem and If it be your will. There are three principal vocalists: Katie Jacques, Shane Sullivan and Eric Butler. The latter in particular gave a superb performance demonstrating wonderful versatility in his voice, including a passable reference Cohen’s own deep tone (that someone once described as `like a boulder rolling down a granite tunnel’) but also deploying his own natural register to powerful effect, especially in Anthem where he summoned up his thundercloud in fiery tenor tones. Three backing singers, two readers (including John MacKenna) and a small band of strings, keyboard and drums make up the cast of this intriguing and emotionally powerful work.

Naturally, given the theme, it was a sombre performance but at the same time very uplifting. Leonard Cohen may not have been there in the flesh, but he was certainly present in spirit. In more ways than one it felt like he was the host.

And those who dance, begin to dance,
those who weep begin
and “Welcome, welcome” cries a voice
“Let all my guests come in.”

 

Culture Night (and Afternoon)

Posted in Art, Biographical, History, Maynooth, Music with tags , , , , , , , , , , , on September 21, 2019 by telescoper

I thought I’d do a quick round-up of my little trip around cultural and historic Dublin yesterday after being stood down from duty at the Higher Options fair at the Royal Dublin Society (RDS). I have to say it was wonderful to see so many people out and about in the City’s beautiful parks and public spaces enjoying the September sunshine as I walked around.

The RDS is in the Ballsbridge area in of Dublin, to the East of the City. My route into town from there took me along Northumberland Road, where I took this picture outside Number 25:

A little further along I went across Mount Street Bridge, passing this memorial.

If you want to know more about the significance of these memorials to the events of the Easter Rising in 1916, see my post here.

My main intention during my afternoon off was to visit the National Gallery of Ireland which is situated on one side of Merrion Square. I have to say that this was even better than I’d expected, and I’m sure to visit again many times in the future. The ground floor is dominated by the work of Irish artists from about 1660 to 1965, together with European Art from 1835 to 1965. You will find works by Monet and Picasso in this section, which has much to savour. Among the Irish artists represented in this show is Jack B. Yeats (brother of poet W.B. Yeats), an extremely interesting artist in his own right.

The highlights for me, however, were found on the 3rd floor which displays examples of European Art from the early Renaissance (c. 1300) to the Enlightenment. One of the interesting things about this collection is that it is arranged thematically rather than by artist (or nationality thereof). There is, for example, an entire room of paintings inspired and influenced by Caravaggio, all of them with an intensely dramatic use of light and shadow. The gallery is worth it just for that room, but there are also fascinating juxtapositions of religious paintings from the renaissance with icons and altarpieces from the Byzantine and Russian orthodox traditions from the same period.

Elsewhere in the collection there are notable works by Vermeer, Rembrandt and Perugino as well as a number of British works by, for example, Gainsborough and Reynolds.

The work that really stopped me in my tracks, however, was this:

This is St Francis Receiving The Stigmata by El Greco. I knew about this painting but had no idea it was in Dublin. Seeing it close up is a revelation: the swirling brushstrokes give it an extraordinary texture that makes it hard to bring the image completely into focus. The hypnotic feel that results is a brilliant depiction of a man undergoing a kind of ecstatic vision. This work has an unbelievably powerful effect on the viewer (or at least on this one).

After a break for a sit down and a cup of coffee I visited the Natural History Museum (which is practically next door to the National Gallery). This is a surprisingly old-fashioned affair, with hundreds of stuffed animals and birds crammed into two large rooms:

It reminded me a lot of visits to the Hancock Museum in Newcastle when I was a kid. It’s interesting, but more than a little creepy and would make an excellent setting for a horror story!

After adjourning to a pub for a pint of Guinness the final stop of the day was the National Concert Hall for yesterday’s Culture Night concert. On the way there I saw a big queue of people trying to get into one of the many free events around Dublin. It turns out this Culture Night was the grand opening of the Museum of Literature Ireland, which is situated in Newman House on the South Side of St Stephen’s Green. There’s another one to put on my list of places to visit.

The Culture Night concert was by the RTÉ National Symphony Orchestra conducted by Leonard Slatkin. The opening piece, Kinah, was a composition by the conductor himself and is a sort of memorial to his parents, both of whom were classical musicians, one a violinist and the other a cellist, and together they formed half of the famous Hollywood String Quartet. It was a new piece for me, and I found it very moving indeed. After that there was a bit of reorganization on stage to make way for the Steinway on which the brilliant Xiayin Wang played the Piano Concerto by Samuel Barber, which consists of two fast and furious movements either side of a beautifully lyrical slower movement. This must be a ferociously difficult piece to play – especially the last movement which is at a breakneck pace in 5/8 time – requiring not only dexterity but physical strength. It was a wonderful performance by Xiayin Wang, who rounded off the first half with an encore in the form of a transcription of George Gershwin’s song The Man I Love.

After the wine break interval came the main course in the form of the Symphony No. 4 in E Minor by Johannes Brahms. This is of course a much more familiar work than the previous two, but I really like concerts that mix unfamiliar material with the standard concert repertoire. It also gave me the chance to persevere with Brahms as my friends keep telling me to. It’s not that I don’t like Brahms, it’s just that I don’t find that he moves me as much as many other composers and so many people rave about him that I think I must be missing something. The 4th Symphony is a very fine work, and was performed beautifully last night under the direction of Leonard Slatkin (conducting, incidentally, without a score), but I couldn’t stop myself thinking how much like Beethoven it sounds. That’s not meant to be derogatory, by the way.

But you don’t need to take my word for it. You can listen to (and watch) the whole concert here:

Anyway, after the applause had died down I headed out towards Pearse Station for the train back to Maynooth. I was a bit tired after a very full day and wanted to get the 10.08 train so I didn’t stop to watch any of the numerous musical and artistic events I passed on the way, including an intriguing installation involving images projected onto one of the buildings to the side of St Stephen’s Green. I made it to the station with 5 minutes to spare and discovered that, because it was Culture Night, the train home was free!

The Goethe-Institut Choir Christmas Concert

Posted in Music with tags , , , , on December 18, 2018 by telescoper


Last night I found myself yet again at the National Concert Hall in Dublin, this time for a Christmas Concert by the Goethe-Institut Choir and the Goethe Ensemble, directed by John Dexter, together with a fine set of principals Katy Kelly (soprano), Christina Whyte (alto), Dustin Drosdziok (tenor) and Eoghan Desmond (bass).

The main items on the menu were three Parts of the Christmas Oratorio by Johann Sebastian Bach. Before the interval wine break we heard Parts I and IV, the former opening with the famous Jauchzet, frohlocket!, followed in the second half by Part III. The whole Oratorio is in six parts, which I think would make it too long for an evening concert, which explains why only three pieces were performed. I’m not sure why the particular ordering was chosen for the selected parts but it worked rather well. The various Parts are basically separate cantatas anyway, so performing them individually like this is perfectly sensible.

Before Part III of the Oratorio, which came in Part II of the Concert, after Part IV, which came in Part I,  the Choir performed some shorter pieces without the orchestra: a mediaeval carol called Angelus ad Virginem, a piece from the magnificent All-Night Vigil by Sergei Rachmaninov, БОГОРОДИЦЕ ДЈЕВО, and a much jauntier version of the same text (closely related to Ave Maria) by Arvo Pärt.  Then there was an audience singalong to Stille Nacht, with verses in English, Irish and German.

In case you’re interested, the opening verse of Silent Night in Irish reads

Oíche chiúin, oíche Mhic Dé,
Cách ‘na suan, dís araon,
Dís is dílse ag faire le spéis,
Naí beag gnaoi-gheal ceanán tais caomh
Críost ina chodladh go séimh,
Críost ina chodladh go séimh.

The choir was really excellent in these pieces, as it was throughout the concert.

The second piece in the concert  (Part IV) was marred by poor pitching of the two French horns, but there was compensation in the form of lovely playing by the interweaving violins behind the tenor aria, and an echo effect achieved by placing an oboe and vocalist (soprano Eilis Dexter) in the choir balcony (the main choir being on stage with the Orchestra).

The concert got off to an inauspicious (but rather amusing) start when the power supply failed for the chamber organ played by Niall Kinsella just as the concert was about to begin. I didn’t realise those instruments needed to be plugged in. Obviously batteries are not included. A stage hand had to dash on and fiddle about to find another socket behind the drapes surrounding the stage and then bring on an extension cable. Fortunately the delay wasn’t long.

Overall this was a very enjoyable concert, with Choir and Orchestra on good form. The principal vocalists were good too. I particularly liked Katy Kelly. It didn’t surprise me when I read in the programme that she has recently performed two great roles in Mozart operas: Donna Anna (Don Giovanni), La Contessa (Le Nozze di Figaro) and performed the Die Königin der Nacht coloratura arias from the Magic Flute on television. I think she has a great voice for Mozart, agile and graceful.

I should also mention that the Concert was pretty much sold out, which was good to see. No doubt the absence of a harpsichord contributed to its success.

Anyway, that concludes my concert-going for 2018. Hopefully there will be a few more to report on in 2019!