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An awesome and ridiculous film that leaves you thrilled beyond the point of your natural endurance
2012
Theatre
The show has suddenly become quite wonderful, and the galvanising factor is the terrific stage debut of Melanie C
Blood Brothers
Music
The British pop music industry may be eating itself but if Muse are the pick of what it can offer the world in 2010 then British music is in rude health indeed
Muse
I was smitten by both Gilberts enormous luxuriant moustache and the intelligence and nuance of this highly entertaining play
I totally recommend Babbo to anyone who is looking for really good and traditional Italian food
Always been a fan but never seen them live. I was ecstatic to be part of this epic event. WOW!
London,
Nick Kimberley's rating
Reader rating
Description: Inspired by Henry James's ghost story, Richard Hickox conducts a concert performance of Britten's pacifist opera, featuring Robin Leggate as General Sir Philip Wingrave and Peter Colman-Wright as his son, Owen.
Phone: 0207 730 4500
Website: www.cadoganhall.com
Email: marketing2@rafcte.com
Dramatic: Richard Hickox exploited the musical theatricality of Cadogan Hall
No one could accuse John Tavener of shirking the big issues. His Requiem stares death in the face while also attempting a synthesis of some of the world’s great religions. The Christian requiem text sits alongside the Koran, Sufi mystic poetry and the Hindu Upanishads, the whole made to cohere by the force of Tavener’s conviction.
There are moments of soupy sentimentality, and, at times, the 40-minute piece resembles an assemblage from earlier works, but that is Tavener’s way. In any case the cumulative power sweeps most objections aside. Although the Requiem achieves its own serenity, Tavener’s God seems not to offer solace; instead he inspires fear.
The Requiem was premiered in Liverpool Cathedral last February. Cadogan Hall may be less imposing but it has its own mystic theatricality, which conductor Richard Hickox exploited.
Occupying centre-stage was cellist Josephine Knight, radiantly pregnant as if to remind us that in the midst of death, we are in life. Knight played almost ceaselessly, her tone sometimes sweet or ecstatic, sometimes sorrowful or anguished. Hers was a performance of utter dedication.
Tavener’s writing for voices, including the Joyful Company of Singers, was equally communicative. He wants the words to matter and, by and large, they did. Thomas’s sweet and pure soprano soared heavenwards and if Kennedy’s light tenor was sometimes lost in the maelstrom generated by the City of London Sinfonia, that might embody Tavener’s view of the fate that awaits the individual ego.
Details are correct at the time of publication - please check with venue before booking.
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