An awesome and ridiculous film that leaves you thrilled beyond the point of your natural endurance
2012
Theatre
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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,




Description: Stephen Cleobury conducts the orchestra and choirs for Haydn's Representation Of Chaos...Let There Be Light from The Creation, Sir Peter Maxwell Davies's Solstice Of Light and John Harle's City Solstice. With tenor Christopher Gillett and saxophonist John Harle.
Phone: 0207367 6700
Website: www.southwark.anglican.org/cathedral/
Email: cathedral@southwark.anglican.org
Trains: Tube/BR: London Bridge
, Tube / Bus: 17, 21, 35, 40, 43, 45, 47, 48, 133, 141, 149, 381, 521, RV1
The best festivals offer experiences that can’t be had the rest of the year and last night’s typically imaginative City of London Festival programme juxtaposed two big choral pieces by Peter Maxwell Davies with a new one by John Harle, which together required the choirs of King’s College Cambridge and the Cambridge University Music Society Choir and Orchestra, who were celebrating the 800th anniversary of their university.
Harle’s City Solstice (text by Tom Pickard), an affectionate tribute to London Bridge, just around the corner from the concert venue, springs some clever surprises: the high note of a treble (the assured Sebastian Johns) morphs into the keening lament of the alto saxophone (Harle himself), while the final bars play tricks with on- and off-stage voices.
Davies’s Solstice of Light, to a text by fellow-Orcadian George Mackay Brown, served only to remind how bleak the far northern landscape is. Intermittently dramatic depictions of natural forces — melted ice, earthbreakers and the like — in the organ interludes, adroitly played by David Goode, were not enough.
Davies’s The Sorcerer’s Mirror, commissioned by CUMS, has a fine text by Andrew Motion, a questionable advantage in that the verbal inspirations were often more arresting than the musical ones. It was good, nevertheless, to have the opportunity to hear such a large-scale piece (this was its London premiere) and to have it performed by forces as distinguished as these, under Stephen Cleobury.
Northerly climes and environmental themes are explored further in a summer of concerts and street events.
Until 7 August. Information: 0845 120 7502, www.colf.org.
Details are correct at the time of publication - please check with venue before booking.