St John's Smith Square

Emerson String Quartet, St John's, Smith Square, London, review ...

"More than anything else in music, this work justifies the ways of God to man", says a musicologist.

Beethoven was almost completely deaf in 1825, when he composed the piece, but an aristocratic admirer wanted this work at any price.

In its treatment of tonality this work explicitly adumbrated the ‘tone-row’ music with which Schoenberg launched his stylistic revolution a hundred years later.

It crops up in novels and films, and last month Sadler’s Wells staged three dance works – each by a different choreographer – which were set to it.

No ensemble could ever present a ‘perfect’ account of this work: there are countless moments where a particular effect – sometimes beautiful, sometimes jagged, and even grotesque – demands close attention without interrupting the flow of thought, and every listener will have their own small grouses.

Mozart 250 – The First Commandment, St John's Smith Square ...

Continuing their outstanding project of shadowing in real time what Mozart was up to 250 years ago, Ian Page and the sprightly forces of Classical Opera have reached Mozart’s first extended dramatic work: the first part of a sacred oratorio written as the 11-year-old arrived back in Salzburg after three years touring Northern Europe.

The subsequent parts by two other composers haven’t survived, but Mozart’s contribution remarkably sketches the man he will become, already tweaking the contemporary idiom to his own ends, adept at scene painting, and skilled at dramatic tension and comic pace.

Christian Spirit (strong tenor Sam Furness) begs for their help to save Christian.

All is nearly lost with the arrival of Worldly Spirit, whose thrilling soprano coloratura blandishments risk seducing him away into hedonism.

Fortunately, Christian (addictively moreish light tenor Alessandro Fisher) has had a vision of the last trump (in Stephanie Dyer’s elegant trombone), and thanks to Christian Spirit’s quick turn as a herbalist, both day and soul are saved.

The OAE make Haydn and Mozart fly at St John's Smith Square, plus ...

Leading the orchestra was guest director Rachel Podger, the violinist who has risen quietly to pre-eminence in the field of the Baroque violin.

She proved equally adept in the music of this concert, which came from that fascinating period when the new classical style of Haydn and Mozart was rising from the ashes of the Baroque.

The first piece, Haydn’s 26th Symphony, was a fine example of his “storm and stress” style, the agitated violin melody constantly rushing ahead of the beat as if in flight from some terror.

Even more disconcerting than the movement itself was the total contrast with the slow 2nd movement, which Podger and the OAE made seraphically calm, as it came from an entirely different world.

The slow movement, which sounded like a pre-echo of Mozart’s C minor Piano Concerto flavoured with ponderous Baroque solemnity, was much more satisfying.

Venue: St John's Smith Square, London | by Bachtrack for classical ...

St John's Smith Square | Leafi

The Smith Square Café & Restaurant situated in the crypt offers lunch daily on weekdays, dinner on concert evenings.

There is a waiter service restaurant and we offer lunch and pre concert dining as well as post concert bar service with bar food.

Have a look at our current à la carte menus: Concert Menu download Restaurant Menu download On weekdays, the café & restaurant serves a selection of herb infused teas, London roasted coffee, delicious homemade cakes and à la carte lunch from noon until 2.45pm.

The Café & Restaurant is open Monday-Friday from 8.30am-5pm and on concert evenings until after the performance.

When we have an evening concert on a Sunday, the restaurant is open an hour and a half before the start of the performance.

Shostakovich/Messiaen, St John's Smith Square, London ...

Acis and Galatea @ St John's, Smith Square, London | Classical and ...

For all of the score’s brilliance and the acknowledged tragedy in the plot, there is something just a little too playful about Acis and Galatea for it to work well with soloists stuck behind music stands and choruses in rigid lines.

The entire cast was costumed (courtesy of Charlotte Espiner) with Acis, Damon and the chorus wearing shepherds’ or equally rustic clothes, Galatea donning a shiny green dress that hinted at water, and Polyphemus a large fur and armour.

the chorus stood in the side galleries and showered balloons on the audience, although this particular gesture felt a little underwhelming, while matters were not helped when eight of these proceeded to burst audibly over the remainder of the evening, including three during Galatea’s final aria.

Nonetheless, the performance as a whole was highly spirited as Cummings frequently became involved in the drama, whether he was leaving his harpsichord to sing to Galatea as a part of the opening chorus, or having to stand aside to let Damon play a few notes at the keyboard during his first entrance.

This performance of Acis and Galatea will be repeated on 21 March, while the festival continues until 16 April.

Orlando @ St John's, Smith Square, London | Classical and Opera ...

This may have been a concert performance, but when no-one was glued to their music and the soloists moved so slickly from the sides to the front that hardly anyone was standing centre-stage unless they were actually singing, both the performers and audience were able to focus on what was important.

The orchestra, conducted by its artistic director David Bates, played with a shimmering refinement that enabled lines to be delineated clearly without the output ever feeling anaemic.

Without exception, all five soloists revealed excellent voices and asserted impeccable control over their sounds.

Se tu il consenti’ Lawrence Zazzo shaped his superb countertenor with the front of his mouth as much as his throat, meaning that the resulting precision in his output was outstanding.

For details of all its recordings and forthcoming events visit the La Nuova Musica website.

The OAE make Haydn and Mozart fly at St John's Smith Square, plus ...

Leading the orchestra was guest director Rachel Podger, the violinist who has risen quietly to pre-eminence in the field of the Baroque violin.

She proved equally adept in the music of this concert, which came from that fascinating period when the new classical style of Haydn and Mozart was rising from the ashes of the Baroque.

The first piece, Haydn’s 26th Symphony, was a fine example of his “storm and stress” style, the agitated violin melody constantly rushing ahead of the beat as if in flight from some terror.

Even more disconcerting than the movement itself was the total contrast with the slow 2nd movement, which Podger and the OAE made seraphically calm, as it came from an entirely different world.

The slow movement, which sounded like a pre-echo of Mozart’s C minor Piano Concerto flavoured with ponderous Baroque solemnity, was much more satisfying.