Fringe Classical Music
Miranda Heggie
Hot Chocolate at 10
Sang Scule – Laments for Souls and Nations
Old St Paul’s
three stars
French Lates
Royal Overseas League
four stars
The Snow Child
Paradise in Augustine’s
three stars
THE atmospheric setting of Old St Paul’s church, in the heart of Edinburgh’s old town, provides a beautiful backdrop for this series of late night concerts. Under the direction of James Hutchinson, Sang Scule, a small vocal ensemble specialising in early choral music presented a selection of musical lamentations on Wednesday evening. Singing one to a part in what was quite an exposed programme, the singers displayed a high level of musicality, made especially evident given the serious sound bleed from a neighbouring Fringe venue. Thomas Tallis’s Lamentations of Jeremiah was beautifully executed, the intermingling vocal lines sang with a perfect balance, though sadly the aforementioned noise pollution hampered the effectiveness of the piece’s silences.
Further Hot Chocolate at 10 performances to August 26
FEATURING French romantic and 20th century composers, Thursday’s French Lates at the Royal Oversees League on Princes Street began with harpist Oliver Wass playing his own transcriptions of piano works for pedal harp. Exhibiting a real star quality, Wass lent a lush fluidity to Ravel’s Jeux D’eau (Water Games), his version of the work wonderfully appropriate for the instrument. Pierre Sancan’s Sonatine for flute and piano saw flautist Jonty Coy play with a light warmth, and a lovely clarity in the cadenza before the final animé movement. The recital concluded with Tamsan Duo’s vigorous rendition of Saint Seans’ Danse Macabre arranged for piano and solo violin. Pianist Bradley Wood’s deft playing coupled with Lauren Bennet’s caramel-tinged tones on violin resulted in a spirited, vivid performance.
Further ROSL performances on August 25
BASED on a dark and somewhat disturbing short horror fairy-tale by Angela Carter, The Snow Child tells a chilling tale of a mythical girl encountered by a count and countess on a winter’s outing. Touching on themes of necrophilia and paedophilia, this half hour long opera by the young British composer Owain Park compactly captures the story’s sinister nature, and is presented by Bloody Chamber Opera, a company presumably formed specifically for this Fringe outing. Written for six voices and chamber orchestra, the haunting and evocative score, combined with director Gareth Mattey’s sparse staging, draws the audience in to a bleak musical landscape. Vocally, the highlights lay in the ensemble passages, with the young cast singing together with a rich, alluring blend, although there were some fine solo performances too. Baritone Peter Lidbetter sang the role of the Count with an assured poise, while soprano Helena Moore gave a warmth and innocence to the title role.
Further performances to August 26
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