Tchaikovsky’s Manfred Symphony by the Royal Liverpool Philharmonic Orchestra at Philharmonic Hall, Liverpool

A disappointingly small audience for the return of Vasily Petrenko to conduct this infrequently performed symphony. The programme also included the cello concerto by Anton Rubinstein performed vigorously by Alban Gerhardt and a new work by James Macmillan for Zoe, in honour of a former principal cor anglais player Zoe Kitson, who had recently died.

The Manfred Symphony is a huge sprawling work but the orchestra succeeded in keeping up the interest and tension throughout. I know it well as a result of having had a favourite recording (long since lost) of it when I was in my teens. To hear it live was a real treat. The last movement’s wall of sound — with an organ part that I didn’t know was included — was particularly thrilling. Clearly Petrenko felt at home again in front of the orchestra, who performed at their very best. 5*

SHTTL, a film by Ady Walter at Odeon Luxe West End, London

Another London Film Festival showing and the first time I have ever seen a Ukrainian film with Yiddish as the language.

The film was billed as being about the Nazi invasion of Ukraine (then part of the Soviet Union) in 1941 and so might have been expected to mirror the current fascist invasion of Ukraine by Russia, but in fact that incident occurred only at the very end. Instead, the film was an attempt to portray realistically the lifestyle of a very insular, very Jewish, village (shtetl) in Ukraine in the 1930s.  The main theme is the contrast between the dying life of this isolated rural community versus the pull of the big city as a young man returns to his homestead after some years away to reclaim a previous girlfriend as his wife. Throughout the story line we also see the threat to the Jewish heritage of the imposition of local Soviet politics. None of these issue is resolved, however, as they are overtaken by the Nazi invasion and the obvious target of a Jewish community by the German army.

There may be a relative shortage of Yiddish-speaking actors in Ukraine and so it was difficult to judge the quality of the acting, but the production portrayed well the sense of tension in the small community as it waited unaware or what we knew to be its bloody destruction. 4*

Emily, a film by Frances O’Connor at Barbican Cinema, London

This is a biopic of Emily Brontë's life prior to publication of Wuthering Heights. Emily is portrayed as the uncontrollable, unconventional sibling in the family of father, aunt, sisters and brother. Inevitably, there are references to her only novel in her behaviour as we perceive her engaging in a continuous bid for freedom from the constraints of Victorian society.

The good reviews this film received suggested that it had risen above all the clichés normally present in a modern representation of romantic literature. But no, they were all there, ready for the Hollywood market: running across the moors in slow motion in billowing skirts; doors and windows blowing open to dramatic music during a mysterious incident; the heroine’s exquisite professional piano playing viewed from behind so that you only see her elbows moving up and down, complete with orchestra appearing magically halfway through the piece; a wildly erotic affair with the local curate conducted in a conveniently isolated barn.

All this could be put down to artistic licence, but it was unnecessary to modify other historical facts, e.g. to portray the idea that Charlotte Brontë was inspired to take up writing only as a result of her sister’s success and only after her death.

Very poor. 2* (just for the camerawork)

Aisha, a film by Frank Berry at Curzon Cinema, Soho

As part of the London Film Festival, Aisha is a drama about a Nigerian girl who is seeking asylum in Ireland as a result of her family being targeted for political reasons. Clearly she fulfils all the criteria necessary to be granted asylum but her lack of confidence and diffidence — she has been traumatised by her experience — are used by the authorities to patronise and humiliate her and put every obstacle in her way. We share her sense of frustration at the hostile environment and inefficient bureaucracy she meets yet, frustratingly, we are unable to advise her on how she could improve her situation.

Aisha finds a brief period of happiness with a psychologically damaged young man but we also see that possible relationship falter. I won’t reveal the outcome, but the film must surely reflect the ever worsening circumstances faced by asylum seekers in the British Isles today. 5*

City Music Society Lunchtime Concerts at St. Bartholomew the Great, London

These hour-long recitals are always worth attending as they involve young musicians selected as a result of prizes or awards. This year so far we have heard:

the Chiarina Piano Quartet give fine performances of the Phantasy Quartet by Frank Bridge (apparently so little recognised by the audience that they failed to applaud at the end) and the Schumann Quartet in E flat Op 47, one of his best works

the Barbican Quartet with a Haydn quartet and Bartok’s quartet no. 4

the Lumas Winds with music by Elgar (arrangement), a little-heard piece by Anton Reicha, a Czech contemporary of Beethoven, and Neilsen’s excellent Wind Quintet, Op 43.

All good and deserving of 5*

Looking West, a dramatic cantata for singers, actor and instrumental ensemble by Julian Philips at the Milton Court Concert Hall, London

This was billed as a homage to Vaughan Williams, coinciding with the 150th anniversary of his birth. There was little information provided in advance and it turned out that the relationship was only that the piece had been commissioned by the Vaughan Williams Trust.

The libretto by Rebecca Hunt deals with three different people’s relationships with Cumbria: a contemporary hiker walking in the Lake District, the artist Winifred Nicholson, who painted in that area and, much earlier, Saint Bega, who escaped from Ireland and set up a religious order there. The hiker’s role is spoken and acted, while the parts of Nicholson (Win) and Bega are taken by soprano and mezzo-soprano respectively. The music is scored for small orchestra, in this case the Nova Music Opera Ensemble.

The music, voice and acting were perfectly linked by the orchestral score to form interesting story lines that illustrated both the wildness and tranquillity of the Lakes as seen from three very different perspectives. It was beautifully acted and performed and it would be good to hear this again. 5*

The Snail House, a play by Richard Ayre at the Hampstead Theatre, London

This was disappointing, knowing the director’s previous position as Artistic Director of the National Theatre.

The play centres around a dinner party being held to celebrate the birthday of eminent paediatrician, Sir Neil Marriott. To avoid too many actors, the celebrations take play off stage and we see only the preparations for the meal and the aftermath. In a very traditional English way, the play develops as a kind of satire on class and family disputes, with comedy provided by a working class singing waitress and environmental issues addressed through interactions between the paediatrician’s radical daughter and an establishment-favouring son. The feminist, or identity politics, issues were covered by a revelations during the play about the main character’s past (won’t spoil by revealing this).

While the play kept one’s attention, and the acting was perfectly adequate, there was little being said that would not have been found on stage twenty years ago. 2*

Sibelius the Storyteller, a concert by the BBC Symphony Orchestra at Barbican Concert Hall, London

Part of a whole day of performances of Sibelius’s music that relates to poetry and folk tales, this was the final concert of the day, with his last such works. The associated poetry was recited in English prior to each piece and the soloist was Finnish soprano Anu Komsi, partner of the conductor, Sakari Oramo. I was familiar with three out of the four pieces and Luonnotar is one of my favourite pieces of music; so a concert not to be missed. This is Oramo’s home ground and the performances were polished and accomplished. Anu Komsi was astounding as soloist in both Luonnotar, the first live performance I have ever heard of the work, and in The Echo Nymph, at the start of which she enunciated an extraordinary imitation of forest birds and animals.

Best concert of the year so far. 5* (more if they were available)

Blonde, a film by Andrew Dominik at Barbican cinema, London

This biography of Marilyn Monroe is based on the book by Joyce Carol Oates that attempts to identify the elements in her life that led to her being abused and ultimately led to her suicide. The story is grim, portraying her as an intelligent ambitious woman whose appearance and personality were ruthlessly exploited by a series of men for their own gain.

We see how her first abuser was her own unmarried mother, who had Marilyn (Norma Jeane) as a consequence of an affair with a wealthy employer and who irrationally believed, and caused Marilyn to believe, that he would return to rescue the family. The implication is that Marilyn’s failed relationships and susceptibility to abuse arose from the obsession with an unattainable father figure.

Ana de Armas was brilliant and persuasive as Marilyn, providing just the right mix of vulnerability and intelligence. There was clearly a risk that the film might be seen as voyeuristic but it remained sympathetic throughout to the plight of the main character over the whole 3-hour length of the screenplay. It will be available on Netflix and is  recommended. 4*

Opening concert 2022/3 Royal Liverpool Philharmonic Orchestra, Philharmonic Hall, Liverpool The start of Domingo Hindoyan’s first full year as Principal Conductor and playing to a packed house (we booked late and were fortunate to get returns).

The death of the Queen the previous day was acknowledged with a fine arrangement of the national anthem by Ian, who was apparently asked to produce this orchestration at very short notice.

The orchestra then gave a very striking performance of Janácêk’s Sinfonietta, with a full 27 brass instruments and a line-up of 8 trumpets standing in the back row. The second half and, presumably, the main attraction was Mahler’s 4th Symphony with Katerina Knêžiková providing the solo in the final movement. The performance from orchestra, soloist and conductor was of the high quality always now expected, but Mahler’s symphonies last too long — even the 4th.

At the beginning of the concert the audience expressed a heartfelt tribute to Rhys Owens, former Principal Trumpet, who recently died prematurely. 4*