Let me explain, but first for those of you who haven’t been to Blenheim Palace it is set in over 2,000 acres of ‘Capability’ Brown landscaped parkland and designed by Vanbrugh in the Baroque style, it was financed by Queen Anne, on behalf of a grateful nation, following the first Duke of Marlborough’s triumph over the French in the War of the Spanish Succession. Today it houses one of the most important and extensive collections in Europe, which includes portraits, furniture, sculpture and tapestries.

Frankly, it is stunning. I was fortunate to live fairly close by and loved going and it is worth remembering that Blenheim Palace is also the birthplace of one of Britain’s most famous leaders, Sir Winston Churchill, and it was his father who described the vista on entering the Estate from the village of Woodstock as the ‘finest view in England’.

And the good news is… roll of drums…. Visitors to Blenheim Palace can now enjoy personally tailored tours, thanks to a new state of the art app, ‘Archie – your interactive guide’, named in honour of the Palace’s former Administrator and first Chief Guide, Archie Illingworth, (such a touching tribute) , who worked there from 1950 to 1972, and retired after the death of the 10th Duke.

The new multimedia platform has been created through Culturati, a groundbreaking Horizon Europe RIA project, for which Britain’s Greatest Palace is the UK pilot site. 

‘Archie – your interactive guide’ allows visitors to choose exactly what they would like to see and hear, and allows them to delve into over 300 years’ worth of stories – many of which have never been told before – with several of the narratives shared directly by staff members, giving authenticity and depth to the cultural heritage experience.

Some of the fascinating stories contained within the interactive guide include: 

• Learn how the Long Library was used as a convalescence hospital during World War I, for soldiers recovering from a variety of ailments and injuries, from gunshot and shrapnel wounds, to shock, pneumonia, and dyspepsia. It must have been a touch of heaven after the brutality of the Front.
• Hear how the grounds of Blenheim Palace were used during World War II to test Spitfire fighter aircraft guns.
• Imagine what it was like as Archie Illingworth shares his own memories of welcoming the House of Dior to Blenheim in 1954, for the first of two fundraising fashion shows organised by the 10th Duchess in aid of the Red Cross

The app not only harnesses cutting-edge digital technologies to deliver personalised content; it also uses sophisticated sensors at Blenheim Palace to monitor and manage visitor flow, helping to optimise the guest experience through strategic crowd management.

David Green, Head of Innovation at Blenheim Palace, who is also Culturati Project Manager, commented: “It is a real honour for Blenheim Palace to be the UK pilot site for this unique collaboration, which retells stories using the latest digital technologies with elements of AI.

“This innovative initiative aims to revolutionise how cultural heritage and arts content is collectively created and shared across Europe. With the more traditional audio guide, our visitors were able to listen to a description of what they saw before their eyes – and that description would be the same for everyone. With ‘Archie – your interactive guide’, every visitor can enjoy a bespoke, unique experience.”

Culturati is a collaboration between 14 European partners, bringing together an interdisciplinary consortium of computer scientists, cultural and creative industries professionals, academics from various disciplines including social sciences, SMEs, public authorities, and non-profit community organisations.  The project is funded by the European Commission and coordinated by Bilkent University, with additional UK partner funding through Innovate UK. Blenheim Palace has also been working closely with Oxford Brookes University, which conducts comprehensive user research to enhance the platform’s effectiveness.

To experience ‘Archie – your interactive guide’, and tailor your own visit to Blenheim Palace, go to: culturati.blenheimpalace.com/ You will enjoy it immensely, and return often.

In 1969, in a dark room that smelled mostly, of stale cigarettes and musty papers, Michael Rowan, together with 15 or so other boys, waited for the arrival of the Music Master, Mr Phillips.

In the centre of the room a record player was balanced on some books, which were themselves stacked on a wooden chair. The Music Master arrived and began to explain the story of the Symphonie Fantastique before placing the needle on the vinyl and I became lost in the moment. I wonder if my 13-year-old self, would have ever believed that 50 plus years later, he would be sitting in the Royal Festival Hall, listening to the same piece, but this time without the crackles.

Back to 2025, where the evening began with the World Premier of ‘Sphinx’ written by British Composer David Sawyer, who was present at the concert. Sawyer explained that his inspiration had come from this mythical beast in the Greek, rather than the Egyptian form, that he had once seen in a picture and how he had considered the human head, (often a women) vertically erect moving left and right, up and down; the four legs and the rhythm of running; and finally, the wings giving flight.

The different sections of the orchestra at first heard quite bluntly, then changes, morphs and mixes together. At times sonorous and gentle and then abrupt and discordant this piece had a filmic quality, underscoring the drama. Not my favourite piece of the evening, as it was a little too discordant for my taste, but others in the audience were clearly enjoying it, and it is aways good to experience new things.

The second piece, Benjamin Britten’s Violin Concerto Op. 15 was breathtakingly good, soothing, brooding, and the soloist, Augustin Hadelich is described as one of the great violinists of our time. His playing, so beautiful at times made me well up, and according to the programme, he is renowned for his phenomenal technique, persuasive interpretations and ravishing tone, and based on this performance I wouldn’t argue with that.

If you get the opportunity to hear him, do whatever you must to get a ticket, you can thank me later. He plays a violin made in 1744 on loan from the Tarislo Trust, and you could see just how much he revered his instrument, and how he repays the compliment to the Tarislo Trust. The piece was hauntingly sorrowful, (hence the tears), deliciously soporific followed by a fast movement which was quite simply breathtaking.

At times Hadelich drew heartfelt notes from his violin that I have certainly never heard before. It was how I imagine the Pied Piper must have influenced the children of Hamlin, and at that point Hadelich’s audience would have followed him anywhere, hypnotised by the sound of his violin. At the end of his performance, much of the audience was on its feet and thunderous applause threatened to lift the roof.

Having been called back to the stage by his adoring fans, he performed a welcome encore. If you only take one thing from this review, it is to take any opportunity to hear Augustin Hadelich.

Berlioz’s Symphonie Fantastique was the first piece of classical music I ever heard. Described as the representation of an opium dream, where a young man faces rejection, and in his dream murders his beloved, later to be taken to his execution where he witnesses a Witches’ Sabbath. I don’t recall my music master going into such detail, but I do recall him asking us to imagine a man been taken to his execution, and the terrifying sight of Witches swirling overhead.

This was a performance in 3D, with notes of the flute soaring above the audience, a solo oboe playing from a box somewhere behind, and the haunting sound of bells ringing out. The music in each of the five movements had an intensity that left me wanting to soak up every note, and after each movement the urge to break out into applause grew stronger, but the wonderful conductor, Edward Gardner, was having none of it, driving the orchestra on, to ever greater feats.

The final movement ends in violent uproar, as the witches dance manically, and then abrupt silence, a silence broken only by the unleashed applause, of an impressed and grateful audience. The images conjured up by Gardner were no less vivid for the passing of more than 50 years, thanks to Berlioz, the London Philharmonic, and yes good old Mr Phillips. https://lpo.org.uk/tickets-and-discounts/

images courtesy of Marc Gascoigne

Future concerts

Nikolaj Szeps-Znaider plays Tchaikovsky

Saturday 1 Mar 2025, 7.30pm – Royal Festival Hall. Three very different composers, but in Omer Meir Wellber’s hands, they’re all part of the same unforgettable story. He is joined by another artist who strikes sparks – violinist Nikolaj Szeps-Znaider – for Tchaikovsky’s hugely popular Violin Concerto.

Repertoire

Mahler/Schnittke – Piano Quartet, arranged for piano and strings Haydn – Symphony No. 49 (La Passione) Tchaikovsky – Violin Concerto

Renee Fleming sings Strauss

Wednesday 5 Mar 2025, 7.30pm – Royal Festival Hall

‘Unforgettable’ was how one critic described Fleming’s 2022 Gala with the LPO, and tonight she returns to sing Richard Strauss’s radiant Four Last Songs. Music that never grows old, sung by one of the supreme voices of our time.

Repertoire

Wagner – Prelude and Liebestod from Tristan und Isolde. R Strauss – Four Last Songs. Wagner – Overture and Venusberg Music from Tannhäuser. Wagner – Prelude to Act I of Lohengrin. Wagner – Overture, Die Meistersinger von Nürnberg

Echoes of Now

Friday 7 Mar 2025, 6.30pm – St John’s Church, Waterloo

Six LPO players immerse themselves in the contemporary culture of Britain and America; hear them break away, jump for joy and hit the dancefloor in a concert of music by five composers who defy convention and genre to create some of the most original music of the 21st century.

Repertoire

Hannah Kendall – Vera. Tania León – String Quartet No. 2. Jessie Montgomery – Break Away. Daniel Kidane – Foreign Tongues. Brian Raphael Nabors – Jump

Crossing Generations

Wednesday 12 Mar 2025, 7.30pm – Queen Elizabeth Hall. Kevin John Edusei presents Zappa, Martinů and a new clarinet concerto with phenomenal Syrian clarinettist Kinan Azmeh.

Repertoire

Zappa – The Dog Breath Variations/Uncle Meat; Outrage at Valdez; G-Spot Tornado. Dinuk Wijeratne – Clarinet Concerto (European premiere). Martinů – Symphony No. 6 (Fantaisies symphoniques)

Mahler’s Fifth

Wednesday 19 Mar 2025, 7.30pm – Royal Festival Hall. Robin Ticciati presents Mahler’s blockbuster journey from darkness to light.

Repertoire

R Schumann – Piano Concerto. Mahler – Symphony No. 5

Alina Ibragimova plays Prokofiev

Wednesday 26 Mar 2025, 6.30pm – Royal Festival Hal. In a time of revolution, Prokofiev’s First Violin Concerto wove fairytale magic – and no-one makes it dance like Alina Ibragimova.

Repertoire

Saariaho – Orion.  Prokofiev – Violin Concerto No. 1.  Nielsen – Symphony No. 5

Tan Dun’s Water Concerto

Saturday 29 Mar 2025, 7.30pm – Queen Elizabeth Hall

Eva Ollikainen rediscovers two modern classics, and Colin Currie – in the words of one critic, ‘surely the world’s finest and most daring percussionist’ – explores new ways of listening, with the extraordinary, culture-crossing Water Concerto by Crouching Tiger, Hidden Dragon composer Tan Dun.

Repertoire

Pärt – Symphony No. 1 (Polyphonic). Tan Dun – Water Concerto. Lutosławski – Symphony No. 3 https://lpo.org.uk/tickets-and-discounts/

The London Philharmonic Orchestra with Principal Conductor Edward Gardner ⓒ Mark Allan

Another packed Royal Festival Hall. Classical music is certainly popular – and so it should be when the quality is this high. The Royal Philharmonic Orchestra’s 2024-25 season continues at a pace. This particular evening, under the title Symphonic Dances, presented three composers and challenged the whole orchestra.

Guest conductor Juraj Valčuha led the orchestra with an easy grace from the start, beginning with Alexander Glazunov’s Concert Waltz No.1, Op.47 – this was joyous in its swaying effortlessness, a whimsical jaunt at times like dandelion seeds on a gentle summer breeze, proving music can be ‘fun’ as well as challenging.

Juraj Valčuha ⓒ LPO

Glazunov’s piece was written in 1893, the year of Tchaikovsky’s mysterious premature death. And it was to this composer that perhaps the highlight of the evening belonged. Tchaikovsky’s Piano Concerto No.1 in B flat minor, Op.23 (written in 1874) – perhaps made famous to most people by Victor Borge’s hilarious sketch – has been used in many films and television commercials, yet seldom appreciated in its entirety. Played here by the incredible Boris Giltburg, the piece had power and energy in abundance. The orchestra excelled in the Concerto and Giltburg was absolutely astounding on the piano. For me, the brass was a little harsh, but overall, it was Giltburg’s sensitive and awe-inspiring interpretation that dazzled. After much adoration and cheering, he acknowledged the audience and played a short piano solo – Rachmaninov’s stunning Prelude in C sharp minor, Op.3 No.2. The ultimate party piece!

Boris Giltburg ⓒ Chris Gloag

After the interval, the second half belonged to Rachmaninov – from 1940, his Symphonic Dances, Op.45. The three movements are quite different in feel: the first has a pompous, marching content; the second, a melancholy yearning; the third has the feel of a film soundtrack composition – Rachmaninov did score some music for films. Focus should also be given to Lead Violinist Pieter Schoeman, who had a moment in the first movement as though straight out of a film, akin to John Williams’ Schindler’s List where the violin flies above the orchestra achingly seeking some kind of loving resolution.

The whole evening was led by Valčuha and it was a delight from start to finish. The audience left the Hall buzzing and smiling from yet another glorious LPO presentation.

The London Philharmonic Orchestra has a vast range of events at various venues around the country. Check out their website for details – https://lpo.org.uk/whats-on/ .

Principal Conductor Edward Gardner

Artistic Director Elena Dubinets

Dates until Saturday 31st May 2025

Check with the LPO website for details

What’s On

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Facebook @londonphilharmonicorchestra

A mere five-minute walk from London’s Waterloo Station, overlooking the river Thames, stands the Royal Festival Hall. This is where the Royal Philharmonic Orchestra deliver some of their magnificent concerts. Their latest in a packed programme of concerts enchanted us with Glazunov – Concert Waltz No. 1,Tchaikovsky’s – Piano Concerto No. 1 and Rachmaninoff – Symphonic Dances. Glazunov’s Concert Waltz, is not often performed, so was something of a treat.

The stage was packed with strings, so much so, that I doubt there was space left, for so much as a single triangle, but goodness wasn’t it worth it? The music, so beautiful, even I believed that I could waltz. Sweeping sensual music enveloped the audience and soon we were transported in a dreamlike state, the bows of the string section, swaying in unison like blades of corn, caught by the breeze. Blissful.

All too soon the music, reached a crescendo, and then there was a few minutes for the delighted audience to take stock of what we had just heard, whilst a large section of the strings left the stage, to be replaced by a grand piano, as we prepared to listen to what might be described as a stellar performance by a true virtuoso of Tchaikovsky’s – Piano Concerto No. 1

Boris Giltburg c Chris Gloag

Boris Giltburg is a genius by any measure, and we were privileged to watch him perform his magic at such close range. Swooping over the keys, nose at times hovering just above the keys, this was a rare opportunity to see him tease and coax the notes from his piano. The piece, instantly recognisable, but the playing transcending any familiarity. It was like hearing it for the first time. At times, Giltberg’s fingers were a blur as they flew over the keys, at other time slow deliberate movements, but always mesmerising.

The applause said it all, and we were rewarded with an all too short encore, all this and we were only just at the interval. I should confess that I was unaware of Symphonic Dances, but I was pleased to have my musical education broadened. The piece was composed towards the end of Rachmaninov’s life, his last major piece was written in 1940.

The first movement is a forceful stylised march with brief powerful explosive elements. The middle section is much slower than the first movement with a languorous melody moving from elegance to melodic warmth. Hauntingly gentle, what I would call soul nourishing music. How could I not have come across this piece earlier? The final movement has a slow sombre introduction building a degree of urgency as the music rises and falls, building anticipation with frenetic percussion, and I was not alone to be disappointed, when all too quickly it drew to a close.

Juraj Valcuha conducted with brio and animation, demonstrating taut control, like the ultimate puppet master, bringing out the very best of a fantastically talented orchestra.

If you are near London, I would heartily recommend that you check out the concerts below, and if you are not perhaps this is a good time to plan that trip.

An Alpine Symphony

Fri 21 Feb 2025, 7.30pm – Royal Festival Hall No composer tells a story quite like Richard Strauss – or paints a picture in more fabulous sounds. So when he set out to depict the majesty of the Bavarian Alps, the results are spectacular.

Repertoire

Tania León – Pasajes

Grieg – Piano Concerto

R Strauss – An Alpine Symphony

Pre-concert event: In this free performance, LPO Junior Artists perform alongside Orchestra members, Foyle Future Firsts and Junior Artist alumni in a celebration of vibrant young talent.

Rothko Chapel

Sat 22 Feb 2025, 6.30pm – St John’s Church, Waterloo. Time becomes space, sounds become colours and shapes, and the classical elegance of St John’s Waterloo floods with emotion that’s real enough to touch. It doesn’t take much: just the voices of the New London Chamber Choir and a handful of musicians who believe in every note.

Repertoire

Andrew Norman – The Companion Guide to Rome

Feldman – Rothko Chapel

Symphonie Fantastique

Wed 26 Feb 2025, 7.30pm – Royal Festival Hall. Love, witchcraft, severed heads – it’s all here, painted in psychedelic colours by a supersized orchestra. Superb violinist Augustin Hadelich sets the scene with Britten’s powerful Violin Concerto, also including the world premiere of Sphinx by David Sawer.

Repertoire

David Sawer – Sphinx (world premiere)

Britten- Violin Concerto

Berlioz – Symphonie fantastique

. https://lpo.org.uk/tickets-and-discounts/

Margaret and Dick trotted up to Washington and Brady Square on February 14th to share cake and coffee with their pals, and lose badly at the Valentine’s Quiz. Heavens, did you know that Cupid’s mother was Venus? You did? Heavens again. Try this: Shakespeare mentions Valentine’s Day in which of his plays? Hamlet. Ah ha, gotcha. We didn’t either. Try the anagrams. Eros is Rose. I got that, yes I did. And FTIG = Gift. Then I ground to a halt. Dick did better.

All was arranged by the fabulous couple who have dragged, chivvied and encouraged the CCA into its present amazing bustling self much helped by its updated home. Yes, Marion and Red Shoes Bob had done it again – a brilliant time was had by all though on this occasion it was Marion who was wearing the Red Shoes – she so likes to keep me on my toes.

It was a while since we had been up so there was plenty to catch up on. Joan nipped over and we talked a lot about Brady Square memories. My mum, little Annie Newsome as she was known as a child, would have laughed and laughed. Then we women chatted again, of course, and Red Shoes Bob and Dick discussed whatever it was men discuss, earnestly.

Then it was time to whizz to The Washington Arms near to The Old Hall, which was George Washington’s ancestral home, for our usual fish n chips. No-one does them quite like The Washington Arms then found ourselves trundling home to see two very miffed dogs who know they would LOVE to spend time at the CCA, and would behave – sort of, and just a chip or two at the pub. Is it too much to ask?

Marion shared with us that there is great news coming very soon about a digital hub which is to be set up at the CCA. More later, but we are all so very excited. How wonderful that would be. Frost Magazine will report. Marion and Bob are magic, they make things happen. Lucky lucky CCA.

https://www.facebook.com/columbiacommunityassociation

Entry was free, with donations welcome for Holy Rood House which is a retreat house with a difference, open and inclusive, with a warm welcome for all, Margaret joined the stream of parents with small children, and – well, just adults with no children – all chatting, looking and remembering happy days of simple fun. Above is a lego replica of Holy Rood House, but this was only the beginning.

Street scenes, galore, with a Dad next to us explaining the intricacies to his son and daughter. Yes, daughter, for lego has moved on. Indeed, I bought Wicked from Brickworld@btinternet.com for my grand-daughter:

She will love trecreating the scene on the box.

Then how about the band – striking in black and white –

Oh, and then onto this vibrant scene –

Heavens, that got the kids and dads and mums talking, remembering, while the children expanded their horizons well away from phones, tablets and onto little bricks which can create magic, including landscapes which could ‘Be put on walls, Dad?’

Do you know, we all just loved it, what a buzz, a hubub, a place of dreams, of creation. I do hope Delilah likes Wicked.

When toxic waste chemicals from a secret government research centre creating DNA-changing drugs for the military start to leak into the environment, the effects on the eco-system have sudden and profound effects for humankind’s supremacy of the planet.

As the government dithers and delays, the crisis becomes greater and more widespread, eventually causing an eco-catastophe that unleashes intrigue, intergovernmental friction and diplomatic incidents across the Earth. Will the planet survive in its current state or will the revolution of the species succeed?

It’s all down to one man in particular: but can he create an antidote in time, as he avoids and fights the government and vested interests? And who is working for whom? The planet might never be the same again…

Simon Holder grabs his idea and creates a well paced thought provoking frightening environmental novel. The plotting is superb, the tension ratchets in a sure rising-tension arc, the obstacles, twists and turns, are impeccable and best of all, it is not a lecture but a scenario in which the reader empathises, buys into, cares about – surely it couldn’t happen or could it? The writing is excellent, the sense of place, characterisation and the resolution masterly.

Bravo, Simon Holder. Another belter of a novel to add to: For The Love of a Life, It’s all in the Script!, and A Cultured Pearl and other stories of Love, Longing, Mystique and Hope…

The Revolution of the Species by Simon Holden is a must read. But I warn you, once you start you won’t be able to put it down.

It says ‘Black Joy’ on the poster and there is certainly an overwhelming wave of Black Joy on the stage in this stunning musical.

From the very start, I found myself grinning like the proverbial child faced with a wall of sweets, only this confectionery really is. The story is loosely based on Shakespeare’s Twelfth Night with mistaken identity, gender swap and the search for love intact. All done to Duke Ellington music with the live band – such a wonderful quintet – easing the characters into each song.

(The Duke and Vyman/Viola)

The setting is Harlem, deep in the 1940s New York jazz scene. In falls the hopeful Tsemaye Bob-Egbe as Viola, desperate to sell her music to The Duke, smoothly played and sung by Earl Gregory. She falls in love with him, but, ‘women can’t write songs’ so she has to don a male disguise and become Vyman.

The woman that the Duke adores is Lady Viv, played by Koko Alexandra. She’s a famous nightclub singer and, in turns, she falls for Vyman.

(Jester, Rev, Miss Mary and Sweets)

Undercutting this storyline is the comedy. Lady Viv’s assistant is Rev (in the Malvolio role). Cameron Bernard Jones’ uptight and ridiculous character shines brightly. He loves Lady Viv, too. The staff (Shakespeare’s Feste, Sir Toby Belch and Maria) are Jester, Sweets and Miss Mary. This trio creates the farce and mayhem at Rev’s expense, instructing him how to win Lady Viv’s heart. Llewellyn Jamal, Lifford Shillingford and Tanya Edwards play these three – all with smiles on their faces and songs in their hearts.

(Rev and Lady Viv)

Director Michael Buffong has a palpable hit here. People leave the theatre humming the tunes and laughing – full of joy! The live music with the ensemble’s wonderful dancing (choreographed by Kenrick Sandy), pitched within the joyous performances of the cast all add up to a marvellous show.

(The ensemble)

Talawa Theatre has toured Play On! around the UK already. It’s a co-production with numerous theatres and has already visited Coventry, Liverpool, Salisbury, Birmingham and Bristol before stopping in Hammersmith. I think this feel-good show deserves a bigger audience – more touring and a West End run. It would please everyone and there’s nothing wrong with that!

Photography Ellie Kurttz Creator Sheldon Epps Book Cheryl L West Director Michael Buffong Musical Supervisor Liam Godwin Musical Director Ashton Moore Choreographer Kenrick Sandy

Venue Lyric Hammersmith Theatre, Lyric Square, King Street, London W6 0QL Until Saturday 22nd February

Tickets and showtimes lyric.co.uk/shows/play-on Running Time 150 minutes – this includes a 20-minute interval

Websites www.talawa.com Instagram @talawatc Facebook @TalawaTheatreCompany X/Twitter @TalawaTheatreCo