★★★★

“An exhilarating central Scherzo is the highlight of the work”

The symphony orchestra is the apotheosis of classical music. A large number of first-class musicians in their own right – the London Philharmonic Orchestra – unite together to play as one under the keen ears of their Leader Pieter Schoeman and the baton of their Principal Guest Conductor, Karina Canellakis.

This concert by the London Philharmonic Orchestra at the Royal Festival Hall is part of ‘Moments Remembered’ – an ongoing series of concerts inspired by Jeremy Eichler’s book Time’s Echo in which the author suggests that music is a medium of memory forming a bridge to the past, allowing the listener to connect with things gone by. In which case, this concert takes us back to mid nineteenth century Germany.

It is a traditional symphony concert in its Overture, Concerto, Symphony format; a concert of two halves with the gentle inner passion of Robert Schumann offset by the grandiose fervour of Anton Bruckner (celebrating his bicentenary this year). Schumann’s Overture, Manfred, is music written to accompany Byron’s play – the hero, a wanderer haunted by a committed crime that he cannot remember. The tragic poignancy is well portrayed by the orchestra despite some initial doubts within the ensemble from the horns. Canellakis conducts with spirit and spiky elbows, her exaggerated beat perhaps more than necessary for something so intimate. The violins seated in classical format with the firsts and seconds facing each other sound especially lush during their antiphonal passages. The Concerto swiftly follows with renowned cellist Truls Mørk as the soloist. The work is not a true concerto as such. Three linked movements play without a break and the cello line seems to imitate a vocal song cycle in its melodic movement. Mørk’s playing is delightful. His sonorous and lyrical sound soars through the pared-back orchestral texture – often just string accompaniment. His rich and velvety bass tones are especially pleasing, so deep and unexpected. There are few changes in tempo and despite the markings of “not too fast – slowly – very lively” everything is taken at a rather pedestrian pace, which concentrates on the lyricism of the work rather than the virtuosic. Mørk treats us to an encore treat with a beautiful and poignant rendition of the Sarabande from the Second Bach Suite – staying with the German theme but taking us a further century back in the collective musical memory.

Into the second half of the concert and the orchestra near doubles in size. Bruckner’s Fourth Symphony is a gargantuan work of five movements over an hour in length and Canellakis’ conducting style comes into its own. She provides a clear beat to keep the rousing brass in check and perfectly holds everything together. Titled ‘Romantic’ the initial programme note for the work talks of misty medieval scenes, chivalric knights and hunting scenes and those images are there for the taking if wanted. Certainly, the horn calls hint at such, in passages which may have kept the soloist awake at nights in anticipation. There are dramatic shades of light and dark, contrasted well, and rousing brass passages. In the second movement it is the viola section that has a rare opportunity to take the limelight, and they are excellent, rising to the occasion in a repeated extended solo with plucked accompaniment from the other strings. An exhilarating central Scherzo is the highlight of the work, the brass again letting rip, before a lengthy final movement summarises what has gone before and ends uncertainly.

The LPO has to delve into an understanding of the German spirit for this programme, something English orchestras often fail to do, but Karina Canellakis is clearly showing them the way and they are looking and sounding great together.

THE BUDDHA OF SUBURBIA at the Barbican

★★★★

“a high-spirited, multi-coloured and absolutely joyous interpretation”

Written thirty years ago and set half a century ago, Hanif Kureishi’s “The Buddha of Suburbia” still contains a lot that is still true about Britain today. In Emma Rice’s adaptation (co-adapted by Kureishi) the reality is expressed through comedy and, like all the best fables, the seriousness of the message hits hardest when delivered in kid gloves. A ‘rite of passage’ story, it is part fairy tale and part social realism. Directed by Rice, too, it has slightly less of the creative chaos that is usually on offer, resulting in a beautifully slick production; but is still packed with magic, joy and the anarchic fun that has become her trademark.

If there is any doubt about the setting (though Rachana Jadhav’s authentic set design and Vicki Mortimer’s period costume should instantly quell them), the protagonist, anti-hero and narrator – Karim – immediately sets us straight. It is the eve of Thatcher’s rise to power and Karim introduces himself to the audience with an assured swagger that belies someone still trying to find their feet. Dee Ahluwalia, as Karim, mirrors those qualities with an ease and stage presence that belie his experience. A lithe figure, he guides us on his journey with a clarity of storytelling that casts out any need to be familiar with the original novel.

He whisks us back further to 1976 and into the bosom of his extended, mixed-race family. Karim is desperate to escape suburbia, although by the looks of things there is plenty going on in his neck of the woods. Sex is available on tap, it seems, but I guess he’s looking for something deeper. Cue his headlong dive into the world of theatre, for which the words ‘frying pan’ and ‘fire’ come to mind. Beneath the social commentary, it is the characterisation that brings the show to rich, colourful life. With some multi-rolling and swift doubling up, the impressive ensemble cast portray a host of exuberant, eccentric personalities whom we grow to love despite – or because of – their flaws. All of them are caricatures, but all have a striking individuality.

Karim’s father Haroon (the acrobatic Ankur Bahl) is a Muslim from Bombay who has turned to Buddhist teachings as a means to seduce the hippy housewives of Southeast London. Katy Owen plays the hard-done-by wife. Owen reappears as aspiring actress Eleanor, hilariously pretentious, upper-middle class but wanting to ‘get down’ with the common people. We meet Matthew Pyke, the theatre director from Hell. A lot of fun is had during the rehearsal scenes which are a master class in parody. The shagging and the shenanigans, mainly expressed through slap-and-tickle use of bananas and melons, start to get a bit limp through repetition. Thankfully, though, the acute character observations hit home more than the party-popper punchlines. Karim has escaped his roots, but his yearning to retrace his steps brings us full circle. Meanwhile, childhood friend and nymphomaniac, Jamila, has been married off to arranged husband Changez (Simon Rivers in brilliant self-deprecating form); while Karim’s first crush, Charlie (a tongue in cheek Tommy Belshaw), has achieved rock star success and made the move to LA… and tragedy. Uncle Anwar and Aunt Jeeta are still getting by at the grocery stall, until Anwar pops his clogs and Jeeta finds a new lease of life (Rina Fatania gives a star performance in a flourish of irreverent self-parody and comic timing).

It is all pinned together with a pulsing soundtrack that takes in the Bee Gees, T. Rex, The Velvet Underground, Bill Withers and Joni Mitchell – among many others. A perfect mixtape that could have been whisked out of a Ford Capri’s cassette player. But beneath the party atmosphere, the darker undercurrents start to slip through – especially in the second act. Racism and violence crescendo from their background drone to become an explicit comment in the narrative. It is evocatively staged, but somehow the reality of its menace doesn’t quite break out of the party mood. Perhaps because all too quickly the show plunges back into celebratory mode with a hastily assembled, feel-good finale.

“Buddha of Suburbia” is a collaboration with the Royal Shakespeare Company, but it seems that Emma Rice has been calling the shots. It is a high-spirited, multi-coloured and absolutely joyous interpretation, that Kureishi is obviously proud of. The Rice magic still sparkles and dazzles, and we leave the theatre with a bounce in our step and a 120bpm inner rhythm coaxing us to raise our arms and punch the air. A terrific night at the theatre.

Category Archives: Reviews

KARINA CANELLAKIS CONDUCTS SCHUMANN & BRUCKNER

★★★★

Royal Festival Hall

KARINA CANELLAKIS CONDUCTS SCHUMANN & BRUCKNER at the Royal Festival Hall

★★★★

“An exhilarating central Scherzo is the highlight of the work”

KARINA CANELLAKIS CONDUCTS SCHUMANN & BRUCKNER at the Royal Festival Hall

Reviewed on 30th October 2024

by Phillip Money

Previously reviewed at Southbank venues:

JOYCE DIDONATO SINGS BERLIOZ | ★★★★ | September 2024

MARGARET LENG TAN: DRAGON LADIES DON’T WEEP | ★★★★ | May 2024

FROM ENGLAND WITH LOVE | ★★★½ | April 2024

THE PARADIS FILES | ★★★★ | April 2022

KARINA CANELLAKIS

KARINA CANELLAKIS

Click here to see our Recommended Shows page

THE BUDDHA OF SUBURBIA

★★★★

Barbican

THE BUDDHA OF SUBURBIA at the Barbican

★★★★

“a high-spirited, multi-coloured and absolutely joyous interpretation”