Edward Lambert

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on May 11, 2011

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The Art of Venus: review by Charlotte Valori

Packing all the punches: Edward Lambert’s The Art of Venus, Tête à Têteoperissimawhispers / August 16, 2017 “I have tried to destroy the picture of the most beautiful woman in mythological history as a protest against the Government for destroying Mrs Pankhurst, who is the most beautiful character in modern history. Justice is an element of beauty as much as colour and outline on canvas.” So, in 1914, suffragette Mary Richardson explained why she had slashed the Rokeby Venus, a masterpiece by Velázquez which still hangs today (restored) in the National Gallery. Edward Lambert’s The Art of Venus takes Richardson’s act of aesthetic terrorism as a starting point for imagining Venus herself, a goddess both mighty and furious at her reduction, by humanity, to a mere sex symbol. Venus, sung with sculptural beauty and luminous, near-maleficent presence by Kate Symonds-Joy, rails with disdainful fury at a rather endearing Mars (smooth-voiced barito…

Choir's back-to-Biber triumph (Roderic Dunnett)

A browse through previous concerts by Newbury Chamber Choir is revealing. Its members have contributed their share of Handel and Vivaldi, Mozart and Brahms. But what intrigues its eye-catching less familiar repertoire.
Newbury’s capable, well-tuned choir prides itself on including music undeservingly overlooked. They have engaged with beguiling medieval Play (Opera) of Daniel, reaching back to the 13th century. The early Baroque yielded Carissimi’s oratorio Jonas; and from a generation later the Missa Dolorosa of Venices’s Antonio Caldara (which is also featured on 25th March at St. Lawrence, Eastcote, Middlesex by the Sine Nomine Singers: www.sinenomine.org.uk)
Newbury has shone light on two composers who achieved a kind of ‘first’: introducing sacred concertos by Giovanni Paolo Cima (1570-1622), a Monteverdi contemporary credited with inventing the trio-sonata; and more crucially, the choral work Rappresentatione di Anima, et di Corpo (1600), by the slightly older Emilio de’ Ca…

Messiah review

An interesting observation by Philip Brown: Handel as a more universal composer than Bach.
I've sometimes felt that Bach doesn't always break out of a certain provinciality, in the sense that his music seems destined for specialist performance and consumption. The cantatas, even the passions, seem trapped in a cloying, pious sentiment which even he was aware of and in performing the Four Short (Lutheran) Masses, I read with interest the theory that, in them, Bach was adapting earlier music for a more universal, less provincial, purpose: i.e. distribution further afield. Handel, one feels, addressed his work to everyone.

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