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Who or what inspired you to take up the violin and pursue a career in music?

I was so small that it is a little hazy but I think it went like this: my Mum asked if I would like to choose an instrument to play. We had an upright piano at home so I had already started playing that by myself as my older sister had begun lessons and I was trying to catch up alone….  but this was a whole different matter. I was just six. I remember being absolutely entranced with the shape of the violin, so when I had the chance to choose – after examining the curves, edges, the smooth tiger’s-eye stripes of the varnished wood and that high string tension of the violin – my imagination was absolutely caught.  I began lessons locally and found there were many challenges to overcome, both musical and otherwise – but my strongest memory was that whatever the obstacle, I always knew above all else that I really just wanted to play the violin. My mum and dad were amazing too – they ferried me to early Saturday lessons and continued to enable practice even if i was, like any child, a little reluctant – and would far rather run up the garden to make my escape!

I think it was only when I met my teacher Xue Wei that I considered a career, and aged 15, it was just about the right time to be thinking about pathways ahead. In fact, if I look back, I realise that until then, most people tried to put me off a career in music. School teachers had been very keen to promote an academic musicology route, I had been begged  “was there “anything” other than music that I could consider?”

When I was adamant, Xue Wei’s view was that  I was spending far too much time at school and should go to China to practise. So aged 17, right before A-levels , I went to Beijing for six weeks to live with his own former teacher, the legendary Lin Yao-Ji, and had lessons twice a week or more.

Who or what have been the most important influences on your musical life and career?

I think the teaching of Professor Lin was without doubt exceptionally important to me. He was a teacher responsible for an elite group of students who were winning international violin competitions worldwide, left right and centre, and was possibly a little perplexed by the arrival of student from England with unreliable technique and no Mandarin! Happily, with his support, that all changed!!

Following the inspiration during my years of studying, it has always been my colleagues who have influenced and spurred me on. Working in duos and trios gives one an intimate insight into character and drive of chamber partners and travelling and essentially living with them through long rehearsal days and on tour brings people very close. Being witness to just how hard some musicians work whatever else is going on in their lives is always enriching.

What have been the greatest challenges of your career so far?

Seeing how little protection and support has been historically awarded to those at risk of and damaged by abuse of power in teaching. Thankfully this is now being faced more boldly by institutions.

Which performances/ recordings are you most proud of?

I think the invitation as the only British player to the International Roaring Hooves Festival in Mongolia in 2002 gave rise to a couple of my most personally meaningful performances – it was one of my first international trips as a soloist and I was among the most awe-inspiring gathering of musicians from the US, Australia, Europe and leading ethnic instrumentalists from Central Asia and the Far East too. In the capital city Ulaan Bataar, I played in the stunning Opera House and at the world famous Natural History Museum (right underneath a skeleton of a Tyrannosaurus Rex (not a cast but the actual skeleton)); within the walls of Erdene Zuu Khid, the former stronghold of Genghis Khan and among the high yellow dunes of the Gobi Desert – and it was at this final concert I played Maze Dances by John McCabe, as a line of nomadic horseman appeared in silhouette along the line of dune tops, against the setting sun, and I felt unbelievably lucky that choosing the violin enabled me to share that musical moment with that stunning landscape and the Mongolian people as well as my new musician friends..

A couple of those new friends invited me to play at the Lincoln Center, New York City in the following year and I was particularly proud to perform the Respighi Sonata with the legendary Joel Sachs on piano, my now friend , founder of Continuum Ensemble, conductor of the new Juilliard Ensemble  and one of the most active performers and commissioners of new music anywhere in the world …

And I think a more recent highlight was the recording and launch concert of my first CD with Retorica (with partner-in-crime Harriet Mackenzie): our English Violin Duos disc. I absolutely loved our hard work that went into assembling the repertoire – trawling the British Library for early English works and discovering William Croft and the excitement of having three works written especially for the duo by John McCabe, David Matthews and Jim Aitchison and the stories behind the conception of each of those works. I remember the intensive weeks of preparation before we set off to Potton Hall in Suffolk to record and our total immersion in the music for the days we were there.. We then decided to challenge ourselves to what seemed a monumental task of playing all those works in one concert. It was such a celebratory night though, as we began the evening with a conversation with all three composers, and heard their thoughts on the pieces and crucially on the value and significance of the genre of two violins  – and something that has been exceptionally important to me since my first exploration into the repertoire with the Croatian violinist Mislava Mikelic. John McCabe had been instrumental in encouraging my pursuit of two violin music and I still have all his letters in which he suggested I try various compositions to make up interesting programmes.

So many concerts mean so much but I would love to add that I was asked to play Meditation on Thaïs by Massenet at my dear friend Rudy’s funeral. He was a neighbour, a teacher, a confidante and surrogate grandfather  – and he taught me to chop wood with a long handled axe like nobody else. He was 104 when he passed away and I had hoped he may defy death and would just live forever  – I played my guts out for him that day. I think he would have loved it .. he always told me to break a string and laughed when I seriously told him what an inconvenience that would be! Dearest Rudy I was glad I got to play for you and say goodbye ……

Do you have  favourite concert venue to perform in and why

Oh what a hard one to answer…. I want to cheat and mention my top five if I may:

I remember adoring the Wigmore Hall and Kings Place for the golden glow they gave the sound of the solo violin, but I think I might now say that my favourite two places are Sladers Yard in Dorset because I have built up a really enthusiastic friendly audience for my series there and I get to play surrounded by the most incredible art AND see the sea after the concert, and now the Shortwave Cafe in Bermondsey because the launch of the new series Shortwave Nights was such an exciting start for me and the acoustics are absolutely great!  The fifth has to be the concert hall in Tianjin, China – one of the most beautiful and huge interiors I have ever played in and with the most perfect acoustic design, even two violins filled the place..

Which particular works do you think you play best

This is an impossible question to answer but I can tell you where I feel most at home  – and although this changes all the time, I do find that the expressive and geographic demands of works by say, Strauss and Respighi have taught me more about getting round the instrument than any etude….. I love the soaring lyricism given to the violin in these excessively romantic works.  I adore the grit and fire in composers like Prokofiev and Stravinsky and after numerous performances feel that Prokofiev’s Sonata for Two Violins is by now a true friend.. I love contemporary music and have adored the sheer agony of learning the only-just-within-technical-realms-of- possibility solo writing by Jim Aitchison such as his monumental work Shibboleth and his ultra finely crafted Fugue Refractions too… I cherish the opportunity to decide alone how to interpret a score for the very first time without the weight of tradition and it is always nice to be able to speak to the composer and ask what they really hand in mind in terms of colour and texture .. I would love to say Bach, but right now I am only exploring the full set of Solo Sonatas and Partitas in public for the first time so ask me again in a few years!

Guarea by Leo Geyer written for Philippa Mo

Shibboleth by Jim Aitchison

How do you make your repertoire choices season to season?

This is very much driven by the nature of the concert invitation and the colleagues involved. As a chamber player I am asked to play an enormous variety of music ranging from double violin concerti with full orchestra to directing chamber orchestras to piano trio and quartet programmes;  from first performances of contemporary chamber operas to solo recitals in halls as well as in venues never originally intended for concerts..  Giving recitals with established groups like Retorica means that we can draw on our large body of repertoire and make programmes together with promoters and adapt to bring in new works wherever possible and my own solo series I am running in the gorgeous gallery Sladers Yard, Dorset affords me total freedom in selecting works to fit in with my series concept Partita, Fantasia, Caprice… I love the fact that there is nothing rigid here and programmes are always thought through with individual attention . On longer tours it is also fun to stick to one programme and take on the challenge of repeating works whilst looking for new ways to invest them with life! The options are endless!

Tell us more about your new project Tuned In to Shortwave Nights

I am so happy to have finally launched this brand new series Tuned In to Shortwave Nights in my local area, Bermondsey. I have long admired the series Tuned In London run by Eleanor Thorn who is a true music lover and has worked tirelessly to seek out acts and bring together a vibrant series of world music concerts in gorgeous locations in Rotherhithe for a number of years now. We have talked for a similar number of years (!) about joining forces to promote a classical strand,  and she came up with the venue of the Shortwave Cafe which is part of the Peek Frean Biscuit Factory in Bermondsey and I came up with an absolutely stellar group of musicians to kick off our first six concerts.

The idea was simple – I wanted to find a relaxed and welcoming venue where the audience could get up close to the musicians and where the musicians could have total freedom to be experimental with their programming.  The musicians introduce the pieces and where possible, I have programmed new music and invited the featured composers to talk about their music too so that the audience can witness the full triangle of work between composer, musician interpreter and listener..

Now we have had two concerts already, I can tell you that the audience have been buzzing with the standard of the programme as well as the atmosphere of the events,  and our last concert was a sell out – which is remarkable, given the number of events competing for a musical audience in the capital on any one evening!

We are going to go on to welcome musicians from London: the viola player Timothy Ridout who won the prestigious  Lionel Tertis International Viola Competition, the Grammy award-winning cellist Jakob Kullberg from Denmark and the phenomenal Danish percussionist Ronni Kot Wenzell who lives in Rio but has coordinated tour dates to fit in Shortwave Nights. The second concert held in February with the brilliant Swedish guitarist Martin Fogel was a triumph, and he showed off his expert knowledge of Toru Takemitsu alongside his own brilliant compositions and an exquisite Bach Suite (to name but a few works) leaving the audience wanting more.

For me – there is an immense joy hearing these players live, and performing alongside them is a real honour, so I already consider the series an achievement. I think the audience will also enjoy the excitement of one or two completely fresh collaborations.

Having spoken to members of the audience, I can also say that many of my hopes have already been fulfilled – people have been delighted by the music, delighted by hearing certain instruments live for the first time, delighted to chat to the artists and the composers , delighted by the informality and the fact they can sit with a drink and trust to see what happens.. and the majority have already come back which makes for a really friendly open listening experience.. we have also had a raft of composers, artists, authors and musicians in the audience so I am really excited about this and getting to plan the next series too.. Watch this space!

As a musician, what is your definition of success?

Having health, luck, determination and one or two basic practicalities in place to enable the love and the practice of music to flourish…..

What do you consider to be the most important concepts to impart to aspiring musicians?

Oh this makes me feel old! but I would say after knocks here and there and by now a bit of experience in my own way: learn to embrace hard work without expecting any particular trajectory of results. Look after your health and stay fit: performing can amount to a pretty punishing lifestyle with its long hours and ongoing physical exertion. What with travel and a myriad of other considerations, there can limited access to sensible food too so carry oatcakes and bananas! Keep listening to music and other musicians to stay interested and inspired and look for ways to share your gifts as well as earn from them. Pass on your knowledge generously – I have been taught by my friends that musicians are like a family – competition is a bit artificial beyond a certain basic point and there is always room for many interpretations. Look after your colleagues. Stay kind in rehearsals. Music is always personal, so choose the gentler words … and above all, keep going.

Where would you like to be in 10 years time?

Literally speaking – I think I adore London so much and all it has to offer artistically that I would like to be living here as I do now and maintain the freedom I currently enjoy to travel and to play wherever my music takes me in collaboration with musicians who make me feel glad to be alive.

What is your most treasured possession?

……unsurprisingly my violin.  I forget sometimes how truly wonderful it is and how fortunate I am to be able to play it every day – when I do stop to think,  I get a jolt and stop to admire it and polish it a little more carefully and yes I do talk to it kindly and thank it for putting up with some especially violent new music or extreme temperature change I just put it through….. it has certainly seen me through some highs and lows and I hope I am lucky enough to spend the rest of my life looking after it ..

What is your present state of mind?

Totally excited.

 

Details of Philippa Mo’s Shortwave Nights series here

Philippa studied at the Royal Academy of Music, London and at the Central Conservatory of Music, Beijing. Philippa now performs extensively as a chamber musician. She has given performances and live broadcasts worldwide, including her acclaimed debut at the Wigmore Hall, recitals at the Henry Moore Institute, Leeds, St John’s, Smith Square, London, the Deutsches Museum, Munich, the Natural History Museum, Ulaan Bataar, when she was invited as the only British musician to participate as soloist in the International Music Festival of Contemporary Music, Mongolia in 2002. Philippa has also been invited to play at the Centre for Contemporary Art, Glasgow, the Barbara Hepworth Museum and The Tate St Ives in the UK and more further afield at the Ankara International Music Festival and the Lincoln Center, New York.  

A champion of contemporary music, Philippa has given workshops on British music at the Central Conservatory, Beijing and at Bilkent and Hacettep Universities in Ankara, Turkey. She coached students of the Kurmangazy National Conservatory of Kazakhstan in Almaty 2007-09. She has worked closely with many leading British composers including Gabriel Prokofiev, Robert Fokkens, Cecilia McDowall, Leo Geyer, Deborah Pritchard, David Matthews, John McCabe, Jim Aitchison, Wendy Hiscocks and Errollyn Wallen and has given premieres of their solo and violin duo works.

Philippa has established an ongoing relationship with the Tate St Ives and recently recorded a solo work written for her by Leo Geyer on the anniversary of Barbara Hepworth to be used as a sound installation at the Tate. She also premiered a new solo work by composer Jim Aitchison alongside his monumental solo work Shibboleth at CAST, Helston and at the Porthmeor studios, St Ives.  Concerto appearances include a newly commissioned work for Truro Cathedral as part of the innovative Online Orchestra Project with the Philharmonia Orchestra. and Piazzolla’s Four Seasons of Buenos Aires in The Venue, Leeds with conductor Natalia Luis Bassa as well as John McCabe’s Les Martinets Noirs at the Lidköping Festival, Sweden.

Philippa has released critically acclaimed recordings for the NMC, Dutton and Nimbus labels.

She was appointed Senior Lecture in Violin at Leeds College of Music and awarded Associate of the Royal Academy of Music (ARAM) in 2015. 

Philippa is also the founding member of the Retorica violin duo:

“The two violins are wielded with enough delicacy and charm to immerse the listener into some really penetrating expression on the vivid scale of a full symphony orchestra” – British Music Society News 

“…faultless technique and unfailing insight.” Gramophone Magazine

Philippa Mo and Harriet Mackenzie met at the Royal Academy of Music, London. Since then, Retorica have performed worldwide to great acclaim. Highlights include recitals in the most prestigious halls in China, the Beijing NCPA and Shanghai SHAOC, Sweden, Italy, Ukraine, Japan, Germany and the Channel Islands. In the UK their performances include the Barbican Centre,  International festivals of Bury St Edmunds and Ripon, Presteigne and the William Alwyn Festival. 

Retorica’s debut CD English Violin Duos was chosen as Gramophone Magazine’s ‘Editor’s choice’ and the ‘must hear’ CD for chamber music: “superbly responsive playing from Harriet Mackenzie and Philippa Mo…. faultless technique and unfailing insight” . Retorica have also received critical acclaim for their Dutton recording of John McCabe’s Double violin concerto and most recently received five stars for their receding of Paul Patterson’s Allusions with the English Symphony Orchestra. 

Philippa plays a violin by Julius Cesare Gigli from 1786. 

www.philippamo.london

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Annie Yim, piano, with recorded voices

The Performance Space, City, University of London

Friday 16 March 2018

My second visit to the Performance Space at City, University of London, and a second performance of John Cage’s infamous 4’33”. Last summer I heard a “straight” performance – the pianist silent yet fully present at the piano while the audience absorbed the myriad sound of the space; this time the piece was complimented by poetry – ‘A Kind of Silence’ by Ed Baker, and a reminder that Cage’s work was conceived with the idea that any sound constitutes “music”.

This was part of an intriguing and highly original concert by pianist Annie Yim in which music and words combined to reveal “tributes, friendships, and artistic affinities” (AY, programme notes). Annie is the creator of MusicArt London, a conceptual concert series which combines music with poetry and visual arts, creating interesting and unexpected dialogues and connections between the works in the programmes and across creative disciplines. Programmes include works by 21st century composers, juxtaposed with historical masterpieces. In this concert, Annie played music by Debussy, Ravel, John Cage, Arvo Pärt, Cheryl Frances-Hoad and Philip Glass, interspersed with readings from poems which sparked a musical impulse or which were written in response to music.

The concert opened with Annie reading Baudelaire’s Harmonie du Soir, a line from which Debussy drew inspiration for his Prelude Les sons et les parfums tournent dans l’air du soir (Sounds and perfumes turn in the evening air). To hear the words of the poet which influenced the composer created a quite different listening experience when the music began. This prelude is deeply sensual, rich in pungent harmonies and languid rhythms as Debussy’s responded to Baudelaire’s equally evocative and musical writing.

It is well known that Ravel drew inspiration from poetry for his Gaspard de la Nuit, and Aloysius Bertrand’s book of poems appealed to Ravel’s love of fairy tales. He set three of Bertrand’s poems to music – Ondine, Le Gibet and Scarbo – and printed each poem in full next to the piano score. Once again, Annie read the poem, seated at the piano, before launching into a characterful and vibrant portrayal of the grotesque gnome, “his fingernails scratching on the silk curtains round my bed!”

John Cage’s Dream, a minimalist work scored on a single stave music consisting of groups of tones that are freely sustained (either by holding the keys down or by using the sustaining pedal); the degree of resonance (as determined by the performer) creates the rhythmic and narrative flow of the piece and takes the listener into an otherworldly sense of time suspended. A gentle work, rather like a haiku in its simplicity and depth of expression, it was elegantly and sensitively played by Annie, accompanied by a reading of John Cage’s poem to Merce Cunningham (for whom the music was written) Poem. Cause: I love you. A rather touching addition to this performance was a projection behind the piano of Cage’s original typed manuscript of the poem.

And so to the performance of 4’33” where while the pianist remained silent and still at the piano, a recording of poet Ed Baker reading his ‘A Kind of Silence’ was played. This version of 4’33” was originally conceived in 2016 for a performance in an art gallery on the premise that “silence is musical – silence is poetic – silence is music is poetry“. In our frenetic world it is remarkable how long 4’33” feels and rather than “filling the silence”, the words and cadence of the poem offered special time for reflection and quiet contemplation.

This connected appropriately with Pärt’s Für Alina, a work whose “aesthetic is silence…..present not just as the silence framing the piece, but, paradoxically, silence has been written into the music as an acoustic space of sorts” (Kristina Korver, musicologist, Arvo Part Centre). Poet Zaffar Kunial wrote ‘Sunlight’ in response to the music, a short yet meaningful poem which perfectly complimented the simplicity and profundity of Pärt’s writing: “each line can be read after a pause or as a continuous train of thought” – just as Pärt gives few directions to the pianist as to how his piece should be played. This new poem was specially commissioned by MusicArt London and was reproduced in a delicate limited edition card, designed and handmade by the book artist, Pauline Rafal,

Cheryl Frances-Hoad‘s contemplative miniature Star Falling was composed “as a gift in an attempt to stop a partner from leaving me” (CFH) and is a calm reflection on lines from Else Lasker-Shuler’s poem ‘Reconciliation’. Delicate and expressive, with shimmers of star light, it was accompanied by the composer reading the poem which inspired her.

The final work in the programme was Philip Glass’s Wichita Vortex Sutra. which Glass wrote for a performance with poet Allen Ginsberg, whose poem of the same name (written in 1966) reflected the anti-war mood of the times. Glass’s music was intended as a portrait of America, complete with fragments of hymn tunes and the energy of the big city. At this performance, a collage of Ginsberg’s words was read by Ed Baker, who had selected sections from the poem to reveal his own response, as an American, to Ginsberg’s poem and Glass’s music. Annie performed the work with energy and commitment, bringing to a close this most interesting and engaging lunchtime concert.

annieyim.com

musicart.london

(Photos: Sophie Baker)

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This seemed such a great idea, and it was, indeed, great fun! It was also really hard. I don’t know about others, but my instinct was to start sifting through CDs to pick out my favourite tracks, but really, it would never be possible to do that in an hour of music (and yes, apologies…mine is an hour and nine minutes). So, the intention of my mixtape is to say something about me and the music I play, enjoy and listen to.

I guess that my first love has, and probably always will be, choral music. I was lucky enough to go to a secondary school which was very musical. We had a SATB school choir, often with over 100 members (though I think having a pass to be first in the dinner queue was perhaps more of a draw for some!). My first selection is John Joubert’s O Lorde, the Maker of Al Thing which was one of the first pieces we sang in that choir. Some might say it’s a bit of a baptism of fire, but once sung, I was hooked. This particular recording with the Birmingham Conservatoire Chamber Choir, directed by Paul Spicer, is special to me as I was present at the pre-recording performance a couple of years ago.

John Rutter’s music has been much maligned over the years, often unfairly. Yes, we might argue it’s a formulaic, but my goodness, it works and it’s popular. I can’t help but feel that an awful lot of the disdain for his music comes purely from jealousy. Don’t get me wrong, I don’t like it all, and I wouldn’t want to listen to it all the time, but it’s played a big part in my life. His setting of All Things Bright and Beautiful was one of my early introductions to it.

I’ve included Douglas Guest’s For the Fallen as an example of what I might call exquisite choral writing. To me, this short anthem captures everything about what can be achieved with human voices in harmony.

I’m afraid to say, I’ve never had much time for music from the classical period, and I’m only just coming around to baroque, but I have always found enjoyment in early music, whether that be plainsong, or works such as Josquin’s Missa pange lingua.

I couldn’t possibly create this list without including something by Herbert Howells. Howells’ music is perhaps the music which speaks to me most closely and spiritually. I don’t think this is something we can explain, but I’m sure we’ve all come across pieces and composers like that. There is something about the harmony and rhythm of Howells’ writing which tugs at me deep inside. Even in this short extract, the Nunc Dimittis from his Collegium Regale setting of the Magnificat and Nunc Dimittis, there is so much to explore and enjoy.

Gavin Bryars’ work Jesus’ Blood Never Failed Me Yet was perhaps my first introduction to what then, we’d have called ‘contemporary music’. There is something quite magical in this work which makes for an almost hypnotic listening experience.

If you thought I was all about so-called ‘classical music’, you’d be wrong. I have always been interested in music for television, and in particular, ‘library music’. Keith Mansfield’s Superstar on the KPM LP Lifeforce is a fabulous example – pure 1970s. Over the years, I have collected hundreds of library LPs and CDs, all sadly being disposed of around the country as broadcasters go digital.

Then there’s pop music too…although my pop music knowledge probably ceases around 1989. Spandau Ballet’s True has always had a hold on my ears, and my only explanation is that it came out at about the exact time I was born. Spooky?!

I’ve always enjoyed musicals (apparently, we’re to call it ‘musical theatre’ now), but no surprise that I’m a fan of the musicals which no one really knows and didn’t catch on. So, I doubt anyone’s heard of The Goodbye Girl!

Of course, the precursor to musicals was operetta, and I couldn’t resist but to include some G&S. No surprises that it’s from Princess Ida which although my favourite, is not one of the popular ones! (Why not?! It’s very topical…)

Then there’s folk music too: here’s an Irish folk-song The Butcher Boy, but there are so many others I could have included. It’s perhaps the folk idiom which influences my choice of orchestral music. Here I’ve included an extract from Stanford’s Symphony No. 6 and Armstrong Gibbs’ Symphony No. 1. These, in my view are two totally underrated composers, and I guess, that’s always been part of me too…I like the things no one else has discovered!

Finally, just like Howells, I couldn’t leave this without including some Vaughan Williams, and it’s not one of the popular pieces, but instead, the first movement from his Symphony No. 6.

David Barton is a piano, flute and voice teacher, composer, mentor and writer based in Lichfield

www.davidbartonmusic.co.uk

 

 

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Guest article by Michael Volpe, General Director of Opera Holland Park

At Investec Opera Holland Park (OHP), we have recently announced a special memorial gala event to mark the first anniversary of the dreadful Grenfell Tower tragedy and to remember its victims, especially our friend Debbie Lamprell who perished in the fire. By the time of the concert an inscribed stone in her memory will have been laid on the theatre site.

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As many know, OHP became entangled in the political fall-out of Grenfell but we have now spoken and written about that period extensively and feel no need to revisit the matter. Our immediate response was to give a performance of Verdi’s Requiem in aid of The Rugby Portobello Trust (RPT), who were in the eye of the storm at the time, and it is to them that the proceeds of the Hope For Grenfell gala will go. The charity, with which we have had a long association, will this time use the money raised to look forward, to help young people explore the countryside and coasts away from the inner city. The whole evening is dedicated to trying to look forward, with hope. A year on from the disaster, we will bring together members of the community, both in the audience and on stage, to show how even in the midst of such darkness, healing can – and must – begin. We believe music is, and will always be, a major catalyst for the expression of hope, memorial and healing.

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We know from bitter experience that healing is a long process and that hope is not easily fostered or acquired. We are still regularly in touch with Debbie’s mother and her recovery has scarcely begun. The pain is still raw and she, as her daughter had been, is now adopted into the OHP family, whose care and protection of her is unlikely to end anytime soon. Such is the nature of grand tragedy whose tendrils spread far and wide; there are thousands of people in a position similar to hers who have to manage the daily, grinding relentlessness of grief. Yet even in these circumstances, there comes a time when we have at least to attempt to draw inspiration for the future, when human instinct tries to extract something good from awfulness. We feel that we, along with those at RPT whose job it is to begin to master the reparative process, want to offer some hope.

The concert itself is on 13th June and will bring together many of our casts from the season in extracts from operas. There will also be readings, remembrance and a choir, drawn from local schools and other services and coached by Gareth Malone, will sing a new piece composed by Will Todd. We will announce more details in the coming weeks.

The money raised will fund RPT’s summer ‘residentials’, when kids from the community are taken out of the city to the countryside or the coast where they have space to think, breathe the air and learn new skills. For some, this is their only chance to escape the concrete surroundings of their home environment. RPT found itself right at the centre of the Grenfell tragedy and became a hub for the community in the immediate aftermath of the disaster, going on to act as the central distributing charity for the funds that were raised. This role is one that the charity was never set up to perform but it did so with dedication. But the resources it utilised need to be replenished; their wider activity in the North Kensington community did not stop and we hope this concert will make a significant contribution to this vital ongoing work.

The concert will also be Opera Holland Park’s way of remembering our friend Debbie. Her death in the fire had a profound affect on all of us and continues to do so, but we intend to honour her memory as best we can with music she loved and in a place to which she was utterly dedicated.

The Hope for Grenfell Memorial Gala, in memory of Debbie Lamprell and all the victims, will feature full scenes from OHP’s productions of La traviata and Cosi fan tutte, performances of classic arias by guests from across the operatic world, and an original composition by Will Todd, performed by a community choir led by Gareth Malone.

Tickets for the Grenfell memorial concert are available now via www.operahollandpark.com

Investec Opera Holland Park’s 2018 season will run from 29 May to 28 July. Full details of productions at www.operahollandpark.com