Conductor: Prof Nicholas Childs
Guest Soloist: Mike Cavanagh
RNCM, Manchester
Saturday 18th April

The genius of Victoria Wood’s comedy was that despite the sharp edge of wit it never mocked its intended victims.

Instead, it celebrated the foibles of us all; from uncertainty to pomposity, binding love to unfulfilled desires. To her, people in their own way were simply funny. There was no need to be cruel in highlighting the differences.

Comedic spirit

Almost 10 years to the day following her death, that particular comedic spirit filled the RNCM with ‘Victoria Wood: A Laugh Less Ordinary’. 

Andrea Price’s work also affectionately celebrated difference in eschewing an obvious ‘greatest hits’ medley for a series of touchstone memories of Wood’s finest creations - from the gloriously gossipy Dinnerladies and the decrepit Mrs Overall from Acorn Antiques, to ‘Brassed Up’.     

It was a wonderful portrait of a ‘one-off’ star who left us all too early, but still able to put a smile on our face.

Life, love, friendship and loss were cleverly brought together – from her own self-doubts and shyness to the celebrated partnership with her comedy counterpoint, Julie Waters. It was a wonderful portrait (played joyful verve) of a ‘one-off’ star who left us all too early, but still able to put a smile on our face.

Elan

A celebration of equally pioneering female talent came with the superb performance of baritone soloist Mike Cavanagh in Peter Graham's ‘Turbulence, Tide and Torque’  concerto. 

Aviator Harriet Quimby, life saver Grace Darling and racing driver, Dorothy Levittt were brought to life with informed musical elan, later reinforced by the soloist in his command of incessant energy in ‘Pulse’  by Thomas Doss and tender homage to Bramwell Tovey with ‘Ave Maria’  by Gounod.

The upbeat sounds of Paul Lovatt-Cooper’s ‘Horizons’  and ‘A Fantasy of Joy’  opened each half, whilst Peter Graham’s ‘Mill Town Revival’  was a timely reminder of 19th century musical pioneers who broke down more than simple entertainment barriers.

The achievements of the Apollo moon landings of half a century ago are once again being echoed with current American space flight exploration, as the future generations of Space-X travellers performed with vibrant endeavour, featuring excellent solo leads and supportive ensemble ground crew from ignition to splashdown. 

The major test-piece feature came with Bruce Broughton’s ‘Heroes’.  The achievements of the Apollo moon landings of half a century ago are once again being echoed with current American space flight exploration, as the future generations of Space-X travellers performed with vibrant endeavour, featuring excellent solo leads and supportive ensemble ground crew from ignition to splashdown. 

Musical maturity

Edward Gregson’s masterful ‘An Age of Kings’  written almost 40 years ago, but still as evocative as if fresh off the pages of a parchment Plantagenet score, rounded off a fine concert from a band growing in its cyclical musical maturity.

Edward Gregson’s masterful ‘An Age of Kings’  written almost 40 years ago, but still as evocative as if fresh off the pages of a parchment Plantagenet score

Aided by harp, piano and fanfares of trumpets, Prof Nicholas Childs kept a tight tether on the ‘Church and State’  opening with its pageantry as well as intrigue, whilst the interlude ‘At the Welsh Court’  (featuring the plaintive voice of horn player Carys Morgan) offered tender intimacy before the bloody mayhem of battle and the triumph of a new King to be crowned.

‘The Lost Chord’  acted as the encore to a concert further endorsing the substance of the NYBBGB’s own pioneering spirit in celebrating differences.

Iwan Fox 

Image: Copyright - Marc Gasgoine Photography/NYBBGB