Friday 29 November saw the London Sinfonietta return to Morton Feldman's For Samuel Beckett, but this time performed side-by-side with brilliant early career musicians from the Royal Academy of Music. This display of collaboration with early career musicians was bolstered by the work of the dancers and costume designers from Trinity Laban Conservatoire of Music and Dance in Samuel Beckett's Quad I+II.
The evening was an exploration of the relationship between Beckett and Feldman, the hypnosis their art can send you into and a celebration of rarely performed works on the Queen Elizabeth Hall stage.
This well-curated, sold out event not only demonstrated how adventurous programming can foster artistic cross-pollination and enrich the unique qualities of individual works, but also highlighted the strong demand for such concerts. It also invited audiences to engage more deeply with the intersections between music, theatre and visual art. We simply need more quirky curation-as-art and art-as-curation. " Marat Ingeldeev - Bachtrack
The evening began with a pre-concert discussion led by author Tim Rutherford-Johnson, conductor ad co-director Jack Sheen and co-director Rowland Hill gave insights into the uniqueness of both pieces showcased in the concert, and an understanding of how they worked together to bring them to life for the sold-out Queen Elizabeth Hall audience.
It's weird to feel overstimulated in Feldman - perhaps that means it worked? VAN Magazine
💫Relive the highlights of Refracted Sound💫
— London Sinfonietta (@Ldn_Sinfonietta) December 2, 2024
A sold-out Queen Elizabeth Hall, mesmerising music by Feldman and Beckett, and an unforgettable evening of connection through sound and movement 🎶 pic.twitter.com/YF3HAKr26q
Failing better, sounding again: Beckett and Feldman at the @southbankcentre @Ldn_Sinfonietta
— Bachtrack (@bachtrack) December 3, 2024
✍️ Marat Ingeldeevhttps://t.co/4rx4cLQzd7
Photo credit: Monika S Jakubowska.
Published: 16 Dec 2024
