Fisticuffs and Fairies - FUNharmonics Family Concert at the Royal Festival Hall

By -

Pray silence for the Great Bard...though this concert will be anything but quiet - with battles, weddings, jovial japes and dazzling dances aplenty. There's warmongering from Walton, magic from Mendelssohn, pomp from Prokofiev, and bravado from Bernstein as we take you on an orchestral adventure through scenes from the great stage masterpieces of William Shakespeare. Travel 'on location' with us to Agincourt, Athens, Verona, and New York with music written for films, musicals, ballets and the plays themselves.

Foyer events throughout the morning
You can try your hand at playing an orchestral instrument in one of our Have-a-Go sessions, get your face painted or learn circus skills - all in the foyers before and after the performance.

FUNharmonics concerts are generously supported by The Jeniffer & Jonathan Harris Charitable Trust.

Walton (arr.Mathieson) Henry V (excerpts)
Mendelssohn A Midsummer Night's Dream (excerpts)
Prokofiev Romeo and Juliet: Montagues and Capulets
Bernstein Symphonic Dances from West Side Story (excerpts)

Vladimir Jurowski conductor
Chris Jarvis presenter

May 16 11:30 to 12:30am
Royal Festival Hall

Book Now | Child £4 - £7; Adult £8 - £14
Last remaining seats
London Philharmonic Orchestra Ticket Office
020 7840 4242 Mon-Fri 10am - 5pm. No booking fee.
www.lpo.org.uk No booking fee.
Southbank Centre Ticket Office
0871 663 2530 Daily, 9am - 8pm. £2.50 booking fee.
www.southbankcentre.co.uk/lpo £1.45 online booking fee

This performance will be sign interpreted.

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In &quo
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

The Art of String Quartets by Brian Ferneyhough

By -
Image
When an artist sets paint to canvas, there are brush strokes used for different effects. Sometimes those strokes are subtle, imperceptible; they produce works of art like the Mona Lisa . Other times the very obvious nature of the stroke is the art, as in works by Van Gogh. With some composers of music, the notes on the page are their craft. How those notes translate into an aural experience is what defines some composers as great artists. Brian Ferneyhough has a masterful command of the techniques of putting notes on the page. These techniques are sometimes so subtle, even though written in black and white, they escape detection. Some of what he attempts with his music is just that, to escape detection, to bury the framework, diverting the ear away from the structure, so only the music is heard . The subtlety is so fine it is almost imperceptible. Even though he studied at several institutions, he is considered self-taught, studying scores from Boule
Read more