Topline insights from this episode are that I really do quite like Josie D’Arby, and I didn’t pick the winner.
That’s not to say I didn’t agree with the winner. Contrary to some opinion, I’m not a cold-hearted bastard.
What follows are notes, nothing more. It’s been a bit of a demanding few days.
Isobel Dawes. The Malcolm Arnold seemed a little raw – wasn’t convinced she was convinced of her performance when she’d finished. That’s partly do with what is in a way quite an unforgiving camera shot, tight on the face of the performance just as they’ve relaxed their embouchure and, no doubt, every muscle in their body has relaxed too. A similar thing happened at the end of the Bach though this was far more successful – rounder tone, more control. The Jongen entertaining and a solid affair.
Will Thomas – Henze was tight and fascinating. Piazzolla felt thin and vulnerable in places. Cole Porter – gorgeous gorgeous tone. More convinced by Will’s presence on stage. He has a twinkle in his eye.
Michaias Berlouis on trombone. The Semler-Collery – really strong personality comes through in his playing. Were there some intonation issues? Brahms Four Serious Songs No.3 – the long sustained lines gave the impression that this was a significantly more demanding play for Michaias at this point in his performance. I wasn’t hugely engaged in the Lebedev, but I’ll be completely honest, I love the sound of the bass trombone. High-point of the category final so far.
Annemarie Federle. Bissil. Loved this.
Sam Dye. Remarkable young man. Great spirit. In the John Kenny, he creates some amazing sounds. Solid. Captivating. Jongen – expansive. Serocki – amazing.
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