Reviews
The Ten Tors Orchestra certainly lived up to its name by giving another ‘peak’ performance, in the splendid setting of the Great Hall, Dartington.
Opening with a Handel Concerto Grosso, the players, led by Malcolm Latchem gave a crisply disciplined performance, complemented by the excellent acoustic, and where balance between concertino soloists, continuo and orchestra was always considered. Mozart’s Concertone for Two Violins is unusual in that there are also significant solo parts for various other instruments. Violinists, Nona Liddell and Catherine Hayek, were in fine form, though the highlight was undoubtedly the quite superb playing of oboist, Andrew Knights, whose expressive phrasing and phenominal breath control were a delight to hear.
Nonal Liddell and Catherine Hayek proved outstanding soloists in Vivaldi’s Double Concerto, where the close interplay in imitated passages was always funely judged, and the virtuosic and often decidedly theatrical writing, despatched with the greatest panache.
Conductor, Simon Ible’s enthusiastic, yet always economic direction fashioned a performance of the highest quality, further attesting to the Ten Tors Orchestra’s emerging supremacy amongst similar ensembles in the South West.
Philip R Buttall Evening Herald 14 April 2003
Tavistock has a new music festival. Over the Bank Holiday weekend the town was steeped in music as Tavistock Sings! came to life.
The highlight of the weekend was the concert in the parish church on Saturday, which featured Simon Ible and the Ten Tors Orchestra, with the Two Moors Festival Chorus.
The first half of the evening was all orchestral, beginning with Vivaldi’s concerto for strings in D major. The contrast between the bright, cheerful outer movements and the slow, dreamlike second was marked.
After a delightful Andante Cantabile by Tchaikovsky, based on Russian folk music, a world premiere was presented: Andrew Wilson’s Three Bridges Concerto … this employs the same orchestral forces as Baroque composers; the three movements focus on three bridges over the river Walkham. The piece sparkled as the river does, with a pleasing variety of light and shade.
The final piece before the interval was Albinoni’s Adagio for strings and organ, a luscious, romantic work.
The second half was where the choir came into their own, to sing Mozart’s Requiem. This was given a stunning performance, with choir, orchestra and soloists all giving their best to make a truly memorable interpretation.
Felicity Barnaby Tavistock Times 15 May 2003
The first half confirmed the standing of the TTO as probably the finest ensemble of its kind in the South West. Mendelssohn’s ‘Hebrides’ Overture was well-balanced, with excellent woodwind contributions, whilst Elgar’s Pomp and Circumstance March No.4 was taut and impressive. Without doubt the highlight … was mezzo-soprano, Louise Mott, in Elgar’s Sea Pictures. Her voice, with its clear diction, just soared over the orchestra, totally conveying the sentiment in each song.
Philip R Buttall Evening Herald 9 June 2003
To celebrate 50 years of the Dawlish Festival the Ten Tors Orchestra was invited to perform in St Gregory’s. This represented a first appearance in the Teignbridge area for this amazing string orchestra … this is no group of enthusiastic amateurs, but a fully professional ensemble that demonstrates the musical talent currently residing in the Devon and Cornwall area.
Opening with an early Mozart divertimento … Conductor Simon Ible’s immaculate control of interpretation was in evidence from the start, but most particularly evident in the precision accorded to the closure of each movement. The evening’s highlight was Elaine Cocks’s performance of Gerald Finzi’s Clarinet Concerto.
Elgar’s early Serenade for Strings is one of the mainstays of the string orchestra repertoire, and received a polished and loving performance. Less familiar was this concert’s closing work, John Ireland’s Concertino Pastorale. Clearly relishing an opportunity to give the composition a hearing, the ensemble rose to every challenge this mid-20th century work demanded and were rewarded with enthusiastic applause.
Richard Chambers Mid Devon Advertiser 4 July 2003
Tavistock Parish Church was packed to capacity for the Christmas Gala Concert of the Ten Tors Orchestra and choir. Those who had come expecting a fine evening’s music were not disappointed.
The ‘meat ‘ of the evening came first: Mozart’s Linz Symphony. This was a lively, sparkling performance; Simon Ible, the conductor, is well able to bring the very best from them. The choir, joining them for John Rutter’s delightful Shepherd’s Pipe Carol, showed themselves to be thoroughly confident. The excerpts from Messiah were a joy to listen to, especially Alison Kettlewell’s inspired performance of O Thou That Tellest and the choir’s joyous Hallelujah! Chorus.
The second half was lighter in mood, with two carols for the audience to join in and a delightful Rossini aria from Alison Kettlewell. She then showed a more fiery side to her singing with Habenera from Carmen, with the choir joining in with gusto.
The orchestra finished the evening in fine style, with a performance or the Emperor Waltz by Johann Strauss II, and an enthusiastic audience was rewarded with the Hallelujah! Chorus again.
Felicity Barnaby Tavistock Times, 9th January 2003
Take some of the leading orchestral players around, a soloist of international repute, a well-planned programme, and you should have the recipe for a successful concert.
Conductor, Simon Ible did just that, with his Ten Tors Orchestra and top guitarist Simon Dinnigan, and packet St Andrew’s Church into the bargain.
Opening with Beethoven’s Prometheus Overture, Simon Ible crafted a disciplined and powerful performance from his players always sure in direction yet devoid of unnecessary histrionics.
The strings came into their own in Moeran’s pastoral Lonely Waters, but here the close might have been more successful, had the composer’s alternative ending been used, replacing the folksinger with the more expressive solo cor anglais. Simon Dinnigan gave a truly inspired performance of Rodrigo’s Concierto de Aranjuez, contrasting great dexterity in the outer movements with impassioned playing in the Adagio, and benefiting from the highly sympathetic orchestral accompaniment, led by Malcolm Latchem.
The use of amplification was felt successful overall, though some bass notes did receive rather uncharacteristically full tone at times.
Michael Whitcroft’s Rhapsody for Guitar and Strings is simple in construction, with little real development, and clearly cast in the film music mould. But its message and effect are so immediate that it cannot fail to move even the most cynical listener, and all the more so in this inspired and heartfelt reading.
A largely taut performance of Mozart’s Jupiter Symphony brought this very enjoyable evening to a spirited conclusion.
Philip R Buttall Evening Herald, 10th February 2003
In the calming setting of Plymouth’s mother church the wonderfully soothing sounds of the Ten Tors Orchestra wash away the cares of the world.
This was a concert “In Pursuit of Peace and Harmony” and certainly achieved what it set out to do, reassuring and calming the audience through music.
The orchestra, under the confident baton of Simon Ible, began with Beethoven’s Overture to the ballet The Creatures of Prometheus before moving onto the haunting sounds of Moeran’s Lonely Waters.
The first half ended with what I had decided would be my treat – Rodrigo’s Concierto de Aranjuez. With guest soloist Simon Dinnigan on guitar, it was a piece of brilliance and passion beautifully executed.
But I was wrong to consider it the obvious highlight – the premiere of Michael Whitcroft’s stunning Rhapsody for Guitar and Strings proved to be every bit as wonderful as Rodrigo’s 60-year-old masterpiece.
Su Carroll Western Morning News, 14th February 2003
Plymouth’s own Golden Jubilee Concert wasn’t as lavish as its Buckingham Palace counterpart, but the feast of music on offer was still fit for a Queen.
For this special event, in the presence of the Lord Mayor, conductor Simon Ible had assembled a highly appropriate programme and, with the aid of the Ten Tors Orchestra and the University of Plymouth Choral Society, certainly gave the packed church a night to remember.
Elgar’s setting of the National Anthem got the evening off to a rousing, and suitably patriotic start, with Nicolai’s ‘Merry Wives of Windsor’ Overture ensuring the party continued with a swing, helped here by some particularly vigorous work from the augmented brass section. Alexandra Sherman (mezzo-soprano) sang with poise and control in selections from ‘Merrie England’, and was equally effective in Three Folk-songs settings, where the essentially darker vocal colour contrasted well with the lightness of Paul Sarcich’s inventive orchestration.
The orchestra crafted some evocative textures in Clive Jenkins’ ‘Heart of Dartmoor’ Overture, and brought a heartfelt sincerity to Elgar’s ‘Nimrod’.
The ever-enthusiastic choir was in fine voice, both in unaccompanied numbers, and together with the orchestra in a superbly vibrant performance of Handel’s ‘Zadok the Priest’.
It only remained for Walton’s ‘Crown Imperial’, complete with Union Jacks, to bring this unique, and most enjoyable celebration to a close.
Philip R Buttall Evening Herald 4 June, 2002
The Ten Tors Orchestra under its conductor Simon Ible continued its series of concerts in towns around Dartmoor with a Midsummer Festival Concert in Great Torrington on 22nd June. The concert included a full programme of string works, with an exquisite Andante Cantabile by Tchaikovsky and the lively and unusual Vivaldi Concerto for Strings. Soprano Natalie Clifton-Griffith was beautifully matched with trumpeter David Shead as soloists in a Scarlatti Cantata, where the piccolo trumpet was played superbly. Using a different instrument in Bach’s Cantata Jauchzett Gott in allen Landen, and Natalie then sang Let the Bright Seraphim from Handel’s Samson. The orchestra ended with its usual animated performance of Britten’s Simple Symphony, with its evocative pizzicato second movement.
Deryck Laming Woodbury Music Society Newsletter July 2002
Launceston Central Methodist Church
Launceston was fortunate to receive a visit from the Ten Tors Orchestra under their conductor Simon Ible. Visits to the town by a body of professional players must be rather rare but support from the musically inclined …. were enthusiastic in their appreciation.
“Songs of Love & Valour” was the theme. The actual vocal songs were supplied by Jonathan Gunthorpe, a baritone of considerable standing in the English operatic field. The love element was conveyed in the “Five Shakespeare Songs” set by Gerald Finzi – superb writing and perfectly performed. Valour was equally well represented by Simon’s arias from the Handel oratorio Judas Maccabaeus. A return visit to Cornwall would be a thing to be welcomed; how does Simon keep finding all this talent?
Handel also supplied the two orchestral songs. The Queen of Sheba arrived in style, but the Concerto Grosso from opus 3 is not Handel at his best. This was certainly not the case with Peter Warlock’s ‘Capriol Suite’ which was played with alternating grace and vigour.
The popular Albinoni Adagio gave the strings chance for restrained and dramatic playing. The concert concluded with Mozart at his merriest, the youthful Divertimento in F, played with both wit and charm.
Mike Hasshill Western Morning News 6 July 2002
St Andrew's Church, Plymouth
It was a truly selfless decision by the Ten Tors Orchestra, to engage Louise Cannon as soprano soloist for its first Plymouth visit. Louise combines a superb operatic delivery with great dramatic presence, which inevitably makes her a very hard act to follow.
In Mozart's Dove Sono she sang with unfeigned expression which so admirably communicated the text without any need for translation. Verdi's Sempre Libera provided a perfect vehicle to display the many strengths of her vocal equipment. There was a wonderfully poignant eloquence where required, and an impeccably controlled coloratura in the closing cabaletta, complete with top E flat, fully deserved its ovation.This is not to say the Ten Tors Orchestra finished in second place. In Mozart's Figaro Overture, the players led by Malcolm Latchem, responded as one to Simon Ible's crisp direction, producing a most stylish performance, whilst their support for the soloist displayed the keenest attention to balance and ensemble throughout. Mozart's Linz Symphony showed classical poise and overall precision, and the first Act Prelude to La Traviata was expressively given. Lehar's Vilja and Gold and Silver Waltz despatched the large audience in the highest spirits, testifying to the real success of the orchestra's city debut.
Philip R Buttall Evening Herald 17 December, 2001
The reputation of the Ten Tors Orchestra goes before them now.
Tavistock parish church was packed for their Christmas Gala concert recently.
The music for the evening was delightfully varied, and included a world premiere. Clive Jenkins' Heart of Dartmoor Overture is a very evocative piece, played with considerable style and assurance. It is redolent of the mystery and constantly changing moods of the moor.
Gerald Finzi's Dies Natalis was given a stunning interpretation by both orchestra and the brilliant young tenor Andrew Kennedy. It is a setting of poems by the seventeenth century Thomas Traherne.
Between these two works the choir gave a confident performance of two John Rutter carols, particularly the Shepherds Pipe Carol, sensitively supported by the orchestra.
The Messiah is a work that can sometimes pall through over-familiarity, but this was certainly not the case tonight in excerpts being performed. The orchestra conducted by Simon Ible, gave an inspired performance. Andrew Kennedy was once more a delight to hear, and the choir, particularly in the Hallelujah! Chorus, sang with great passion and conviction.
Lehar's Gold and Silver Waltz was given a sparkling performance; it was simply an extra treat to hear the Rutter Star carol again.
Felicity Barnaby Tavistock Times 3 January, 2002
Plymouth Guildhall
Plymouth Music Accord certainly made the right choice by inviting the Ten Tors Orchestra to open its series of afternoon orchestral concerts in the Guildhall.
They have set the highest standard to which each subsequent ensemble must surely aspire. The strength of this chamber orchestra is its strings; not surprisingly, since it features most of the best players around.
Their playing in Turina's evocative Prayer of the Toreador was finely pointed and highly descriptive, with the greatest attention to detail.
Christian McKay joined in the full orchestra in Mozart's dramatic D minor Piano Concerto. Barber's elegiac Adagio for Strings was well poised, with overall excellence in tuning, and climaxes were sensitively handled; yet never overplayed.
Conductor Simon Ible drew a first-rate performance from his orchestra in Haydn's Oxford Symphony. The reading was always sparkling, fresh and light, with some especially telling contributions from the woodwind and secure support from the brass who barely, if ever, overwhelmed, despite the acoustics.
Philip R Buttall Western Morning News February 2002
St Paul's Church Yelverton was full for the Ten Tors Orchestra concert, Spring Elegance, recently. From the opening bars of Boyce's Symphony No 8 it was evident that another excellent concert was under way. Each section of the orchestra sounded clear and confident. Simon Ible holds the orchestra together almost effortlessly, without in any way cramping anybody's style.
Apart from Gluck's Dance of the Blessed Spirits, the rest of the concert was all Scarlatti and Handel. The concerti grossi by both composers were entirely delightful, with an excellent contrast between fast and slow movements. Handel, in his Concerto Grosso Op 3 no 1, gives the woodwind a chance to shine, which they did to great effect.
For the other two Handel works, the cantata Clori, mia bella Clori and two arias from the opera Alcina, the orchestra was joined by the soprano Sinead Pratschke. Trained in operatic singing, she has a powerful, true voice, which she used to great effect with a variety of e expression. This is clearly a young singer with a great future in front of her; she drew on huge reserves of energy, and gave a memorable performance
Felicity Barnaby Tavistock Times 21 March 2002
St Eustachius Church, Tavistock, 20 October 2001
The Ten Tors Orchestra, under their conductor Simon Ible, gave a concert which varied from Bach to Barber, from Albinoni to Elgar. Bach's Brandenburg Concerto No.3 … was assured and lyrical, while the masterly performance of the Barber Adagio for Strings was luscious and passionate. Albinoni's Concerto for Oboe, with soloist Elizabeth Couling, was dynamic - soloist and orchestra complementing each other perfectly. The Adagio for Strings and Organ was a fascinating contrast to the concerto. Elgar's exquisite Serenade for Strings was played with great panache, yet wistful, bringing out the work's poignancy.
A Mozart Divertimento, played with gusto and great assurance, was a perfect way to the end of the evening.
Can we have another festival next year?
Felicity Barnaby Tavistock Times 1 November 2001
St Andrew's Church, Plymouth, 15 December 2001
It was a truly self-less decision by the Ten Tors Orchestra, to engage Louise Cannon as soprano soloist for its first Plymouth visit. … In Mozart's Dove sono she sang with unfeigned expression which so admirably communicated the text … Verdi's Sempre libera provided a perfect vehicle to display the many strengths of her vocal equipment. There was a wonderfully poignant eloquence where required, and an impeccable controlled colluratura in the closing cabaletta which fully deserved its ovation.This is not to say that the Ten Tors Orchestra finished in second place. In Mozart's Figaro Overture, the players, led by Malcolm Latchem, responded as one to Simon Ible's crisp direction, producing a most stylish performance. Mozart's Linz Symphony showed classical poise and overall precision, and the First Act Prelude to La Traviata was expressively given. Lehar's Vilja and Gold & Silver Waltz dispatched the large audience in the highest spirits, testifying to the real success of the orchestra's city debut.
Philip R Buttall, Evening Herald 17 December 2001
St Eustachius Church, Tavistock, 22 December 2001
The reputation of the Ten Tors Orchestra goes before it now.
Tavistock Parish Church was packed for the Christmas Gala Concert.
The music for the evening was delightfully varied, and included a world premiere. Clive Jenkins Heart of Dartmoor Overture is a very evocative piece, played with considerable style and assurance. It is redolent of the mystery and changing moods of the moor. Gerald Finzi's Dies Natalis was given a stunning interpretation by both orchestra and the brilliant young tenor Andrew Kennedy. It is a setting of poems by the 17th century Thomas Treherne. Between these two works the choir gave a polished and confident performance of two John Rutter carols, particularly the Shepherds Pipe Carol, sensitively supported by the orchestra.
The Messiah is a work that can sometimes pall through over familiarity, this was certainly not the case tonight in the excerpts being performed.
The orchestra, conducted by Simon Ible, gave an inspired performance. Andrew Kennedy was once more a delight to hear and the choir, particularly in the Hallelujah chorus, sang with great passion and conviction.
Lehar's Gold & Silver Waltz was given a sparkling performance
Felicity Barnaby, Tavistock Times, 3 January 2002
Bring this splendid ensemble into Cornwall again please Simon, and soon.
Mike Hasshill Western Morning News 29 May, 2001
Max Gibson, Evening Herald 14 March, 2001
Felicity Barnaby Tavistock Times 22 March, 2001
Felicity Barnaby Tavistock Times January, 2001.
Deryck Laming, Woodbury Music Society December, 2000