Page 106 - Aldeburgh Festival 2022 FINAL COVERAGE BOOK

That music is frequently from off the beaten track, especially with their

Kaleidoscope Chamber Collective, Wigmore Hall’s associate ensemble. “The

canon is narrow,” Poster says. Kaleidoscope’s programmes overflow with
composers unjustly sidelined, whether for being female (Amy Beach), mixed-race

(Samuel Coleridge-Taylor) or banned by the Nazis (Erich Korngold).

Urioste has three recordings out this summer: Max Richter’s New Four Seasons —

Vivaldi Recomposed, and Coleridge-Taylor’s Violin Concerto and Romance, both

with Chineke!, and a new arrangement of The Lark Ascending, with the London

Choral Sinfonia. Next stop: the Proms: she makes her debut in July, playing Ethel

Smyth’s Violin and Horn Concerto, and Glyndebourne is bringing in Smyth’s
opera The Wreckers, which Poster helped to reconstruct. “It has this amazing

intensity that never lets up,” he says. Just like life in the Urioste-Poster family.

For Elena Urioste and Tom Poster’s latest concerts, go

to elenaurioste.com and tomposter.co.uk
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