Page 509 - Aldeburgh Festival 2022 FINAL COVERAGE BOOK
P. 509

As the farmer telling in sad retrospect his story of falling in love with the woman who rose from the
        glacial waters of Carmarthenshire’s Llyn y Fan Fach, baritone Roderick Williams was unfailingly
        clear and expressive. Emerging from the instrumental texture as though from the misty depths of
        the lake, mezzo soprano Marta Fontanals-Simmons as his bride conveyed an aura of
        otherworldliness. The couple’s happiness is real but conditional, for it is she who set the marriage
        terms, vowing to return to her watery underworld should she be struck three heart blows. That her
        faerie blood gives her sight into the future leads to the misunderstandings which in turn cause the
        blows that send her back into the lake, leaving her husband bereft.









































        Exuberant … Graham Fitkin, Ruth Wall, Clare Hammond and Kathryn Stott play Fitkin’s
        compositions. Photograph: BPA

        Weaving traditional Welsh folk songs into the mezzo’s lines and bringing a pastoral lyricism to
        wind writing invoking the passing seasons, Higgins’ control of his orchestral forces was highly
        assured, and combined with an equal instinct for colouristic and atmospheric detail. Martyn
        Brabbins conducted with feeling.

        In contrast, Graham Fitkin’s new commission, the previous afternoon, had dealt with the all too
        contemporary world where public pronouncements and statements are empty of meaning, with
        the effect of habituation. Bla, Bla, Bla was the last work in a concert of piano music for two pairs of
        duettists: Fitkin, his wife Ruth Wall, Clare Hammond and Kathryn Stott. In earlier pieces of his
        from the 80s and 90s, Fitkin’s was the exuberantly driving bass line, but this piece’s engagement
        with the concept of Shifting Baseline Syndrome was more than a pun. Donning a head-mic, Fitkin
        narrated while he and Wall on synthesisers added layer upon electronic layer of sampling –
        including witty snippets of film dialogue – to Hammond’s and Stott’s two live pianos. With
        scintillatingly energetic rhythm and some Pet Shop Boys touches, the moments of cacophonous
        mayhem spoke volumes.


         The Aldeburgh festival continues until 26 June.
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