Press Releases and Enquiries

Unaffected sincerity and finely defined feeling: Claire Seymour reviews A Rachmaninov Drama

Claire Seymour, Opera Today

This ‘Rachmaninov Drama’, curated by Julius Drake and performed by the pianist, baritone Roderick Williams and soprano Sofia Fomina at Middle Temple Hall showed why Rachmaninov’s songs deserve to be heard and admired, confirming as they do his skill as a Romantic melodist, as a crafter of emotional drama and as a virtuosic pianist.

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Richly seductive: Robert Hugill reviews A Rachmaninov Drama

Robert Hugill, Planet Hugill

For the last Temple Song concert of the season, Temple Music presented A Rachmaninov Drama – Scenes from a Love Affair, a programme of Rachmaninov songs performed by Sofia Fomina (soprano), Roderick Williams (baritone) and Julius Drake (piano). Drake had selected a sequence of some two dozen of Rachmaninov’s songs on the theme of love, unattainable, attained, and lost, ending with Rachmaninov’s sole duet.

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Compelling: Claire Seymour Reviews Matthew Rose and Friends

Claire Seymour, Opera Today

I was very much looking forward to this concert at Temple Church, curated by bass Matthew Rose and designed to celebrate music for voice commissioned by the Michael Cuddigan Trust, not least because it offered the opportunity to listen again to compositions heard recently – some for the first time – in different settings, and to experience works discussed coming to fruition in performance.

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Effortless, yet beautifully phrased: Robert Hugill reviews Iestyn Davies and Fretwork

Robert Hugill, Planet Hugill

 

For the Temple Music Foundation’s concert at Temple Church on Tuesday 26 March 2019, it wasn’t just the pairing of the music of Michael Nyman with that of Henry Purcell that was striking, it was that it was performed by the viol ensemble Fretwork,  (playing on instruments that were falling out of fashion even in Purcell’s day) with the counter-tenor Iestyn Davies.

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Wonderfully Characterful: Robert Hugill reviews Temple Song Love Songs

Robert Hugill, Planet Hugill

To celebrate Valentine’s Day (14 February 2019), Temple Music Foundation presented a programme of love songs at Temple Church, with Gemma Summerfield (soprano), Fleur Barron (mezzo-soprano), James Way (tenor), Julien van Mellaerts (baritone), Julius Drake and Stacey Bartsch (piano) in Brahms’ Liebeslieder Op.52 and Neue Liebeslieder Op.65, and Schumann’s Spanische Liebeslieder Op.138.

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Ripe with Drama and Feeling: Opera Today reviews Temple Song Love Songs

Claire Seymour, Opera Today

Four young prize winners serenaded us, and each other, during this recital of Romantic lieder by Brahms and Schumann, for solo and ensemble voices in Temple Church.

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5* REVIEW: Masterly performances of two great works from Gerald Finley and Julius Drake

Robert Hugill, Planet Hugill

‘…there was something comforting in the sheer beauty of the way Finley and Drake performed’

Temple Song returned to Middle Temple Hall on Tuesday 2 October 2018 for the first recital of Temple Music‘s 2018/19 season. Bass-baritone Gerald Finley joined pianist Julius Drake for Swansongs, performing two late works, Schubert’s Schwanengesang and Brahms’ Four serious songs. A programme which the two performed at the Elbphilharmonie in Hamburg in September.

Read the full 5* review here

5* REVIEW: Gerald Finley and Julius Drake- sublimity in 18 serious songs

David Nice, The Arts Desk

Earth stood hard as iron in parts of this awe-inspiring recital from a true song partnership, but theirs was an autumnal odyssey, not a winter journey. For all their preoccupation with death and occasionally desolation, neither Schubert at 31, in the last utterances gathered together as Schwanengesang (“Swansong”), nor Brahms, completing the Four Serious Songs on his 63rd birthday, was ready to leave this earth. You could argue that there’s smiling spring in some of Schubert’s inspirations, but not the way Gerald Finley or Julius Drake saw them, tellingly placing Brahms’s monumental tetralogy at the heart of the programme between Schubert’s Rellstab settings and his explorations of superior Heine.

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REVIEW: 4* Piatti Quartet – Young Ensemble at its finest

Barry Millington, Evening Standard

 

 

 

 

 

Everybody loves a good joke at the expense  of viola players, but it’s right to be reminded what a magnificently eloquent instrument it is. The viola was favoured notably by Mozart and Dvorak who wrote two “viola quintets” (string quintets with two violas). In their performance of the E flat for the Tempe Music series, the Piatti Quartet was joined by the viola player Krzysztof Chorzelski, their mentor under the Belcea Quartet Trust scheme.

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REVIEW: Intimate Settings – Temple Song, Christoph Prégardien, Julia Kleiter and Julius Drake

Guest Review by Adrian Ainsworth, Cross-Eyed Pianist

Songs by Schubert, Schumann and Mendelssohn – Temple Song at Middle Temple Hall, 21 March 2018

Middle Temple Hall is an exciting, unconventional space for a song recital. Somehow austere and ornate all at once, it generates a self-contained, imposing atmosphere before a note is even played.

Its layout also gives many of the audience members a slightly different relationship to the performers. I think of most venues – especially other prominent chamber venues in London like Wigmore Hall or Milton Court – as having a ‘portrait’ shape: rows of seats roughly matching the width of the stage, stretching back a certain distance. Middle Temple Hall, when set up for concerts, is ‘landscape’. The artists take their positions at the centre of one of the long walls, and the listeners spread out to the sides. As a result, more of the audience than you might expect are close to the action – and closer to the sound.

Read the rest of the review here

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