FESTIVAL MUSIC | Previews
Five reasons to see
SHLOMO: #NEWRULES
1 It’s hard to argue against a veritable one-man soundsystem. Shlomo conjures drums, synth and breaks from nowhere, and manipulates his audience into providing the foundation for his vocal gymnastics.
2 His #NewRules show lives up to its hip-to-the-hashtag title; the ‘new rule’ is an exploration of creative restrictions and how these can be used to push artists to the limits of their art. An experiment, rather than a constraint, Shlomo analyses what he can get away with as a voice artist and whether using non-live sounds is considered cheating.
3 His ‘rules’ theme comes from a cute story: the rule his parents imposed after they bought him a drum kit as a child – no playing after 6pm. Honing his skills without annoying the neighbours led to a complicated system of teeth-clicking to get him through his night-time practising. 4 Plaudits come from all over: consider who Shlomo has worked with. He teamed up with Björk on her song ‘Oceania’, guested with the Mighty Boosh at The Big Chill and counts Imogen Heap, Ed Sheeran, Jarvis Cocker and Rudimental among collaborations. Plus, he’s a twice- over record breaker (World’s Largest Beatbox Ensemble, in case you were wondering.)
5 It’s not just for adults. He started his beatboxing journey as a child, so if your kid is on the noisy side, check out Shlomo’s Beatbox Adventure for Kids and give them the chance to develop their oddities into fame and fortune (not guaranteed).
■ Underbelly Cowgate, 0844 545 8252, 15 & 16 Aug, 10.10pm, £14. Shlomo’s Beatbox Adventure for Kids, Underbelly Cowgate, 15 & 16 Aug, times vary, £10.
76 THE LIST FESTIVAL 11–18 Aug 2016
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DANIELLE DE NIESE & DUNEDIN CONSORT Opera’s coolest soprano joins Dunedin Consort for an evening of Handel
Although the Edinburgh International Festival plays host to the world’s finest visiting musicians, it also welcomes those who are equally fine but right here on our doorstep. Among the names the Festival’s home audience will almost certainly recognise is Dunedin Consort, widely acknowledged as Scotland’s leading period-performance ensemble. Joining them for Handel is international opera star Danielle de Niese (pictured), making her EIF debut. Although critical opinion of de Niese – ‘opera’s coolest soprano’ says The New York Times – can be
read in the usual haunts of classical music’s most erudite writers, she, more unusually, can also be found in Hello! magazine announcing her first pregnancy or Sussex Life chatting about her marriage to Gus Christie, chairman of the über-classy Glyndebourne opera house.
Born in Australia, with Sri Lankan, Dutch and, apparently, Scottish roots, de Niese is sassy, stylish and glamorous. She doesn’t just sing beautifully, but is an accomplished dancer too, something which Dunedin’s music director John Butt values in her artistry.
‘Danni is someone who is extroverted and could easily play to the gallery, but she’s keen on
progressing her career as a singer and the sense of movement and expert physicality which she brings with her comes out in the way she sings,’ he says. ‘Classical musicians often get the music stuck in their brains, but with her, it’s like dealing with limbs in space. You hear the space in the music through the physical movement she is alluding to.’ Alongside Handel’s cantata ‘Il delirio amoroso’ which, unlike most opera, means de Niese portrays more than one character, she sings a selection of arias, including the beautiful ‘Lascia ch’io pianga’ from Rinaldo. Allowing her a chance to draw breath, the instrumentalists of Dunedin also perform two complementary Handel Concerto Grossi from his Op 6. (Carol Main) ■ The Queen's Hall, 668 2019, 13 Aug, 11am, £9–£31.50.
DANIIL TRIFONOV Young pianist continuing to wow the world
This year festival favourite Daniil Trifonov returns as pianist-in-residence with three very different concerts over six days. At the age of just 25, Trifonov has an incredible record of brilliant performances to his name, whether as solo recitalist, concerto star, recording artist or chamber music with others.
His Edinburgh appeal lies not only in that he can be heard in all of the above, but that the repertoire he plays covers a range of styles, from the virtuosic demands of Liszt and Rachmaninov to Brahms’ take on Bach, and Beethoven’s Piano Concerto No 1. While it will undoubtedly be thrilling to hear him in the Beethoven with the Swedish Radio Symphony Orchestra and on his own at the Usher Hall, it is the Queen’s Hall morning concert with some rather high- powered musical friends, including his teacher/mentor Sergei Babayan and violinist Gidon Kremer, that promises something truly extraordinary. (Carol Main) ■ Usher Hall, 228 1155, 17 Aug, 8pm, £18.50– £20.50; Usher Hall, 19 Aug, 7pm, £25.50–£45 (£12.50–£25.50); Queen's Hall, 473 2000, 22 Aug, 11am, £9–£31.50.
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