Lucas (2)

"The solo singing was wonderful. As Jephtha, James Gilchrist offered... virtuoso bravado..." So today's paper describes (with 5 stars) Tuesday night at the Barbican . And yesterday's Cheltenham lieder recital by that same tenor might, I feel, be described in similar terms.

It could be three years since I attended a Music Society event at the Pittville Pump Room, I'm rather ashamed to say. (Their programmes deserve more loyal support.) And I wasn't really looking forward to last night's mixed bag with any great relish, having been critical of a programme Gilchrist gave at our July 2012 Festival.

As it turned out, I was taken aback not just by the beauty of his voice, but the confidence and variety of tone he brought to his performance - settings of Shakespeare, Byron and Heine by Wolf, Mendelssohn(s), Loewe, Liszt, Grieg and Schubert in part one, and a glorious Dichterliebe after the interval.

The link to my illustration? Tenuous: Gilchrist started adult life as a doctor, and the portrait is supposed to represent another such, St Luke. It's one of the images in a garish-looking East window dating from 1850 in the Norman church I visited on Wednesday, All Saints, Salperton. The glass, "possibly" - Pevsner - by David Evans, is much eclipsed by two splendid late Kempe windows in the South wall.

Cheltenham Music Festival

Another Festival has come round! The programme has something of an austerity feel about it: not many big names are in evidence. However, the subject matter lacks compromise, as evidenced by this evening's Parabola Arts Centre recital.

But was "recital" the right word for it? Normally, James Gilchrist (tenor) with a pianist for a set of English songs (Britten, Finzi, Tippett) would warrant that description, but here the accent was upon a stage setting of a "long and silent night passed by a nightwatchman", with grainy video as a backdrop: no interval, and no clapping save at the end. More Voix humaine than Winterreise.

The technical side went off splendidly, particularly the beautifully weighted singing of Gilchrist and Anna Tilbrook's accompaniment. But even with Gilchrist the words (all Hardy T. and Hudson W.H.) are never so distinguishable as one would like, and no "libretto" was on offer - nor even much of a programme note. So, I emerged rather baffled: what was the object of the exercise?