On Friday night the Wigmore Hall in London was filled for a spectacular gala to fundraise for Lowestoft’s Britten as a Boy Statue. It was a fitting location, where numerous of Britten’s works received their premieres.
Zeb Soanes © Matthew Johnson Photography
The evening was introduced by Zeb Soanes, who is also from Britten’s home town of Lowestoft. He explained how the idea for the statue came about during a walk along the beach during lockdown, past Britten’s childhood house. He described the idea to depict Britten as a boy, rather than the adult composer, was so that the statue might inspire other local children that they can achieve their ambitions, whatever they might be.
Britten as a Boy, sculpted by Ian Rank-Broadley © Matthew Johnson Photography
Sir Thomas Allen explained how the title role in Brittens opera Billy Budd in Britten’s opera became a signature part for him and remembered how he had received singing guidance from Peter Pears. Sir Thomas paid this tribute to Britten:
“His songs, his folk song arrangements, his operas in particular, have been mainstays in my life in music. This evening is by way of marking his genius once more, this time with something beautiful, something tangible, a gift to honour his memory and his amazing musical legacy in the town in which he was born.”
Sir Thomas Allen © Matthew Johnson Photography
The audience’s hearts were instantly melted by the children of Britannia Primary School, who had come all the way from Ipswich to make their Wigmore Hall debut. They celebrated 10 years of Britten Pears Arts ‘Friday Afternoons’, singing Britten’s Fishing Song along with two new commissions, Me by Charlotte Harding and Just as you are by Alexander Campkin.
Britannia Singers © Matthew Johnson Photography
The children were given the warmest applause as Roger Wright, CEO of Britten Pears Arts spoke of the young Britten’s love of concert-going and his talent as a pianist, shown perhaps at its best in his playing of Schubert. We then heard Iain Burnside play Schubert’s Allegretto in C minor.
Sir Thomas Allen paid tribute to Benjamin Luxon who, due to health reasons, was unable to join us from the USA but noted that the tenor John Elwes was in the audience. John made the first recording of Benjamin Britten's Canticle Abraham and Isaac, singing the role of Isaac, accompanied by the composer. We heard the Canticle performed by Jess Dandy, Charles Daniels and Iain Burnside.
Iain Burnside, Jess Dandy and Charles Daniels © Matthew Johnson Photography
Zeb Soanes spoke of the Sparrows Nest Theatre in Lowestoft, where he and his sisters were taken as children to see shows and, where, in 1951, Britten was awarded the Freedom of the Borough. It was a gesture from Britten’s hometown that touched him deeply. The heartfelt speech he gave that night was recreated by Alistair McGowan.
“To be made Honorary Freeman of the Borough of Lowestoft is one of the loveliest things that could ever happen to me. It puts, as it were, an official seal on my connection with this little corner of England — where I was born, and where I have spent so many years of my life.”
Alistair McGowan © Matthew Johnson Photography
The second half of the gala was opened by Adrian Butterfield and the London Handel Players, performing incidental music from Purcell’s Abdelazer, or The Moor’s Revenge. It was the Rondo from this that Britten used as the variation theme in his A Young Person’s Guide to the Orchestra.
Adrian Butterfield © Matthew Johnson Photography
The celebrated violinist Tasmin Little, recalled the impact on her as a child of hearing Britten’s violin concerto. She explained how, when the young Britten wanted to learn a string instrument, his mother took him to meet Audrey Alston, who was a professional viola player in Norwich. It was Audrey who first introduced Britten to the composer Frank Bridge, who recognised the young musician’s exceptional talent and encouraged him. It is at this turning point in Britten’s young life, that the Britten as a Boy statue depicts him.
We then heard Frank Bridge’s Two Pieces for Violin and Piano, performed by Clifton Harrison and Iain Burnside, followed by Britten’s ballad Underneath the Abject Willow, sung by Mhairi Lawson and Marie McLaughlin.
“It was incredible to share the Wigmore Hall stage with truly inspiring musical giants, all for a cause close to our hearts. The electrifying energy from the audience was moving and made the gala evening even more special.”
Iain Burnside, Mhari Lawson and Marie McLaughlin © Matthew Johnson Photography
Sir Thomas Allen returned to the stage to introduce Dame Janet Baker, who celebrated her 90th birthday in August. She entered to rapturous applause and shouts of ‘Janet! Janet!’ Dame Janet spoke about her memories of Benjamin Britten and Peter Pears, particularly noting Britten’s great kindness to her and to all musicians and his surprising self-doubt about his own abilities. She observed that every performer gets nervous, they just learn how to hide it.
Dame Janet Baker © Matthew Johnson Photography
Dame Janet introduced the final performance of the evening, Britten’s Hymn to Saint Cecilia — the patron saint of music, on whose day he was born. It was sung by Apollo5.
Apollo5 © Matthew Johnson Photography
All the performers returned to the stage to thunderous applause. Zeb Soanes thanked the Wigmore Hall and all the speakers and musicians who had given their time and talents so generously — noting that the children of Britannia Primary School were already halfway home on their bus, because it was well past their bedtime.
© Matthew Johnson Photography
The gala was followed by a champagne reception downstairs in the Wigmore Hall restaurant for ticket holders who had paid to meet the artists afterwards. Thanks were given to Adnams Plc and Wildsearch who had supported the costs of the evening.
The gala has added more than £20,000 towards the Britten as a Boy statue.
Zeb Soanes, giving thanks at the gala reception © Matthew Johnson Photography
Roger Wright and Dame Janet Baker © Matthew Johnson Photography
John Elwes © Matthew Johnson Photography