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NEIL Campbell could never be accused of failing to have grand ambitions. His latest work, described as a 'new classical rock composition', was staged in a grand setting, the elaborate Concert Room at St Georges' Hall. The main piece was preceded by a performance of the now established Ghost Stories.
On this occasion, he was joined by band members Nicole Collarbone (cello), Mark Brocklesby (drums), Chris Bradshaw, (keyboards) and Andy Maslivec (bass), as well as guest soprano Anne Taft and the Sense of Sound choir. Additionally there were visual projections by George Jones and Valeria de Matteo.
The Frankenstein composition has been scored to be performed by an expanded version of the Neil Campbell Collective (Neil’s band) an ensemble which combines the energy and intensity of a rock band with classical instrumentation such as classical guitar, cello and operatic soprano.
This was clearly a complex work to have constructed and co-ordinated. And it worked well - the balance between the widely varying range of voices and instruments was generally good.
The performance begins, unannounced, with a rousing instrumental introduction to 'The Storm'. Anne Taft begins the wordless, haunting vocal theme which will continue to feature throughout the show, then the music swells as the well-co-ordinated voices of the choir join in.
A substantial audience seem to be appreciative, though (by design) there is no applause between each set piece. The story throughout is told by the titles on screen and a pre-recorded narration.
Herein lies a problem. From parts of the auditorium, sections of the screen cannot be seen, due to the design of the stage, which has life-size statues supporting (empty) viewing balconies, obstructing the view. (This also means that either the band or the choir cannot be seen, depending on position of seats).
But also, not a single word of the narrative can be made out. Apparently this is because the sound engineer was unwell so the recordings have to be cued by the already overburdened Campbell. All of this means that it isn't possible to follow the storyline for at least some of the audience (although it is already familiar to most). Luckily the playing is excellent and the singing beautiful. It is a lovely performance to just sit and listen to, and it is clear people are enjoying it.
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This is certainly an unusual piece of work. Redolent with echoes of 'prog-rock' (the keyboard player also features in Yes tribute band 'Seyes'), and with the hall echoing with Anne's lovely voice and the searing sound of Nicole's cello, there is a feeling of timelessness about the occasion.
Musically, as a potential classical piece there are some limitations. The memorable thematic melodies are present, but there is not a great deal of development, of rise and fall, of crescendo or climax.
And one niggle: though the Sense of Sound choir are excellent, what on earth is that woman doing cavorting at the front of the stage? Certainly if she is attempting to conduct anything other than the on-screen lightning, no-one up there is even paying her a glance, so this is an unnecessary distraction on a already-crowded stage.
But this is an admirable, impressive undertaking and Neil and his collaborators are generally to be congratulated. There is a sort of 'encore' at the end where the Collective perform what has now become a 'Neil standard', his guitar-technique showcase, 'Rainstorm'. The standing ovation at the end is proof enough that his big plans do pay off. Long may he continue.
Gayna Rose Madder
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