Karina Canellakis strode to the stage, a woman in complete control of a full orchestra, with a no-nonsense approach, her actions brisk and to the point, we were in safe hands.

Born and raised in New York City, she has been Principal guest Conductor of the London Philharmonic Orchestra since 2021. Karina is also a virtuoso violinist, but as a conductor she is one of the greats, as we were about to discover. The concert began with the Overture, Manfred by Robert Schuman which washed over the audience, at times soothing and soporific, at other times, muscular and rousing, a piece with real heft. A short pause, as some musicians left the stage and a small podium was placed beside the conductor. Canellakis returned to the stage followed by a graceful self-effacing man carrying his Cello. This we discover is Truls Mork, born in Bergen, Norway, a compelling Cellist.

Initially taught by his father and is one of the most preeminent cellists of our time, and goodness didn’t he demonstrate it this evening. A champion of contemporary music and he has given over 30 premieres and recorded many of the great cello concertos. This evening, playing Schumann’s Cello Concerto, Mork went on to demonstrate the versatility of his instrument; haunting notes filled the space, mournful then lifted by the strings, transforming into… the beautifully soothing.

I became transfixed when he played without accompaniment, and without sheet music and to see Karina Canellakis’ face… expressive, stern, joyful, alert, at times jumping as though the music could make her defy gravity. Both Canellakis and Mork left the stage and returned as the applause refused to abate. Mork proceeded to take his place as silence fell on the auditorium to be replaced with the haunting notes of the cello. The audience sat, transfixed in pin drop silence, and not just the audience, the orchestra too. We were in the presence of a master, and we knew it.

After the interval we were treated to Bruckner’s Symphony No 4, his ‘Romantic Symphony, with an orchestra so crammed full that I feared for some of the musicians. I think that this would be a good point to heap praise on the playing of the London Philharmonic Orchestra, who never gave less than their all (although there is the question of the mutiny to discuss, which I will come to later). The fourth symphony is in four movements, with clear instructions on how each is to be performed, 1) lively, not too fast, 2) At fairly brisk speed, 3) Not too fast but not dragging 4) Lively but not too fast

The first movement saw the Orchestra in full flow, a tidal wave of sound before once again rising and falling, swelling and exhilarating, revelling in the perfect acoustics of the Royal Festival Hall.

The second movement was gently sweeping pierced by the pizzicato (plucking of strings) and once again, the sweet shrill notes of the flute soared above the sound of the strings followed by the muscularity of the brass section’’ The third movement was cinematic in scale, and could easily have accompanied a blockbuster film. Brass tympany and double base all came into their own sweeping us away, filling the auditorium with sound, only to fall back to gentle lilting soft notes. The fourth movement built to a crescendo, every instrument at full throttle before the melodious strings calmed us and then the music beating like a heart. My notes read, ‘Just beautiful’

Throughout, Canellakis conducted with the control and precision of an Olympic Dressage gold medallist, ably demonstrating her absolute authority over the orchestra. At the end of the concert the audience erupted in rightful applause. This had been a superb concert, and the applause reached a crescendo after coming back to the podium twice, the applause showed no sign of abating and Canellakis bid her orchestra to stand and take their well earned bow. She looked taken aback to see the orchestra resolutely remain seated and once more bid her orchestra to stand, but no, rebellion was in the air, and they had decided that this was her moment. This sharp, taut conductor burst into laughter and then the orchestra stood, and we applauded all the louder.

The current London Philharmonic Orchestra season has been exceptional, (based on the two performances that I have seen, so far.) I list the rest of the season below so that you too can enjoy music at its very best.

Tchaikovsky’s Sixth – 2 Nov 2024. https://lpo.org.uk/event/tchaikovskys-sixth/

Víkingur Ólafsson plays Brahms – 6 Nov 2024.https://lpo.org.uk/event/vikingur-olafsson-plays-brahms/

A Dark Century – 27 Nov 2024.

Swan Lake – 29 Nov 2024, 7.30pm https://lpo.org.uk/event/swan-lake/

Images: London Philharmonic Orchestra

I’ve had a stressful few months, with difficult people – sometimes it’s a struggle to protect one’s boundaries, isn’t it? I admit to a desperate need for self-care and a longing for the healing found only in nature.

Temple Of Incense is truly an answer to that prayer. Created by two sisters, Simi and Sam Aydee, Temple Of Incense products are hand-made with love and positive intention, using quality oils and resins sourced from around the world. Their large range of incense products reflects this diversity, with names such as Himalayan Spikenard, Ganesha and Bulgarian Rose And Oudh.

But I’m excited to test their newest Incense sticks, called simply ‘Earth’. As the name suggests, they’re recommended for grounding and renewal, blending amber woods, earthy musk, tonka bean and mitti (clay). Frankly just what I need.

Packaged with care in vibrant saffron-coloured tissue with a hand-written note, I’m feeling the love even as the powerful aromas of authentic natural perfumes fill the air. The incense sticks are plump and rich and I’m very aware of the layers of scent even before I light one.

But such beautiful incense sticks need a rather special holder, and I absolutely love the 7 Chakra wide wooden incense holder. Extra wide to catch all the ash, this is exquisitely carved with the seven chakra symbols in heavy wood using Indian craftmanship mixed with minimal design. It’s so simple and beautiful, I feel the calming aura just gazing at it.

Just half an hour burning the incense and relaxing, and I’m already feeling peaceful and strong, and my shattered boundaries are mending. In fact the incense stick will continue to burn for some time longer, but sadly I need to press on (I know, self-care etc etc but sometimes life gets in the way).

These luxury Incense Sticks are £22 for a pack of 20. Perfect for meditation, yoga or simply relaxing. The 7 Chakra wide wooden incense holder is £20.

If you need a massive dose of self-love check out this website.

By Dr K Thompson, author of From Both Ends of the Stethoscope: Getting through breast cancer – by a doctor who knows

http://www.amazon.co.uk/dp/B01A7DM42Q http://www.amazon.com/dp/B01A7DM42Q

http://faitobooks.co.uk

Note: These articles express personal views. No warranty is made as to the accuracy or completeness of information given and you should always consult a doctor if you need medical advice.

I admit to hating long car journeys. I’d far rather be striding through woods or up mountains, but sometimes hours in a car must be endured, particularly at this time of year.

So thank goodness for clever Barbara Behan and Carrie Hindmarsh of Charabanc, who have dreamed up a novel way to recreate the freshness of nature, even when you’re miles from open countryside.

Our sense of smell is probably the most overlooked of our sensibilities, and yet it can conjure up images, memories and emotions, contributing to our happiness, or otherwise. Barbara and Carrie began experimenting with essential oils sprinkled in their car when they had a potentially difficult meeting and found they arrived feeling calm and energised.

Inspired by this experience, they created the Charabanc Travel Atomiser range, using fragrances of carefully selected herbs and plants, created by renowned nez from a world-famous perfume house. This is true high-end luxury and just a single spray onto the footwell of your car transforms the ambience.

I confess that I was blown away by Across Penine Fells – a blend of Leafy, Freshly-Cut Grass, Resinous Pine, Sage, Lavender, Mint, Fir Balsam, Cedarwood. It really does what it claims – the aromas are subtle yet powerful and authentic. The pine resin hits your senses first, followed by the cedar, evocative of forests, then the herbal and grass notes, emulating a fresh mountain breeze.

This unique product is pure quality and a perfect gift for a car enthusiast, or anyone who spends hours in a vehicle. But it’s not just for car journeys, British Airways love Charabanc atomisers so much that their exclusive Concorde lounge is scented by Charabanc, which can also be found in British Airways’ VIP cars. 

At £60 for a 100ml atomiser, this represents good value for such a high-end item, and a great gift for any car owner. See the full range below. Or, like British Airways, perhaps you should spray it around your room too – let nature embrace you?

By Dr K Thompson, author of From Both Ends of the Stethoscope: Getting through breast cancer – by a doctor who knows

http://www.amazon.co.uk/dp/B01A7DM42Q http://www.amazon.com/dp/B01A7DM42Q

http://faitobooks.co.uk

Note: These articles express personal views. No warranty is made as to the accuracy or completeness of information given and you should always consult a doctor if you need medical advice.

A packed Queen Elizabeth Hall is an exciting place to be, with the buzz of expectation that an audience brings. When at least half that crowd are under the age of 5, there’s an additional frisson and organised chaos. This is a very demanding bunch – quick to be critical, bored, scared, sleepy, hungry….

[Frankie Turton, Amelia Gabriel and Jack Benjamin]

Tall Stories are a company well-aware of their target audiences. Touring nationally with The Gruffalo, Room on the Broom, The Gruffalo’s Child and The Smeds and The Smoos, this latest show fits straight in. The Elmer Adventure is a collection of three of David McKee’s classic Elmer stories, with songs and participation along the way.

[Frankie Turton and Jack Benjamin]

The performers – creating a relaxed atmosphere throughout – appear calm and in control. Wide-eyed Amelia Gabriel, casual Frankie Turton and cool Jack Benjamin guide us through a 55-minute adventure that has genuine surprises, too. Plus plenty of witty one-liners to check the adults are still awake!

[Elmer visits the Southbank Centre]

I’m sure, for many, this is their first theatrical experience. The colours, the characters and the genuine warmth and respect for the material shine through. This company cares about its shows and its audiences. Everyone leaves quite satisfied, if not a little wet (ah – that’s one of the surprises!) …

Photography Mark Senior

Producer Tall Stories

Elmer’s Creator David McKee

Director Toby Mitchell

Puppet Director Yvonne Stone

Music & Lyrics Matthew Floyd-Jones

Set & Costume Amanda Mascarenhas

Movement Director Sundeep Saini

Cast Jack Benjamin, Amelia Gabriel and Frankie Turton

Venue Queen Elizabeth Hall, Southbank Centre, Belvedere Road, London

SE1 8XX

Until Sunday 3rd November

Tickets and showtimes www.southbankcentre.co.uk/whats-on/the-elmer-adventure/

Running Time 55 minutes – without an interval – relaxed performances

Websites www.tallstories.org.uk/the-elmer-adventure

www.elmeradventure.com

Ages 3+

Instagram @TallStories @elmerthepatchworkelephant @andersenpress

@southbankcentre

Facebook @TallStoriesTheatre @southbankcentre

X/Twitter @TallStoriesLive @AndersenPress @southbankcentre

#Elmer #TheElmerAdventure

Temperate rainforests are lush, humid environments. The constant moisture creates the perfect conditions for a staggering array of ferns, lichens and fungi to thrive. They carpet the trees, meaning the forest floor extends upwards.

In this setting, green leaves projected on to the ceiling formed a forest canopy, and the recorded sound of bird song immediately transported me to a woodland forest.

Fifteen mini platforms, big enough for 2 or 3 musicians, were seemingly scattered throughout the space and thus the orchestra, with the intention of encouraging the audience to promenade throughout the space, as if meandering in an actual forest.

Seating, or rather the lack thereof, was a conundrum. Provide it, and the audience are unlikely to wander through the space. Don’t provide it and the audience (at least the younger members) sit on the floor towards the rear, whilst the more mature, seek purchase on the base of the columns holding up the roof.

An audience of 200 or more filled the space, soon to be joined by the musicians, who entered one by one, with slow deliberate steps, each carrying their instrument, before settling themselves on some of the mini stages.

Gradually, music replaces the bird song at first soothing and ethereal, and later more strident. The music was interspersed by short narratives which offered small nuggets of information such as, at one time, as much as 20% of the UK was covered in temperate rainforest. Today, as little as 0.07% remains.

Mendelssohn’s overture from Midsummer Night’s Dream with its soothing familiarity, seemed the perfect choice to transport one into the forest.

The audience begins to explore the space slowly moving between the islands of musicians, in a rare, if not unique opportunity, to get so close to the performers, and hear pockets of sound, although I was pleased that my perch was behind the brass so that I could appreciate the playing rather than being overpowered by it.

I am in awe, as Maxime Tortelier, the conductor, held everything together, in a sterling 220 degree performance, eliciting the best from top class talent.

Almost imperceptibly the sound of buzzing was introduced, which developed into the unmistakable sound of the chain saw, followed by the crashing of felled trees. One by one the musicians lay down clutching their instruments. I cannot be alone in contemplating a world without music, at the same time as a world without trees. Surely the purpose of the evening. Joyously, the musicians stood and resumed their places, the music returned, and the sound of a regenerating forest filled the space. Some of the music choices were less to my taste and whilst the Midsummer Night’s Dream and Nadia Boulanger’s wonderful Patience of Trees were excellent, I was less enamoured by Strong on Oaks, Strong on the causes of Oaks, by Michael Nyman

This is the second time that I have heard Sinfonia in the Square and once again I was blown away by the talent in such a young orchestra. If you get the opportunity to experience Orchestral Forest or to hear Sinfonia Smith Square, you absolutely should.

Images courtesy of Sophie Oliver Home – Sinfonia Smith Square