Concert review: Simone Porter (violin)

It was a pleasure and a delight to be back in the Crypt of the Church of the Intercession for Death of Classical’s latest production – violinist Simone Porter in a solo recital exploring ‘the spiritual power of focused attention’, as she eloquently articulated from the candlelit stage. There’s a certain magic in this underground space – and I appreciate the addition of the ‘phone pouch’ that locks away your phone so it’s truly a distraction-free environment.

Porter’s programme opened with Reena Esmail’s Drishti (especially commissioned for this concert), which explored the instrument and tonality with various scales, fragments, trills, harmonics and finger exercises – but always returned to the grounding E. Esa-Pekka Salonen’s Lachen Verlernt had some exquisite vibrato on the high opening notes, immediately followed by the gripping depth of the G string; all told, this powerful, work was virtuosically performed by Porter.

Hildegard von Bingen’s O virtus sapientiae was beautifully arranged by Olivia Marckx for Porter, who played with elegance and eloquence. After this, Andrew Norman’s Sabina was just one example of inspired programming. It was given a captivating performance, as was Biber’s Passacaglia in G minor, which closed the evening. After a variety of sound-worlds in the previous pieces, it was a relief to take in the simplicity of its opening – played with poise and beauty by Porter.

LEAH HOLLINGSWORTH