An unforgettable feminine afternoon, Live at Lunch (Royal Opera House, 11.03.2022)

Liubov Ulybysheva (violoncello) and Daniel Grimwood (piano) returned to Linbury Foyer of the Royal Opera House for their second Live at Lunch performance of this year (see the review from the 14th of January). It was a great pleasure to listen to them two months ago and it was an equal treat this time round. Dedicating the recital to the International Women's Day, Liubov Ulybysheva and Daniel Grimwood presented us three women composers: Fanny Mendelssohn, Fania Chapiro and Amy Beach. Each composer lived in a different era and came from different background, but all of them were very talented and passionate musicians who had to overcome several unfavourable circumstances that prevented them of being recognised, published or musically accomplished at certain time of their life or even in their lifetime.

The recital started with two romantic pieces: Fantasia and Capriccio by Fanny Mendelssohn. Fanny shared her musical education and a passion for composing with her brother - Felix Mendelssohn. She was a very good piano and cello player and composed many pieces, however due to the social conventions and the role of women in society of that time (the first half of the 19th century, many of them were published under her brother's name and were only more recently discovered as her own. The fact that she played both instruments was evident in her compositions - they brilliantly "married" the piano and cello in a very harmonious and complimentary way.

With the second piece - the Second cello sonata by Fania Chapiro, we most probably witnessed its world premiere. Fania Chapiro, Duth-Russian and half-Jewish "musical prodigy" had to hide during the Second World War and performed under difficult conditions. Nevertheless, she came out of war even more musically inspired and started to compose as well as perform. Her music reflected the era she lived in: full of contrasts - sometimes emotional and reflective, sometimes dramatic and "stormy", with the third movement dedicated to Sergei Prokofiev (as a tribute to her half-compatriot) and the fourth movement filled with jazzy-blues elements.

The last pieces were composed by Amy Beach, American composer and pianist, who had yet again another curious destiny. A passionate musician, who had to give up her musical career, (agree never to teach piano and perform only twice a year for charity) as a condition of her marriage. Luckily, for the musical audience, after her husband passed away, she resumed her busy musical life and became one of the most respected American composer of her era (early 20th century). We listened to her five romantic pieces for cello and piano. They were more subtle and posed, but played with such ease that we felt absolutely transported and unified with that music.

Once again, we witnessed something unique and beautiful. Thank you, Liubov Ulybysheva and Daniel Grimwood, for having introduced us to those wonderful less-known (or almost forgotten) composers. And thank you, Royal Opera House for this musical generosity!