Hugh Cutting/ Refound review – countertenor’s darkly compelling recital is an imaginative treat
Wigmore Hall, London Cutting’s programme of songs and music were all connected to the theme of night, in an evening that felt more cabaret than concert Hugh Cutting is still sometimes described as a rising countertenor. That should surely now be unconditional. Cutting has risen, almost to the top, and 2025 has been a stellar year. This enthusiastically performed and received recital, a world away from the general run of pre-Christmas concerts or countertenor recitals, and accompanied by the eclectically matched eight-strong Refound Ensemble, showed why. Themed recitals are common, but Cutting’s programme of songs and music, all connected to the theme of night, was built on levels of thought and performative imagination that few such programmes would even attempt, much less bring off. The pieces ranged from the baroque to the brand new, via Schubert, folk song and Don McLean. Few familiar pieces on the programme were played as written, with Cutting preferring arrangements mostly by members of the ensemble. It was compelling from first to last, more cabaret than concert. Continue reading...
Wigmore Hall, London
Cutting’s programme of songs and music were all connected to the theme of night, in an evening that felt more cabaret than concert
Hugh Cutting is still sometimes described as a rising countertenor. That should surely now be unconditional. Cutting has risen, almost to the top, and 2025 has been a stellar year. This enthusiastically performed and received recital, a world away from the general run of pre-Christmas concerts or countertenor recitals, and accompanied by the eclectically matched eight-strong Refound Ensemble, showed why.
Themed recitals are common, but Cutting’s programme of songs and music, all connected to the theme of night, was built on levels of thought and performative imagination that few such programmes would even attempt, much less bring off. The pieces ranged from the baroque to the brand new, via Schubert, folk song and Don McLean. Few familiar pieces on the programme were played as written, with Cutting preferring arrangements mostly by members of the ensemble. It was compelling from first to last, more cabaret than concert.