Musical Directors: Abel Selaocoe and Rakhi Singh
The Oracle is a collaboration between the innovative and ground-breaking ensemble Manchester Collective and South African cellist and composer Abel Selaocoe. The show starts with an improvisation between Abel, bass guitarist Alan Keary and African percussionist Mohamed Gueye. The result really rocks with enchanting and dynamic rhythms that conjure up the notion of ritualistic shamanism.
This is followed by Vivaldi’s Concerto for Strings with haunting and bewitching strings in a baroque style providing sweet and simply gorgeous harmonies. 16th century composer Picforth’s In Nomine is the oldest work in the programme. It features lilting melancholic strings with vivid and intense performances by the entire ensemble. Then Oliver Leith’s Honey Siren: II. (Full Like Drips), one of the newest of the set’s most recent pieces, has a gentle and soothing lazy pace.
The first half is completed by Abel’s Camagu for which he chants mysteriously with the use of guttural deep throat techniques familiar to ancient African traditions. Here the vocals are used as an instrument and Abel really steals the show with his haunting sustained vocal drones.
The second part begins with rapid, stabbing, angry strings for Igor Stravinsky’s Concerto in D for Strings. There is much use of complex counterpoint and odd time signatures which the players follow with great dexterity. There is excellent use of the sound space with strings at extreme sides of the stage left and right with phrases past between the two. There is a switch to a more serene and gently melodic mood with the subtle addition of Keary’s electric bass. The romantic mood bursts out into a more sprightly sequence with the strings pulsing like a train’s engine.
For Abel’s Tshepo the audience are invited to join in with his soulful vocals. The mystery of the African language just emphasises the universality of music. Then Mica Levi’s Love sees the vibrating violins building up the tension with great energy and power. Next we go into Danish folk for Brudestykke (Bridal Piece) which could almost be a jig, both joyful and celebratory. The set ends with Abel’s Kea Mo Rata for which he has the audience clapping the response: he really has the audience eating out of his hand.
This fascinating fusion of Western classical, African folk and jazz genres really makes for a powerful pot pourri. It sees Manchester Collective once more leading the way for breaking down barriers in the music world.
Reviewed on 8th April 2022
