Composer: Afrodeutsche
Conductor: Robert Ames
The permanent home for Factory International, the team that runs the Manchester International Festival (MIF) has only just opened and is already suffering an identity crisis. For as long as one can remember the name of the venue was to be The Factory to reflect Manchester’s cultural heritage. However, a sponsorship deal with insurance giant Aviva has prompted a title change to Aviva Studios.
Approaching the venue, one expects a remote atmosphere suitable for a museum but in the grounds outside the building what looks like a raucous garden party is underway. It is hard to be sure as the heavens open and the deckchairs are abandoned in the rush indoors.
The ‘Social ’or foyer on the ground floor has the atmosphere of a bazaar with people dashing hither and yon. It certainly has plenty of the essential elements of a theatre- bars and toilets. Entering the concert hall through what resemble fire doors is not impressive but once inside it is a different story.
The shape of the hall is rectangular, giving the impression of width rather than depth. The stage is at the bottom of a fairly steep slope which allows for excellent sightlines to the extent the stage is hardly raised off the floor – perhaps a metre but probably not more. The result is a sense of intimacy- you feel closer to the performers on stage than is the norm in a theatre.
The seating is a wonderful design, folding back smoothy to allow a surprising amount of room for patrons to pass each other.
The stage is dominated by a cinema size screen which, upon entry, is showing disconcerting black and white images of someone whose face is obscured. The on-stage setting is designed promote concentration. Members of the Manchester Camerata are dressed in dark clothing to avoid any distractions and the stage is lit by (artificial) candles.
Afrodeutsche explains Psalms comprises songs of worship and faith. This is not apparent from the lyrics but rather the tone of the songs. Apart from a spoken prayer/poem the lyrics rarely extend beyond one or two lines. It is the manner of Afrodeutsche’s performance – repeating the lyrics compulsively- that suggests an altered state of consciousness or spiritual ecstasy.
The opening is humble with just Afrodeutsche on keys before the strings of Manchester Camerata bring a driving sense of passion. It sets the scene for a performance which is reflective rather than emotionally engaging.
The show develops pace and becomes more dramatic as the evening progresses. Afrodeutsche introduces beats and pre-recorded and electronically enhanced vocals. The beats are, however, melodic than assertively percussive – you never feel the urge to jump to your feet and start to dance. Although the electronics facilitate a faster pace, they reduce the human element to the extent Afrodeutsche feels able to nip off stage mid- set for a costume change.
The electronics are supplemented by striking film projections which reflect the brief lyrics – black and white images of clock gears and cogs illustrate Afrodeutsche’s concern about having enough time. The closing red hued images of bonfires certainly brings an ominous tone to the encore.
The Manchester International Festival seeks to stimulate the intellect as well as the emotions and Afrodeutsche’s Psalms lends itself to cool appreciation rather than warm emotional involvement.
Reviewed on 5 July 2023
