“There is nothing more satisfying than listening to great music, beautifully performed, while, at the same time, learning a little about the world in which it came into being and about the people who created it.
Lucy Parham’s concerts offer just that – a wonderful way to spend a couple of hours.”
“Performing in Lucy’s shows is very special, and sharing the stage with a brilliant concert pianist is a pleasure and a privilege. Each one is much more than just reading a selection of letters and diary entries, as Lucy’s plays (that is how I think of them) require complete immersion in the character. The music and the words carry both actor and audience on a great journey. What she has created is remarkable. I always look forward to the next opportunity.”
“These wonderful concerts are so cleverly organic because the composers become alive again. This happens before your eyes and it transforms the musical experience for the audience.
The composers speak directly, frankly and intimately about the secrets of the lives shared and, coupled with the superb playing of Lucy Parham, their music is transformed”
“I love performing Lucy’s shows because the narrative and the music inform each other, and therefore make each individual composer more accessible to an audience, especially those (like myself!) who are maybe not as familiar with classical music as others”
“I love doing shows with Lucy. I read the fascinating lives and letters of great composers and then get to hear their music, played on a beautiful piano by a truly miraculous performer”
“Winningly compiled and performed, Parham’s drama places the French composer’s music in fascinating context. Jennings narrates with wit and authority” ****
“The music in Parham’s programme was chosen to reflect the mood of the letters, and this it did with great success. Henry Goodman is a brilliant character actor, and here he gave us a gallery of characters… he cast a bleak spell as the loneliness of fame and the bitterness of illness kicked in. Meanwhile, Parham’s playing superbly covered the musical bases, from the lazy opulence of ‘Soirée dans Grenade’ to the glacial chill of ‘Des pas sur la neige’, from the tintinnabulation of ‘Pagodes’ to the chaste beauty of ‘La fille aux cheveux de lin’.” ****