Fantasia Orchestra Launches Residency At Smith Square Hall
Fantasia Orchestra opened its new residency at St John’s Smith Square on Sunday 23 November with Birdsong, a specially curated programme inspired by the beauty of nature and avian song. The concert marked the start of a four‑performance season at the historic 18th‑century Westminster venue, tracing bird‑themed music across centuries and styles.
Originally billed as a collaboration with Lucy Crowe OBE, the programme shifted at the last minute when Crowe was indisposed. Stepping in with less than 24 hours’ notice, soprano Elizabeth Watts joined the orchestra, reshaping the programme slightly but keeping its spirit intact. That the performance ran so smoothly after only one rehearsal is a testament to both Watts and Fantasia’s adaptability.
The programme’s breadth was striking, spanning Vivaldi, Handel, Mozart, Haydn, Strauss, Berg, and more — a journey across centuries. It was enjoyable to listen to similarities and contrasts between the composers.
Under conductor and founder Tom Fetherstonhaugh, the evening opened lively with Vivaldi’s ‘Spring’, featuring violinist Braimah Kanneh‑Mason. Messiaen’s kaleidoscopic ‘Lovebird of the Star’, arranged by Harry Baker, was originally intended for Crowe but was performed instrumentally, allowing Coonjobeeharry’s piccolo to dart playfully above lush orchestral chords. He then moved to the front of the stage with his flute to duet with Watts in Handel’s ‘Sweet Bird’. ‘Spring’ from ‘Four Last Songs’ by Strauss was radiant, and, as the programme suggested, you could definitely hear Elizabeth’s melody weaving above the orchestra, like a bird in flight.
Haydn’s Symphony No. 83, ‘The Hen’, opened the second half light and witty despite its length, drawing applause between movements. Kosma’s ‘Autumn Leaves’ closed the programme with melancholy warmth. The encore — Sherwin’s ‘A Nightingale Sang in Berkeley Square’ — brought Kanneh‑Mason back to the stage to duet with Watts.
The programme also introduced newer voices. Blasio Kavuma’s ‘I Am the Sea’, receiving its London premiere, stood out for its moody textures and improvisatory spirit. Performed standing by two violins, viola, and oboe, it culminated in horn grunts and string glissandi that evoked avian calls. Though one player was obscured from view, the piece’s mysterious atmosphere contrasted intriguingly with the rest of the evening.
As a former clarinetist, I admit my bias: I always relish hearing the clarinet or oboe, their timbres adding depth to the ensemble. Fantasia’s all‑female violin section also caught the eye, underscoring the orchestra’s energy and diversity.
Fetherstonhaugh describes Fantasia as “bringing together music from different periods and styles in a spirit of collaboration, joy and imagination.” ‘Birdsong’ embodied that ethos.
Fantasia’s debut at the BBC Proms last year won them admirers for their vibrancy and genre‑crossing repertoire. The orchestra is home to some of the best of young British classical musical talent. Each programme is built around the personalities of its soloists and the diverse breadth of music they perform.
Address: Smith Square Hall, SW1P 3HA
Website: https://www.fantasiaorchestra.com/whats-on/lucy-crowe-birdsong
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Written by Caitlin Neal
