First published in The Herald on 17 August, 2018
Helen MacLeod, who has died aged 37 in a car accident, was one of Scotland’s finest harp players. She was a passionate champion of traditional music, new music and classical repertoire; she was a spirited teacher, a warm-hearted collaborator, a talented composer and arranger. She will be profoundly missed by Scotland’s musical community.
MacLeod grew up in Inverinate, a small village on the north shore of Loch Duich near Kyle of Lochalsh in the West Highlands. Her father, Roddy, is a native Gaelic speaker and Helen studied Gaelic throughout her school years. Her love of music grew out of the rich traditional culture of the area, and she first learnt the clarsach locally with Christine Martin before winning a scholarship to study at St Mary’s Music School – a specialist music school in Edinburgh. There she continued her studies in both traditional clarsach and pedal harp with Charlotte Peterson as well as Isobel Mieras.
As a student at St Mary’s, MacLeod was gregarious, generous, witty, full of energy. I remember her from those years as a bright spark and joyous trouble-maker, a glamorous role model who spoke her mind and acted with conviction. She was also a tremendously caring friend.
First published in the Guardian on 15 August, 2018
Lads in tracksuits hurl themselves across the stage, all hoods and fists and aggro. There’s no music but screeching sirens and the dense thuds of bodies hitting floor and each other. Then the overture kicks in with a brute shock of sweet-voiced lutes and harpsichords. The contrast works like a punch in the gut, and the audience lets out a collective gasp.
Musical and moral collisions abound in any production of The Beggar’s Opera. John Gay’s 18th century satire is a gleeful period piece of irredeemably patchy values: heartthrob villain who makes gang crime look sexy and misogyny look cute; clingy damsels who paint a flagrantly unreconstructed portrait of the female psyche – meek or manipulative, or both. But The Beggar’s Opera is also a riot and a farce, wickedly funny when done right. It’s the original musical packed with tender airs and lusty sing-alongs. What’s a director to do? Ditch it? Dodge it? Rewrite it?
Zimmer-frame opera to renaissance polyphony, Verdian comic gold to total piobaireachd immersion. My pick of music on the Edinburgh Fringe. Enjoy!
Drive By Shooting. An octogenarian discovers her husband has been having an affair with the next door neighbour. Armed with zimmer frames as getaway vehicles, she and a friend stage a hit on the cheating husband. The music builds as a fast and furious thriller, culminating in the immortal operatic line: “shoot the fecker in the pecker!” Composer Brian Irvine has a wicked way with words. The Belfast maverick plays with the daft pizazz of everyday speech, the big drama of Irish rhetoric. Drive By Shooting is a graffiti-style animated opera made in collaboration with writer/director John McIlduff, whose video loop is projected life-size onto a wall at Summerhall. Macabre, full-frontal comedy told through classic operatic idioms of passion, betrayal, revenge and fasle teeth. (Nine performances daily, 15 minutes duration, until August 26 at Summerhall)