{"id":25976,"date":"2026-09-20T07:00:00","date_gmt":"2026-09-20T06:00:00","guid":{"rendered":"https:\/\/aata.dev\/?p=25976"},"modified":"2026-09-20T08:09:23","modified_gmt":"2026-09-20T07:09:23","slug":"sidetracks-and-detours-sunday-20th-september-2026-uk-reviews-waiting-for-godot-at-the-octagon-bolton-t-soprano-and-mezzo-music-at-lunchtime-toad-lane-concert","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2026\/09\/20\/sidetracks-and-detours-sunday-20th-september-2026-uk-reviews-waiting-for-godot-at-the-octagon-bolton-t-soprano-and-mezzo-music-at-lunchtime-toad-lane-concert\/","title":{"rendered":"SIDETRACKS AND DETOURS, Sunday 20th September, 2026, Duo Bravo + UK reviews Waiting For Godot at The Octagon, Bolton t & Soprano And Mezzo ( music at lunchtime, Toad Lane Concert)."},"content":{"rendered":"\n

JUST FOLLOW YOUR ART<\/strong><\/p>\n\n\n\n

TO<\/strong><\/p>\n\n\n\n

ISLANDLIFE<\/strong><\/p>\n\n\n

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DUO BRAVO  THEIR VERY OWN X FACTOR<\/strong><\/p>\n\n\n\n

The “X factor” refers to a special, intangible, and indescribable quality <\/strong>that distinguishes a person or thing from others and makes it stand out in a unique way.<\/p>\n\n\n\n

It is that “something” difficult to put into words\u2014similar to the French concept of *je ne sais quoi*<\/strong>\u2014that goes beyond mere technical talent or beauty.<\/p>\n\n\n\n

The X factor might be about charisma and magnetism: In artists or leaders, this refers to stage presence or the innate ability to instantly captivate an audience.<\/p>\n\n\n\n

In sports or business, it describes a factor or player capable of unexpectedly changing the course of an event thanks to a unique spark.<\/p>\n\n\n\n

The letter X is traditionally used in mathematics and science to represent an unknown quantity or value. By extension, the “X factor” represents that secret component or hidden variable that cannot be easily measured, yet whose impact makes all the difference. The concept gained immense global popularity thanks to televised talent show formats like *The X Factor*, where judges sought precisely that star with the makings of an idol.<\/p>\n\n\n\n

However I have always been of the opinion that Lanzarote is a place<\/strong> that holds its own X Factor. So many different locations on the island have their own unique \u00b4feel\u00b4 to them, seemingly holding their own individual x factor. Even the winds that rush across or dally around the island seem to have their own x factor.<\/p>\n\n\n\n

In fact, Migue<\/strong>l, editor of the always informative Lanzarote Information, whether in print or on line, recently described just such a wind.  There was his e mail waiting in my inbox when I arrived back home at 11.00pm last night after spending two hours listening to a live performance by the excellent Duo Bravo<\/strong>: a great musically trained female singer, Araceli Bravo & Fran Mauri<\/strong> a polymath within musician, composer, player in genres from classical to folk and rock.<\/p>\n\n\n\n

But before we try to identify their patently obvious x factor, let\u00b4s examine what Miguel revealed about the los alisios tradewwinds<\/p>\n\n\n\n

The trade winds (los vientos alisios) are the invisible architect of Lanzarote, shaping everything from our buildings to our agriculture. For most of the year, these northeast breezes blow consistently across the island, cooling down the Saharan heat, keeping the climate mild, and driving the world-class surf along the coast of Famara.<\/em><\/p>\n\n\n\n

los vientos alisios historically also forced historic islanders to innovate\u2014most famously in the volcanic wine region of La Geria, where deep pits and semi-circular stone walls were built specifically to shield delicate grapevines from being scorched and dried out by the relentless gusting.<\/em><\/p>\n\n\n\n

As summer transitions into early autumn, these persistent winds finally drop away, ushering in a brief, tranquil season known locally as the calmas. The sea transforms into a glassy mirror ideal for open-water swimming, diving, and kayaking around Papagayo, while the thermal intensity rises on land, bringing a quieter, softer rhythm to island life before the winter weather patterns take over. It\u2019s our favourite time of the year on the island.<\/em><\/p>\n\n\n\n

So Miguel\u00b4s explanation, above, goes some way to describing the x factor of this particular wind, and in so doing he also describes the effect of an X factor carried of Duo Bravo<\/strong> can have on others.<\/p>\n\n\n

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Last night was my second viewing of Duo Bravo<\/strong>, and just as last time, in the cavernous Convento de Santo Domingo of Teguise<\/strong>, Araceli \u00a0Bravo\u00b4s<\/strong> beautiful and powerful voice and Fran Mauri<\/strong>\u00b4s sympathetic and empathetic playing rolled around this much smaller venue of Casa de la Cultura in Yaiza.<\/strong><\/p>\n\n\n\n

In both of these concerts the Duo Bravo<\/strong> played in cemi-darkness which lent some gravitas and reverence to the proceedings, leaving nothing to distract their audience form the music, other than the hypnotic scores of candles laid out on stage and up the aisles of seating.<\/p>\n\n\n\n

Perhaps because Araceli and Fran <\/strong>are laconic, and quiet, in their own interactions, and their interactions with the audience, they somehow hold our attention.<\/p>\n\n\n\n

Instead we, the audience, are able to focus on their skill sets and the stories of the songs, delivered in Spanish lyrics.<\/p>\n\n\n\n

Of course I, as a critic, always want to understand about an act capable of so holding an audience in the palm of their hands through their concerts, in truth of only sparse interaction, who are then able to step down off the stage at the end opf tghe concert and wander through the audienc,e greeting new and old fans alike and somehow making us all feel proud to have been there.<\/p>\n\n\n\n

Perhaps the duo\u00b4s invisible x factor, is a refined skill set<\/p>\n\n\n

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Araceli and Fran<\/strong> are each good-looking and are always elegant, always assured, but that in itself is not an x factor. Anybody seeking to aspire to their levels could follow suit. So I have racked my brains to define what their x factor is,\u2026\u2026..<\/p>\n\n\n\n

But when I trained to be a salesman sixty years ago for a career that didn\u00b4t even last sixty days, I was taught to identify product features, and the benefit to the customer of these features.<\/p>\n\n\n\n

The stand-out features<\/strong> of Duo Bravo<\/strong> are elegance, quietness, dignity, respect for the music, <\/strong>and admirable professionalism<\/strong><\/p>\n\n\n\n

The benefits<\/strong> of each of those features\u00a0 are enhanced self respect within audience members,<\/strong> that allow them to focus on the music and musicians without having to endure the often confusing trappings of corporate or social media and mis-adventures that we too soon tire of.<\/p>\n\n\n\n

Duo Bravo\u00b4s best feature<\/strong> is that they somehow help make their listeners feel good about themselves, individually, and as an audience.<\/p>\n\n\n\n

That, though, is a benefit<\/strong> they deliver to their fans, but how they do so, gently and invisibly almost, is an X factor none of us can describe<\/strong>..<\/p>\n\n\n\n

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WAITING FOR GODOT<\/strong><\/p>\n\n\n\n

The Octagon, Bolton 2026<\/strong><\/p>\n\n\n\n

Review by Hilary Dawes<\/strong><\/p>\n\n\n\n

Directed by Dominic Hill<\/strong>, Matthew Kelly<\/strong> and George Costigan <\/strong>starred in a new staging of Samuel Beckett\u2019s<\/strong> classic play.  <\/p>\n\n\n\n

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A faded and torn backdrop depicts a lost highway with telegraph poles fading into the distance, whilst a single tree dominates the foreground appearing to grow out of an abandoned vehicle at its base.<\/p>\n\n\n\n

On this isolated road, two tramps, Vladimir<\/strong> and Estragon are waiting for someone named Godot<\/strong>, although they are not sure why \u2013 only that they cannot leave until they have seen him.  It seems they have returned to or remained at the same place for some time, although their memories are hazy.  As they pass the time with scraps of conversation, bickering, moments of tenderness and flashes of dark humour, their story becomes a moving reflection on what it means to keep going in a world that rarely offers answers.   Looking at the tree they even contemplate suicide, which itself becomes the subject of many comic observations as they realise they do not have the wherewithal to make it work.<\/p>\n\n\n\n

The monotony of their day is broken by the arrival of the vociferous and flamboyantly dressed Pozzo<\/strong>, accompanied by his slave, Lucky<\/strong>, heavily burdened and tethered at the neck by a rope.  The tramps are fascinated by the visitors, who are as reliant on each other as they are themselves.  As Pozzo and Lucky leave and night falls, the Boy<\/strong> arrives to advise Vladimir and Estragon that Godot once again won\u2019t be coming and that he will come the next day. <\/p>\n\n\n\n

Next day, as they argue about how much time has passed, Pozzo and Lucky pass by again, this time  Pozzo is blind, Lucky mute.  They leave and the two men await Godot once more.   The Boy brings the same message \u2013 Godot will not be coming; he will come tomorrow\u2026\u2026\u2026.<\/p>\n\n\n\n

As Estragon and Vladimir, Matthew Kelly<\/strong> and George Costigan<\/strong> gave superlative performances,  their friendship of over fifty years coming across clearly, with beautifully natural dialogue and brilliant comic timing. <\/p>\n\n\n\n

Gbolahan Obisesan <\/strong>was splendid as larger than life Pozzo, whilst Michael Hodgson<\/strong> gave an incredibly moving performance as the tragic character of Lucky<\/strong>.  Young Octagon members Toby Stitfall<\/strong> and Sebastian Walters in turn played the role of the Boy.<\/p>\n\n\n\n

With designer Jean Chan\u2019s<\/strong> post-apocalyptic set, and lighting and sound by Lizzie Powell<\/strong> and Ian Davies<\/strong>, the talented creative team effectively captured the dystopian atmosphere of the play.<\/p>\n\n\n

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Toad Lane Concerts, Rochdale<\/strong><\/p>\n\n\n\n

SOPRANO AND MEZZO<\/strong><\/p>\n\n\n\n

duets and solos with piano at TLC<\/strong><\/p>\n\n\n\n

Review by Dr Joe Dawson<\/strong><\/p>\n\n\n\n

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The 1,179th lunchtime recital since taking over from the council in 2001 featured songs and duets and virtuoso piano.<\/p>\n\n\n\n

Louise Taylor<\/strong> has always loved music but didn’t begin singing solo until the age of 24. Since then, she has performed over 30 lead roles in light opera and musicals, sung the soprano solos in various oratorio and had great fun fronting a dance band, all this while enjoying a career in journalism, most recently as editor of Cheshire Life<\/strong> for 11 years until 2020.<\/p>\n\n\n\n

Jill Taylor<\/strong> is also a versatile singer with an extensive career across oratorio, recital, concert and stage. Operatic roles include Carmen, Cherubino<\/strong> and Kate<\/strong> in Kiss Me Kate<\/strong>. She also performs widely for life events, cofounded Voci Dolci<\/strong>, and has backed artists from Pavarotti<\/strong> to Jarvis Cocker<\/strong>.<\/p>\n\n\n\n

A soaring performance of The Flower Duet<\/strong> from Lakme<\/strong> by Delibes<\/strong> (a.k.a. British Airways<\/strong> advert) established them as fine performers whose voices and characters blend well together.<\/p>\n\n\n\n

Two lovely French songs followed with a dreamlike Faure\u2019s Apr\u00e8s un r\u00eave<\/strong> from Louise<\/strong> and a heartfelt Si mes vers avaient des ailes<\/strong> by Hahn<\/strong> from Jill<\/strong>. Then came British songs, Louise<\/strong> with an expressive Love’s Philosophy by Quilter<\/strong>, and Jill<\/em> with quiet intensity in The Salley Gardens<\/strong> setting by Britten.<\/strong><\/p>\n\n\n\n

They were expertly accompanied by the indomitable Jonathan Ellis who also contributed a piano interlude with the fantastic concert piece, Hungarian Rhapsody in C sharp minor by Listz<\/strong>, completely from memory.<\/p>\n\n\n\n

We were then treated to an attractive set from Bernstein\u2019s West Side Story<\/strong>: with A Boy Like That<\/strong> and I Have a Love<\/strong> as a duo scene from Louise and Jill,<\/strong> followed by a plaintive Somewhere<\/strong> from Jill and characterful I Feel Pretty<\/strong> from Louise<\/strong>.<\/p>\n\n\n\n

There were more Broadway<\/strong> numbers with a soulful My Ship<\/strong> by Weill<\/strong> from Jill<\/strong> and desperate yearning from Louise<\/strong> in I Wish It So<\/strong> by Blitzstein<\/strong>, leading to the finale with the immensely popular Abendsegen (Evening Prayer)<\/strong> by the original Engelbert Humperdinck<\/strong> of 1893 that brought about a peaceful close. This had been an enbtranbcing varied recital from seasoned and engaging performers who formed the WAITING FOR GODOT<\/strong><\/p>\n\n\n\n

The Octagon, Bolton 2026<\/strong><\/p>\n\n\n\n

Review by Hilary Dawes<\/strong><\/p>\n\n\n\n

Directed by Dominic Hill<\/strong>, Matthew Kelly<\/strong> and George Costigan <\/strong>starred in a new staging of Samuel Beckett\u2019s<\/strong> classic play.  <\/p>\n\n\n\n

A faded and torn backdrop depicts a lost highway with telegraph poles fading into the distance, whilst a single tree dominates the foreground appearing to grow out of an abandoned vehicle at its base.<\/p>\n\n\n\n


On this isolated road, two tramps, Vladimir<\/strong> and Estragon are waiting for someone named Godot<\/strong>, although they are not sure why \u2013 only that they cannot leave until they have seen him.  It seems they have returned to or remained at the same place for some time, although their memories are hazy.  As they pass the time with scraps of conversation, bickering, moments of tenderness and flashes of dark humour, their story becomes a moving reflection on what it means to keep going in a world that rarely offers answers.   Looking at the tree they even contemplate suicide, which itself becomes the subject of many comic observations as they realise they do not have the wherewithal to make it work.<\/p>\n\n\n\n

The monotony of their day is broken by the arrival of the vociferous and flamboyantly dressed Pozzo<\/strong>, accompanied by his slave, Lucky<\/strong>, heavily burdened and tethered at the neck by a rope.  The tramps are fascinated by the visitors, who are as reliant on each other as they are themselves.  As Pozzo and Lucky leave and night falls, the Boy<\/strong> arrives to advise Vladimir and Estragon that Godot once again won\u2019t be coming and that he will come the next day. <\/p>\n\n\n\n

Next day, as they argue about how much time has passed, Pozzo and Lucky pass by again, this time  Pozzo is blind, Lucky mute.  They leave and the two men await Godot once more.   The Boy brings the same message \u2013 Godot will not be coming; he will come tomorrow\u2026\u2026\u2026.<\/p>\n\n\n\n

As Estragon and Vladimir, Matthew Kelly<\/strong> and George Costigan<\/strong> gave superlative performances,  their friendship of over fifty years coming across clearly, with beautifully natural dialogue and brilliant comic timing. <\/p>\n\n\n\n

Gbolahan Obisesan <\/strong>was splendid as larger than life Pozzo, whilst Michael Hodgson<\/strong> gave an incredibly moving performance as the tragic character of Lucky<\/strong>.  Young Octagon members Toby Stitfall<\/strong> and Sebastian Walters in turn played the role of the Boy.<\/p>\n\n\n\n

With designer Jean Chan\u2019s<\/strong> post-apocalyptic set, and lighting and sound by Lizzie Powell<\/strong> and Ian Davies<\/strong>, the talented creative team effectively captured the dystopian atmosphere of the play.<\/p>\n\n\n\n

Toad Lane Concerts, Rochdale<\/strong><\/p>\n\n\n\n

SOPRANO AND MEZZO<\/strong><\/p>\n\n\n\n

duets and solos with piano at TLC<\/strong><\/p>\n\n\n\n

Review by Dr Joe Dawson<\/strong><\/p>\n\n\n\n

The 1,179th lunchtime recital since taking over from the council in 2001 featured songs and duets and virtuoso piano.<\/p>\n\n\n\n

Louise Taylor<\/strong> has always loved music but didn’t begin singing solo until the age of 24. Since then, she has performed over 30 lead roles in light opera and musicals, sung the soprano solos in various oratorio and had great fun fronting a dance band, all this while enjoying a career in journalism, most recently as editor of Cheshire Life<\/strong> for 11 years until 2020.<\/p>\n\n\n\n

Jill Taylor<\/strong> is also a versatile singer with an extensive career across oratorio, recital, concert and stage. Operatic roles include Carmen, Cherubino<\/strong> and Kate<\/strong> in Kiss Me Kate<\/strong>. She also performs widely for life events, cofounded Voci Dolci<\/strong>, and has backed artists from Pavarotti<\/strong> to Jarvis Cocker<\/strong>.<\/p>\n\n\n\n

A soaring performance of The Flower Duet<\/strong> from Lakme<\/strong> by Delibes<\/strong> (a.k.a. British Airways<\/strong> advert) established them as fine performers whose voices and characters blend well together.<\/p>\n\n\n\n

Two lovely French songs followed with a dreamlike Faure\u2019s Apr\u00e8s un r\u00eave<\/strong> from Louise<\/strong> and a heartfelt Si mes vers avaient des ailes<\/strong> by Hahn<\/strong> from Jill<\/strong>. Then came British songs, Louise<\/strong> with an expressive Love’s Philosophy by Quilter<\/strong>, and Jill<\/em> with quiet intensity in The Salley Gardens<\/strong> setting by Britten.<\/strong><\/p>\n\n\n\n

They were expertly accompanied by the indomitable Jonathan Ellis who also contributed a piano interlude with the fantastic concert piece, Hungarian Rhapsody in C sharp minor by Listz<\/strong>, completely from memory.<\/p>\n\n\n\n

We were then treated to an attractive set from Bernstein\u2019s West Side Story<\/strong>: with A Boy Like That<\/strong> and I Have a Love<\/strong> as a duo scene from Louise and Jill,<\/strong> (shown in photo below)<\/strong> .followed by a plaintive Somewhere<\/strong> from Jill and characterful I Feel Pretty<\/strong> from Louise<\/strong>.<\/p>\n\n\n

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<\/p>\n\n\n\n

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There were more Broadway<\/strong> numbers with a soulful My Ship<\/strong> by Weill<\/strong> from Jill<\/strong> and desperate yearning from Louise<\/strong> in I Wish It So<\/strong> by Blitzstein<\/strong>, leading to the finale with the immensely popular Abendsegen (Evening Prayer)<\/strong> by the original Engelbert Humperdinck<\/strong> of 1893 that brought about a peaceful close. This had been an enbtranbcing varied recital from seasoned and engaging performers who formed a terrific trio of talent.<\/strong> (see photo at heading)<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

The Queen\u2019s Award-winning Toad Lane Concerts<\/strong> take place every Wednesday at 12.30pm<\/em> at the Grade 1 listed church of St Mary in the Baum, Toad Lane, Rochdale, OL16 1DZ. <\/p>\n\n\n\n

Running every Wednesday<\/strong>, Music at Lunchtime<\/strong> is a weekly live classical music concert series that has been going since the 1960s. The sessions were initially run at the old Rochdale Art Gallery<\/strong> by the local authority, but since May 2001<\/strong> have been run by volunteer-enthusiasts with  Artistic director, Dr Joe Dawson<\/strong>.<\/p>\n\n\n\n

Doors open 12noon, concert starts 12.30pm – 1.30pm Admission 6 pounds<\/p>\n\n\n\n

St Mary in the Baum, Toad Lane\/St Mary’s Gate, Rochdale OL16 1DZ<\/p>\n\n\n\n

for information Doctor Joe Dawson. 01706 648872<\/strong><\/p>\n\n\n\n

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SIDETRACKS & DETOURS SUNDAY 27th<\/sup> SEPTEMBER 2026<\/p>\n\n\n\n

r.i.p. David Alan Coe, songwriter and unreliable narrator<\/strong><\/p>\n\n\n\n

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SIDETRACKS & DETOURS SUNDAY 4TH OCTOBER 2026<\/p>\n\n\n\n

KASEY MUSGRAVES. From Golden Hou to Middle Of Nowhere<\/strong><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

JUST FOLLOW YOUR ART TO ISLANDLIFE DUO BRAVO  THEIR VERY OWN X FACTOR The “X factor” refers to a special, intangible, and indescribable quality that distinguishes a person or thing from others and makes it stand out in a unique way. It is that “something” difficult to put into words\u2014similar to the French concept of […]<\/p>\n","protected":false},"author":2,"featured_media":25977,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-25976","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorised"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/25976","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=25976"}],"version-history":[{"count":6,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/25976\/revisions"}],"predecessor-version":[{"id":27310,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/25976\/revisions\/27310"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/25977"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=25976"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=25976"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=25976"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}