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Review: Anna Lapwood, Bristol Beacon – ‘A soaring triumph’
For eight years she remained silent. But not any more.
The grand unveiling of the restored Harrison & Harrison organ at Bristol Beacon was entrusted to none other than the superstar ambassador for the instrument, Anna Lapwood.
Painstakingly restored, the organ is the centrepiece of Bristol Beacon. Although the venue reopened in autumn 2023 after a multimillion restoration, this felt like the final piece falling into place – the moment the building truly found its “voice” again.
The Grade II-listed pipe organ, one of the country’s last surviving late-Romantic concert hall organs, was renamed the Britton Organ following a £250,000 donation from the Bristol-based Jack and Monica Britton Trust, which supports young organists and organ refurbishments.
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Lapwood is something of an evangelist for classical music, embodying the spirit of the likes of Leonard Bernstein, Yehudi Menuhin and Nigel Kennedy in her mission to bring music to the masses, joyfully demystifying the musical gems.
The virtuoso organist’s ability to switch seamlessly between genres, championing everything from JS Bach to Robbie Williams or Hans Zimmer, has earned her legions of followers on TikTok and other platforms, where younger audiences are increasingly discovering art beyond traditional venues of concert halls and galleries.
The anticipation for the concert was palpable. A sold-out crowd gathered to witness one of the largest and loudest organs in the country brought back to life. And they weren’t disappointed.
When Lapwood emerged from the twilight into the spotlight at centre stage, she was met with a roar of applause. The evening opened with her organ transcription of Chevaliers de Sangreal from The Da Vinci Code by Hans Zimmer – a piece Lapwood admitted had moved her to tears on first hearing, and notably the first film score she ever transcribed for the organ.
The sold-out audience was enthralled with a dazzling array of pieces arranged for the organ – photo: Milan Perera
This atmospheric rendition flowed seamlessly into Flight by Rachel Portman, offering a softer, more tender sound palette and showcasing Lapwood’s deft command of mood and nuance – even on an instrument more often associated with grandeur than intimacy.
By contrast, Lumina Luminis by Olivia Belli revealed the organ’s more bombastic and haunting qualities. The piece evoked the sensation of a spacecraft drifting through the orbit, pausing for a serendipitous glimpse of Earth below.
In the central section, Lapwood drew out the instrument’s brightest and most powerful stops with assured control. A single note unwavering, lingered in suspension before resolving into a radiant fanfare.
The highlight of the evening was undoubtedly the “organ symphony” drawn from The Lord of the Rings trilogy.
Condensed into six movements, it captured the saga’s defining motifs, from the pastoral innocence of the Shire, through the brooding menace of the Twin Towers, to the triumphant return of the King.
The organ symphony has received the highest endorsement from the original The Lord of the Rings composer, Howard Shore, much to the delight of Lapwood who premiered it for the Bristol audience.
A self-confessed Tolkien nerd, Lapwood shaped the visceral themes with unerring sensitivity.
The prime motif introduced in the opening movement resurfaced throughout the work, before finally resolving in a soaring climax that filled the cathedral-like space of the Beacon Hall, conferring on all present something akin to a benediction, a triumphant affirmation of good over evil.
Her rapport with the audience was sincere and energetic. She hopped on and off the organ with the ease and elegance of a ballerina.
There was a note of genuine warmth in her voice whenever she offered context to a piece. And there was an impromptu rendition of “Happy Birthday” for some audience members celebrating their special day.
The grand unveiling of the restored Harrison & Harrison organ at Bristol Beacon was entrusted to none other than the superstar ambassador for the instrument, Anna Lapwood – photo: Jessie Myers/Soul Media
Audience participation was sought for a four-movement organ transcription of the music from Pirates of the Caribbean, with Lapwood offering a quick vocal masterclass so the crowd could join in during the opening movement.
In the final movement – a dense juxtaposition of five themes – Lapwood’s virtuosity was unmistakable, executing the contrasting lines with both hands and feet in a breathtaking display of technical mastery.
The programme also included crowd-pleasers such as music from Star Wars by John Williams and Experience by Ludovico Einaudi. The evening was brought to a fitting finale with Eugène Gigout’s Toccata, a piece Lapwood admitted had inspired her to become an organist, drawn by its brilliance and technical demands.
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The audience responded with a raucous standing ovation, prompting Lapwood to return for not one but two encores, completing the second coming of the restored Britton Organ in triumphant style.
Main photo: Jessie Myers/Soul Media
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