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Archive for the ‘Design’ Category

Starting in Verona, our base for three nights at http://www.duetorrihotels.com and ending on the island of Mozzorbo in the Venice Lagoon, this trip took in the towns of Vicenza, Basano del Grappa and Treviso, with the lovely hill town of Asolo our second base for four nights. Thirteen meals, from simple plates of pasta or asparagus to three at Michelin starred restaurants, were supplemented by visits to prosecco, wine and grappa producers and rice, olive oil and cheese makers. I feel stuffed and pickled.

Photos: https://photos.app.goo.gl/MRU5fJhtBCnaNCfH9

Verona was the only point of the trip where I was retracing my steps, though only for a morning, as we headed out of town to the lovely winery of http://www.seregoalighieri.it in Valpolicella, the estate of Dante’s family, rice grower http://www.risoferron.com at Isola della Scalla where the 17th century mill was still in use and olive oil producer http://www.oliosalvagno.com At Riso Ferron, chef Stephano showed us how to cook risotto in a rather unique way (that’ll come in handy!) and served up three for us to eat, with a starter including leftover risotto and a dessert which substituted rice flour. Dinners in Verona were at http://www.12apostoli.com, built upon Roman and Mediaeval ruins still visible from the cellar where we had our aperitif, and the rather quirky Michelin starred http://www.ristorantelafontanina.com

Our journey to Asolo was broken in Vicenza, a terrific city with a fine main square, famous for Palladio buildings, including a spectacular 16th century theatre with life-size streets on stage providing ready-made sets – one of the greatest theatres of the many I’ve visited – and our one-and-only art gallery. Here we tried four different baccala (salt cod) dishes for lunch. On to our second base in the lovely hill town of Asolo  – http://www.albergoalsoleasolo.com – whose only downside was that our vehicle couldn’t get within a half-mile of our accommodation – but we discovered the shuttle for our very steep uphill returns.

Sunday saw us worshiping the god of prosecco at http://www.villasandi.it, another Palladian building, a long walk through the cellars and an alfresco tasting in the Cartizze vineyards of Valdobbiadene, where the very best prosecco grapes are grown, followed by an alfresco lunch washed down with local wines. The following day, we climbed 3000 ft (no, not on foot!) to an alpine plateau to visit a small Asiago cheese maker, whose cheeses changed with the seasons and in particular his cows’ food. Back down on the plain, Bassano del Grappa proved to be another lovely town with a Palladio wooden bridge, a lunch of white asparagus (which I didn’t know until then was grown underground) & eggs mashed with olive oil and a grappa tasting, obviously, at http://www.nardini.it A visit to Treviso was a bit of a damp squib. Cities never look good in the rain, but I’m not convinced it would have matched the other visits in the sun. We lunched at http://www.ristorantetonidelspin.com

We ended with two Michelin starred restaurants, http://www.fevaristorante.it in Castelfranco, which I thought was good rather than great, and http://www.venissa.it on the island of Mazzorbo in the Venice Lagoon, a short journey by water taxi from Venice airport from which we were flying home, which lived up to expectations, and more. Here the winery ceased production after the infamous 60’s high tide, but they have begun again, just one hectare producing a few thousand bottles of a very distinctive wine from grapes grown in saline soil giving it a unique mineralogy.

History, food, wine and good company; what’s not to like……

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Opera

There was much to like about Coraline, the Royal Opera at the Barbican Theatre, but I’m not sure the adaptation and production served both Neil Gaiman’s story and Mark Anthony Turnage’s music well as neither were dark enough. Good to see a family friendly opera at accessible prices though.

I didn’t go and see the Royal Opera’s 4.48 Psychosis first time round in 2016 because I didn’t like the Sarah Kane play from which it is adapted. The reviews and awards propelled me to this early revival, again at the Lyric Hammersmith, and I’m glad they did. Philip Venables work makes sense of Kane’s play, a bleak but brilliant exposition of depression and in particular the treatment journey in the eyes of the sufferer. Words are spoken and projected as well as sung and there is recorded music, muzak and sound effects. The artistry of the six singers and twelve-piece ensemble was outstanding. Not easy, but unmissable.

Classical Music

The new Bridge Theatre put on a lunchtime concert of Southbank Sinfonia playing Schumann’s 3rd Symphony, which was a delight, particularly as they unexpectedly blended in poems read by actors. I only wish I’d booked seats within the orchestra, as that would have been a rather unique experience; let’s hope they do it again.

At Wigmore Hall, a young Stockholm-based chamber ensemble called O/Modernt gave a recital spanning almost 400 years of English music from Gibbons to Taverner with an emphasis on Purcell & Britten. They were assisted by a mezzo, a theorbo and vocal ensemble The Cardinall’s Musick. There was even a quirky improvisation on a theme by Purcell. It all sounded very fresh, though there was a randomness about it.

At the Barbican, a delightful double-dip started with a concert of Elgar choral works by the BBC Singers at St Giles Cripplegate. I particularly loved the fact the Radio 3 introductions were made by members of the ensemble. Then at Barbican Hall the BBC SO & Chorus under Andrew Davies gave a wonderful WWI themed concert bookended by Elgar pieces and featuring the London Premiere of a contemporary song cycle and a lost orchestral tone-poem, the highlight of which was an Elgar piece this Elgar fan had never heard, the deeply moving but thoroughly uplifting The Spirit of England, so good I will forgive the ‘England’ that should be ‘Britain’.

Another LSO rehearsal at the Barbican, this time with their new Chief Conductor Simon Rattle, a man who knows what he wants, if ever I saw one; Mahler’s 9th and a new work. It proved to be a fascinating contrast with Mark Elder’s less directive rehearsal method. Again, I wanted to book for the concert.

London Welsh Chorale did a good job with Handel’s Judas Maccabaeus at St Giles’ Cripplegate. It’s one of the first oratorio’s I ever heard (my mother was in Caerphilly Ladies Choir!). They were accompanied by a small orchestra and had four fine young soloists.

I actually went to the LSO Tippett / Mahler Barbican concert to hear Tippet’s Rose Lake again (I was at its world premiere) and as much as I enjoyed it, it was Mahler’s unfinished 10th which blew me away. A highlight in a lifetime of concert-going.

The British Museum reopened the fabulous Reading Room for some concerts and I went to the quirkiest, obviously, for Lygeti’s Poeme Symphonique for 100 Metronomes. They were all set off at the same time, but ended individually, with the fifth from the left on the back row hanging in there the longest for its solo finale followed by a minute’s silence. Strangely mesmerising.

Dance

The Royal Ballet’s Bernstein Mixed Bill was a lovely addition to his Centenary. The first piece, danced to the Chichester Psalms, was wonderful, and the last, to the Violin Serenade, was a delight. Though I love the 2nd Symphony, which provided the music for the middle piece, it was a bit dim and distant to wow me as the others had.

The Viviana Durante Company’s short programme of early Kenneth Macmillan ballet’s, Steps Back in Time, benefitted from the intimacy of Barbican Pit, but could have done with programme synopses so that we could understand the narrative, better recorded sound for the two works that had it, and on the day I went some aircon! Lovely dancing, though.

Comedy

Mark Thomas’ latest show tells the story of running a comedy workshop in the Jenin refugee camp in Palestine, two Palestinian comedians with him on stage and four more showcased on film. In addition to a good laugh, you learn a lot about life in occupied Palestine. The post-show Q&A at Stratford East was a real bonus. Important and entertaining.

Film

Love, Simon is as wholesome and sentimental as only American films can be, but its heart was in the right place and it was often very funny.

The action was a bit relentless in Ready Player One, and the ending a touch sentimental, but it’s a technical marvel and proves Spielberg can still cut it, now with mostly British actors it seems.

Funny Cow was my sort of film – gritty, British, late 20th Century – with some fine performances and some really funny stand-up. Maxine Peak was terrific.

I enjoyed The Guernsey Literary & Potato Peel Pie Society, though it was a bit slow to get off the ground. Particularly lovely to see Tom Courtney at the top of his game.

Art

A bumper catch-up month!

I was impressed by Andreas Gursky’s monumental photographs of the modern world (ports, factories, stock exchanges…) at the Hayward Gallery. Much has been said about the gallery’s refurbishment, but I honestly couldn’t tell the difference!

I’m not sure I understand the point of an exhibition about performance art events that have taken place, so Joan Jonas at Tate Modern was an odd affair; intriguing but not entirely satisfying. However, Picasso 1932, also at Tate Modern, was astonishing – work from just one year that most artists would be happy of in a lifetime, with an extraordinarily diverse range of media, subjects and styles. Wonderful.

I love discovering artists and Canadian David Milne at Dulwich Picture Gallery was no exception, his Modern Painting exhibition is a beautiful collection of landscapes, with one room of early city scenes, all very soft and colourful.

Another Kind of Life: Photography on the Margins at the Barbican Art Gallery brought together some world class, cutting edge photographers, but it was all rather depressing. The quality of photography was excellent, but all those prostitutes, addicts, homeless people…..Agadir by Yto Barrada downstairs in the Curve didn’t do much for me and the wicker seats you sat in to listen to the audio aspects of the installation were excruciatingly uncomfortable.

At the NPG, Victorian Giants: The Birth of Art Photography consisted entirely of portraits, mostly from the mid-19th Century, by four photographers. They were surprisingly natural and technically accomplished, but I’m not sure it was the ‘art photography’ it said on the can. At the same gallery Tacita Dean: Portrait consisted mostly of short films of people with loud projector sound as accompaniment and it did nothing for me.

At the RA, a small but exquisite display of Pre-Raphaelite book illustrations by the likes of Millais, Rossetti, Burne-Jones and Holman Hunt. A little gem, but oh for a much bigger one.

Ocean Liners: Speed and Style at the V&A was a brilliantly presented exhibition which conveyed the glitz and glamour but also covered the wonders of the engineering and the historical significance of the mode of travel. Unmissable.

At the Photographers Gallery the annual Deutsche Borse Photography Foundation Prize Exhibition had a real political bite this year with swipes at Monsanto, the US justice system and former Soviet and East European states. Downstairs Under Cover: A Secret History of Cross-Dressers was difficult to take in as it was a load of standard size snaps found in flea markets and car boot sales, but the accompanying display of Grayson Perry’s Photograph Album covering the early days of his alter ego Clare was fascinating.

The content of the Sony World Photography Awards Exhibition at Somerset House was better than ever and it was much better displayed, though it made me feel like a rubbish photographer again. In the courtyard, there were five geodesic domes, ‘Pollution Pods’, replicating the pollution in five world cities with live readings. New Delhi and Beijing come off particularly badly but London wasn’t as bad as I was expecting. It really made you think.

All Too Human at Tate Britain was another of those exhibitions where the premise was a bit questionable, but there were enough great paintings to forgive that. Wonderful Lucien Freud and Bacon pictures and a lot of 20th century British artists new to me. In the Duveen Hall, Anthea Hamilton has created a quirky swimming pool like space with sculptures and a performer moving around all day. Called The Squash, it was momentarily diverting.

Rodin & the art of ancient Greece places his sculptures alongside some of the British Museum’s collection of Greek pieces and it works brilliantly. Rodin apparently took inspiration from The Parthenon sculptures and was a regular visitor and lover of the BM. Wonderful.

The Travel Photographer of the Year Award exhibition moved completely outdoors and to City Hall this year, but the standard was as good as ever. The young photographer entries were particularly stunning.

I was overwhelmed by the scale and beauty of Monet & Architecture at the National Gallery. A once-in-a-lifetime opportunity to see 78 pictures together, a quarter of which come from private collections, a third from public collections scattered all over North America, and only 10% in the UK, half in the NG’s collection. Going at 10am on a Monday was also a good idea, seeing them with a handful of people instead of the crowds there when I left. While there I took in Drawn in Colour: Degas from the Burrell, thirty lovely works, but as always with pervy Degas all young women and girls, Murillo: The Self Portraits, which isn’t really my thing, and Tacita Dean: Still Life, which I enjoyed marginally more than her NPG show!

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Opera

My second visit to Grimeborn 2017 at the Arcola Theatre was for Lully’s 17th Century opera Armide. It was the first night, so it was a touch ragged at the edges, the production was a bit static (lots of posing) and it was hard to follow the story, but there was much to enjoy in the singing and playing.

Classical Music

Handel’s oratorio Israel in Egypt, in its full three part version, got a terrific first performance at the Proms by the Orchestra & Choir of the Age of Enlightenment under William Christie. I love the way it builds, I love the fact that 27 of the 39 parts are choruses and I loved the fact that the soloists came out of the choir.

An English music Prom featuring the National Orchestra & Chorus of Wales proved to be an eclectic delight. Two pieces I’d never heard by favourite composers – Britten & Purcell – with the most delicate and uplifting rendition of Elgar’s Enigma Variations and the world premiere of Brian Elias’ Cello Concerto, with the composer in attendance. Brilliant.

A new innovation at the Proms this year was ‘Beyond the Score‘, where the first half was a profile of the composer and background to the work, with actors, visuals and musical extracts, followed by the complete symphony, in this case Dvorak’s 9th, From the New World. Though I thought the first half was a bit long, it was insightful and I very much enjoyed the experience and felt I heard more in the piece as a result. Mark Elder and the Halle were on fine form.

The 120-year-old Cincinnati Symphony Orchestra made their belated Proms debut with a programme of Bernstein, Copeland and Tchaikovsky. I thought they were more at home with the American repertoire that the Russian, which they proved conclusively with a stunning encore of Bernstein’s Candide Overture, better than I’ve ever heard it played before. The Proms audience made them very welcome indeed.

Contemporary Music

The late night  Stax Prom, celebrating 50 years of the label, exceeded expectations big-time. I wasn’t a huge fan in the day, but came to Stax later and visited the studios in Memphis in 2004. Two of the original house band and three of the original singers were supplemented by some of the best British soul voices, led by Sir Tom Jones. Jools Holland’s R&B Orchestra were great (though the sound could have been a bit better) and it was full of highlights, with a terrific atmosphere in the Royal Albert Hall.

Film

I was introduced to the folk art of Maud Lewis when I went to the Art Gallery in Halifax Nova Scotia last September, so the bio-pic Maudie perhaps meant more to me as a result. True to her life story and beautifully filmed, I adored it, and Sally Hawkins was sensational as Maud.

Atomic Blonde was thrilling but too violent for me, with much of it improbably prolonged violence. Gold stars to the stunt men and women, though.

I was bored very early on in the over-hyped A Ghost Story, and presenting the ghosts as people covered in sheets with slits for eyes just seemed preposterous.

Thankfully, The Big Sick exceeded its hype and caught me by surprise as to how moving it was. Unlike the typical laddish Judd Apatow film; very grown up.

I’m very fond of independent British films, and God’s Own Country is one of the best in recent years, beautifully filmed and it really shows off Yorkshire!

Art

I’m not a fashion man, but you have to admire the classic design and extraordinary craftsmanship of Balenciaga at the V&A. Up the road at the Serpentine GalleryGrayson Perry’s exhibition was just the right size to give the pieces room to breathe and to avoid overwhelming the viewer, and the gallery managed the flow of punters brilliantly. The art, of course, was as fascinating as he always is.

A wonderful day of art started at St. James’s Piccadilly with the sculptures of Emily Young in the gardens. All heads, but different types and different stone, they were lovely. At the Royal Academy, I managed to get us into the Friends preview of Matisse in the Studio which was a little gem, showcasing pictures with the items from his studio in them. They have been loaned from so many different places it really is a once-in-a-lifetime show. Downstairs in the RA the one-room wonder that was Second Nature: The Art of Charles Tunnicliffe, some of the most gorgeous illustrations I’ve ever seen. After lunch a return to Picasso: Minotaurs & Matadors at the Gagosian which was well worth a second viewing, then off to Tate Modern for Giacometti, which was way more diverse and way more fascinating than I was expecting. Now that’s what I call an art feast!

+ / – Human was this year’s Roundhouse summer installation, seven round white drones which moved above your head, coming teasingly close but rarely close enough to touch, with at atmospheric soundtrack. Fascinating and fun.

The Pink Floyd Exhibition: Their Mortal Remains at the V&A was interesting and well put together (apart from the fact it was a bit crowded and you sometimes lost the automated audio guide as you moved) but I gave up on them too soon, as they became somewhat overblown and pompous, so I’m not enough of a fan to rave about it.

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Music

I’m not sure how to categorise Just Call Me God at Union Chapel. It categorised itself as ‘Music Theatre’, but I think I’d prefer Play with Music. John Malkovich played a generic dictator at the end of his reign when troops with an embedded journalist arrive at his underground concert hall. There is music throughout, most played on the chapel’s organ (hidden, so I never knew it existed) but some electronica. It was a bit of a one-off which I rather liked.

Art

At the Royal Academy of Art, America After the Fall: Painting in the 1930s and Revolution: Russian Art 1917-32 proved to be a contrasting but brilliant pairing, being so close in time but worlds apart in other respects. I loved them both.

The Syngenta Photography Award Exhibition, Grow / Conserve, at Somerset House featured many diverse pictures on various environmental themes. It was really well curated and mostly fascinating. It’s a pity it’s had little publicity.

Lockwood Kipling: Arts & Crafts in the Punjab and London at the V&A was a fascinating insight into the life of Rudyard’s dad who taught and curated arts and crafts at a time when the A&C movement was at its height. Fascinating.

I managed to see the painting Flaming June at Leighton House Museum, where it was brought together with four other late Leighton paintings, before it returned to Puerto Rico. It was also a treat to be in the Arab Hall again, one of my favourite rooms in one of my favourite London houses.

Hopping across town to another favourite London building, Two Temple Place, for Sussex Modernism: Retreat & Rebellion, a fascinating collection of art by people who had made homes, friends and connections in the county, like a Who’s Who of early 20th century British art and design. Great to see the carvings and stained glass again too.

Film

Viceroy’s House seemed the perfect choice for the day before I departed for India and I did enjoy it, though maybe not as much as I was expecting to. I loved the fact that it was made by the British Indian granddaughter of someone displaced by the partition.

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The Rest of 2016

I spent a third of the last third of the year out of the country, so my monthly round-up’s for this period have merged into one mega-round-up of the two-thirds of the four months I was here!

Opera

Opera Rara’s concert performance of Rossini’s rare Semiramide, the last Bel Canto opera, at the Proms was a real highlight. It’s a long work, four hours with interval, in truth too long, but it contains some of Rossini’s best music (and I’m not even a fan!). The OAE, Opera Rara Chorus and a world class set of soloists under Sir Mark Elder gave it their all, with ovations during let alone at the end. Brilliant.

I was out of the country when I would have made my usual trip to Cardiff for WNO’s autumn season, so I went to Southampton to catch their UK premiere of Andre Tchaikowsky’s The Merchant of Venice when I got home and I was very glad I did. It’s a fine adaptation of Shakespeare’s play, with a particularly dramatic court scene, and it was beautifully sung and played, with a terrific performance by American Lester Lynch as Shylock.

I’m not sure I’ve ever been to something that sounded so beautiful but looked so ugly. Handel’s Oreste, a pasticcio opera (a compilation of tunes from elsewhere, in Handel’s case his own works) which the Royal Opera staged at Wilton’s Music Hall. The singing and playing of the Jette Parker Young Artists and Southbank Sinfonia were stunning, but the production was awful. One of those occasions when it’s best to shut your eyes.

Classical Music

Another delightful lunchtime Prom at Cadogan Hall, this time counter-tenor Iestyn Davies and soprano Carolyn Sampson, both of whom are terrific soloists, but together make a heavenly sound. I was less keen on the six Mendelssohn songs than the six Quilter’s and even more so the glorious six Purcell pieces. It was a joyful, uplifting hour.

Juditha triumphans is a rare opera / oratorio by Vivaldi that was brilliantly performed at the Barbican by the Venice Baroque Orchestra and a superb quintet of female singers including Magdalena Kozena as Juditha. It took a while to take off, but it then soared, and the second half was simply stunning.

Visiting the LSO Steve Reich at 80 concert at the Barbican was a bit of a punt which really paid off. The three pieces added up to a feast of modernist choral / orchestral fusions. The composer was present and received an extraordinary ovation from a surprisingly full house.

Berlioz Requiem is on a huge scale, so the Royal Albert Hall was the perfect venue, and it was Remembrance Sunday, so the perfect day too. The BBC Symphony Orchestra, with ten timpanists and an enormous brass section of 50 or 60, occasionally drowned out all three choirs (!) but it was otherwise a thrilling ride.

Joyce DiDonato‘s latest recital with the wonderful baroque ensemble Il Pomo d’Oro was a bit if a disappointment. It had some extraordinary musical high spots, but the selection could have been better and she didn’t really need the production (lights, projections, haze, costumes, face painting and a dancer!). It didn’t help that the stage lights sometimes shone into the eyes of large chunks of the audience, including me, blinding them and sending me home with a headache.

At the Royal Academy of Music their Symphony Orchestra was conducted by Sir Mark Elder in a lunchtime concert of Shostakovich’s 5th Symphony and it was thrilling. Sir Mark did another of his fascinating introductory talks, this time illustrated with musical extracts.

The BBC Singers gave a lovely curtain-raising concert of unaccompanied seasonal music by British composers at St Giles Cripplegate, half from the 20th century and half from the 21st, before the BBC SO‘s equally seasonal pairing of Rimsky-Korsakov’s Christmas Eve Suite and Neil Brand’s A Christmas Carol for orchestra, choir and actors in the Barbican Hall. This was a big populist treat.

I’ve heard a lot of new classical music since I last heard John Adams‘ epic oratorio El Nino, so it was good to renew my acquaintance and discover how much I still admire it. 270 performers on the Barbican stage provide a very powerful experience – the LSO, LSC, a youth choir and six excellent American soloists who all know the work. Thrilling.

Canadian bass-baritone Gerald Finley, accompanied by Sir Antonio Pappano on piano no less, gave a superb but sparsely attended recital at the Barbican Hall. It was an eclectic, multi-lingual and highly original selection, beautifully sung. More fool those who stayed away from this absolute treat.

The standards of amateur choirs in the UK are extraordinary, and the London Welsh Chorale are no exception. Their lovely Christmas concert at St. Sepulchre-without-Newgate included extracts from Handel’s Messiah, Vivaldi’s Gloria plus songs and carols. The soprano and mezzo soloists were superb too.

Dance

Rambert’s ballet set to Haydn’s oratorio The Creation at Sadler’s Wells was one of the best dance evenings of recent years. If you shut your eyes, this would be a world class concert with three fine soloists, the BBC Singers and the Rambert Orchestra. With a gothic cathedral backdrop, the dance added a visual dimension which wasn’t literal but was beautifully impressionistic and complimentary.

English National Ballet had the inspired idea to ask Akram Khan to breathe new life into Giselle and at Sadler’s Wells boy did he do that. It’s an extraordinarily powerful, mesmerising and thrilling combination of music, design and movement. From set, costumes and lighting to an exciting adapted score and the most stunning choreography, this is one of the best dance shows I’ve ever seen.

Michael Keegan-Dolan’s Swan Lake the following week, also at Sadler’s Wells, wasn’t such a success, and steered even further away from its inspiration. It revolved around a 36-year old single man whose mother was desperate to marry off, but there were lots of references to depression and madness. I’m afraid I didn’t find the narrative very clear, its relationship to the ballet is a mystery to me and it’s more physical theatre than dance. It had its moments, but it was not for me I’m afraid.

Back at Sadler’s Wells again for The National Ballet of China‘s Peony Pavilion, a real east-meets-west affair. Ancient Chinese tale, classical ballet with elements of Chinese dance, classical music with added Chinese opera. Lovely imagery and movement. I loved it.

New Adventures’ Red Shoes at Sadler’s Wells might be the best thing they’ve done since the male Swan Lake. With a lush Bernard Herman mash-up score, great production values and Matthew Bourne’s superb choreography, it’s a great big populist treat.

Contemporary Music

Camille O’Sullivan brought an edginess to the songs of Jacques Brel which I wasn’t comfortable with at first but then she alternated them with beautifully sung ballads and I became captivated. She inhabited the songs, creating characters for each one. Her encore tributes to Bowie & Cohen were inspired.

There were a few niggles with Nick Lowe‘s Christmas concert at the Adelphi Theatre – it started early (!), the sound mix wasn’t great and he gave over 30 minutes of his set to his backing band Los Straightjackets (who perform in suits, ties & Mexican wrestler masks!) but (What’s so funny ’bout) Peace Love & Understanding has never sounded more timely and the closing acoustic Alison was simply beautiful. He’s still growing old gracefully.

Film

I loved Ron Howard’s recreation of the Beatles touring years in Eight Days a Week, plus the remastered Shea Stadium concert which followed. What was astonishing about this was that they were completely in tune with all that crowd noise and no monitors or earphones!

Bridget Jones Baby was my sort of escapist film – warm, fluffy and funny – and it was good to see Rene Zellweger and Colin Frith on fine form as the now much older characters.

I, Daniel Blake made me angry and made me cry. Thank goodness we’ve got Ken Loach to show up our shameful treatment of the disabled. Fine campaigning cinema.

I loved Nocturnal Beasts, a thriller that’s as close to the master, Hitchcock, as I’ve ever seen. I was gripped for the whole two hours.

Fantastic Beasts lived up to its hype. Though it is obviously related to Harry Potter, it’s its own thing which I suspect will have quite a series of its own. Starting in NYC, I reckon it will be a world tour of locations for future productions.

Kiwi film The Hunt for the Wilderpeople is a very funny, heart-warming affair with a stunning performance by a young teenager, Julian Dennison, matched by a fine one from Sam Neill.

I loved A United Kingdom, based on the true story of Botswana’s Seretse Khama, leader from mid-60s independence to 1980. It’s the true story of a country that has been a beacon of democracy in a continent of corruption.

The Pass must be one of the most successful stage-to-screen transfers ever. I was in the front row at the Royal Court upstairs, but it seemed even tenser on screen. Good that three of the four actors made the transfer too.

One of my occasional Sunday afternoon double-bills saw Arrival back-to-back with Sully. The former was my sort of SciFi, with the emphasis on the Sci, and it gripped me throughout. I’m also fond of true stories & the latter delivered that very well.

I liked (Star Wars) Rogue One, but it was a bit slow and dark (light-wise) to start with, then maybe too action-packed from then. I’m not sure I will do 3D again too; it’s beginning to feel too low definition and overly blurry for a man who wears glasses.

Art

Sally Troughton‘s installations in the Pump House Gallery at Battersea Park didn’t really do much for me, but Samara Scott‘s installations in the Mirror Pools of its Pleasure Garden Fountains certainly did. A combination of dyed water and submerged fabrics created lovely reflective effects.

There was so much to see in the V&A’s You Say You Want a Revolution? Records and Rebels 1966-1970. It was an astonishing five years and the exhibition covers music, art, design, fashion, politics, literature…..you name it. I shall have to go again to take it all in.

Wifredo Lam is a Cuban artist I’ve never heard of, getting a full-blown retrospective at Tate Modern. There was too much of his late, very derivative abstract paintings, but it was still overall a surprising and worthwhile show.

South Africa: the art of a nation was a small but excellent exhibition covering thousands of years from early rock art to contemporary paintings and other works. Most of the old stuff was from the British Museum’s own collection, so in that sense it was one of those ‘excuses for a paying exhibition’ but the way they were put together and curated and the addition of modern art made it worthwhile.

The Picasso Portraits exhibition at the NPG was a lot better than I was expecting, largely because of the number of early works, which I prefer to the more abstract late Picasso. Seeing these does make you wonder why he departed from realism, for which he had so much talent.

Abstract Expressionism at the Royal Academy was also better than expected, largely because of the range of work and the inclusion of artists I didn’t really know. I do struggle with people like Pollock and Rothko though, and can’t help thinking they may be taking the piss!

The Taylor Wessing Photographic Portrait Prize exhibition, back at the NPG, seemed smaller than usual, but just as high quality. I do love these collections of diverse subjects and styles.

Back at the Royal Academy, Intrigue: James Ensor by Luc Tuymans was a very interesting exhibition of the work of an underrated Belgian master (with an obsession with masks and skeletons!) curated by a contemporary Belgian artist. I’ve seen samples of his work in my travels, but it was good to see it all together, and I liked the curatorial idea too.

At Tate Modern, a double-bill starting with a Rauschenberg retrospective. I’ve been underwhelmed by bits of his work I’ve come across in my travels, but this comprehensive and eclectic show was fascinating (though I’m still not entirely sold on his work!). The second part was Radical Eye, a selection from Elton John’s collection of modernist photography (with more Man Ray’s that have probably ever been shown together). It’s an extraordinary collection and it was a privilege to see it.

Star Wars Identities at the O2 exceeded my expectations, largely because of the idea of discovering your own Star Wars identity by choosing a character and mentor and answering questions on behaviour and values and making choices at eight ‘stations’ en route which were recorded on your wristband, in addition to film clips, models, costumes etc. The behavioural, career and values stuff was well researched and the whole experience oozed quality.

I didn’t think many of the exhibits in Vulgar: Fashion Redefined at the Barbican were vulgar at all! It was an exhibition made up entirely of costumes, so it was never going to be my thing, but it passed a pre-concert hour interestingly enough.

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Opera

I liked the music of The Firework-Makers Daughter at Covent Garden’s Linbury Studio but I wasn’t that keen on the production. I usually like this lo-tech style but there was too much I shouldn’t see and too much I couldn’t see in this production. The narrative isn’t the clearest, so I was surprised it was billed as suitable for over-6’s.

Art

The World of Charles & Ray Eames at the Barbican Art Gallery was much broader and deeper than I was expecting. The American design couple are best known for their iconic furniture, but they designed so much more. Like Mackintosh, Lloyd Wright and Gaudi, they covered almost every aspect of design including architecture, exhibition spaces, film and printed matter. Fascinating – and way ahead of their time.

Even though eighteenth century portraits aren’t my oeuvre, I admired the skill of the work of Jean-Etienne Liotard at the Royal Academy, even though he was better at fabrics than faces and some of his men were feminine and his women masculine!

There were some beautiful and stunning items in the British Museum‘s Celts exhibition, but by challenging and questioning modern thinking, it rather muddied the waters and became more of a review of North European history of 1500-3500 years ago.

Film

I rather liked Star War: The Force Awakens; it was well paced, didn’t lag and sustained its 2h15m running time. The 3D was above-average and the story seemed to flow and follow logically from the third film (the 4th to 6th being prequels). I’m now looking forward to the next two!

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The journey from Helena to Glacier National Park was shorter than I thought (I miscalculated the mileage) but it still managed to transform from mountains to fertile farming valleys to the shores of Flathead Lake just outside the park. Again, I was staying outside as it was fully booked within, in a lovely B&B called Bad Rock (which most importantly, by now, had laundry facilities!). My first day in Glacier was spectacular, driving the 50-mile  ‘Going to the Sun’ road from one end to the other, starting and ending at the lakeside (different lakes!) and rising and winding to over 6600 feet between, with spectacular views up to the glaciers and down to the valleys. Every time you turned a corner you encountered a different vista and had to stop continually to take it all in and to photograph it. One of my B&B companions mentioned a helicopter over breakfast and before you could blink, there I was linked up with four Belgians, up in the air seeing it all from a completely different and spectacular new perspective. By contrast, I followed this with a cruise on Lake McDonald where the small boat broke the perfect reflections and created extraordinarily beautiful effects.

The next journey was too long for a day, so I broke it in the university town of Moscow, Idaho, but before I got there I took an impulsive detour to Wallace in the Silver Valley, so called because it once contained hundreds of mines (and Wallace hundreds of millionaires as a result).  They’ve successfully reinvented themselves as a heritage site and I thoroughly enjoyed my visit down the mine, led by a retired miner (like Big Pit in Wales) who demonstrated equipment and techniques as well as showed them. A wander through the town was richly rewarding, with period architecture, a ‘bordello museum’ as an example of the miners leisure activities (I didn’t go in!) and an excellent lunch at the Fainting Goat, where the new managers were a couple passing through between Puerto Rica and the West and decided to stay!

From Moscow (nothing to say about it really, except that there are 17 Moscow’s in the US!) the journey continued through the rolling hills of Idaho, hay newly cut or still being cut, idyllic farms littering the landscape, until all of a sudden you’re confronted with a view down a big drop to the confluence of the Snake & Clearwater rivers with Lewiston, Idaho facing Clarkston, Washington, both named in honour of Lewis & Clark, Jefferson’s post-Louisiana Purchase explorers. From here, the journey to Joseph through an awful lot of gorges was slow and winding but really beautiful. The valley in which Joseph and Enterprise sit has Hells Canyon on one side, the Wallowa mountains on two others, and the gorges through which I travelled there on the fourth. If I’d known how inaccessible Hells Canyon was I might not have gone there, which would have been a shame as it was a lovely visit. My B&B was at the homestay end of the spectrum, but comfortable and welcoming. The drive to the canyon was through dense forest and the only part you could reach was the flooded and dammed part – the rest required serious hiking or even more serious upstream boat trips; but it was worth it and the stop made even better by a trip by cable car up Mount Howard for wonderful views and 2.5 miles of trails at 8000 feet!

The first part of the journey to Portland was pretty, but it got dull on the highway (despite a stop in Pendleton, an important stop on the Oregon trail, but closed as it was Sunday!) until we got to the Columbia River Gorge, at first a series of dams but later more rugged with waterfalls-a-go-go and lovely views. My B&B in Portland was a Victorian gem and my room had a sitting area in the turret! The neighbourhood of Irvington was both historic and cool with great restaurants but less than 30 mins by bus or tram to downtown. After three glorious weeks, the weather turned cloudy with showers but I was now in the first of two cities so there were indoor distractions, but before those there were the gardens – Chinese, Japanese & Roses! The Art Museum (like all others, so called because they combine art with historical and archaeological objects from around the world – I like this) was first class and there was a fascinating mansion that told the story of the Pittock’s, immigrants from Britain and self-made multi-millionaires. Portland’s downtown was very walkable with a blend of new and old architecture and also provided me with my one-and-only theatre trip, to see the musical Dreamgirls, based on the story of the Supremes. I’d seen the film but the show never made it to London. It didn’t really add anything to the film (well, it came first) but despite it being only the second preview, it was in good shape and the performances were outstanding.

I tried to get a tour to Oregon wine country but none were available (a bit late in the season) so I took an impulsive side-trip to Salem, Oregon’s capital, for a terrific visit to their art deco Capitol and a wander around the historic town. Another impulse took me into the Wild Pear Restaurant for lunch (at the counter) and when the owner clocked the accent the now customary ‘well, where are you from?’ solicited the equally customary ‘Wales, but I now live in London’. She said her husband’s family were from South Wales, so I asked the name, which was James – Geoff & Cecelia James. She treated me to a delightful lunch and planned my return through wine country with a winery and olive press to visit. Impulse wins again.

The shortish trip to my last base, Seattle, allowed me the luxury of two stops – the first in Olympia for yet another Capitol, the biggest and grandest if not the most tasteful! and the second in Tacoma to continue the Chihuly pilgrimage (a recommendation by a fellow Chihuly fan from Denver I met at the Bad Rock B&B – thank you!). The Art Museum had more of his work than the Glass Museum, though this did have live glassblowing demonstrations and a Chihuly Bridge to link it to the main street! The curator at the Art Museum was very welcoming to a British Chihuly fan (there weren’t many punters!) with discounted admission and a free gift. There were also works in the Courthouse (former Union Station), the University library and the Swiss pub (where he gifted them a handful of works in thanks for their hospitality!). Tacoma was a great example of a town re-inventing itself in style and I loved it.

Seattle is my only re-visit of the trip; I came here 14 years ago (whilst working on an e-commerce project code-named Seattle!). I stayed in the same B&B on Capitol Hill, the Gaslight Inn, in the same room (don’t fix it if it ain’t broke). In truth, the city isn’t as great as my memories, but there’s a new Chihuly ‘museum’, glasshouse and garden and having the car enabled me to cross over by car ferry to the Olympic peninsular for a final wonderful drive, a visit to the Olympic National Park, where the views of the mountain range of the same name from Hurricane Ridge were sensational, and the lovely old town of Port Townsend. The other newie was a bit of a disappointment. One of the founders of  Microsoft got architect Frank Gehry to build a perfect home for a rock ‘experience’, a crazy colourful affair, but sadly it’s a lost opportunity inside (unless you want to use the studios or you’re a Nirvana fan). The exhibition of Hendrix in London was nostalgic but the bolted-on SciFi & Horror presentations made Cardiff’s Dr Who experience (pre-facelift) look cutting edge!

The trip ended with a fascinating visit to the Boeing factory to see 747’s, 777’s and 787 Dreamliner’s being assembled, including watching the inaugural flight of a new 777 for American Airlines, followed six hours later my own flight on a BA Boeing 777! A suitably epic trip to celebrate 40 years of travel (Corfu September 1974 with Barbara & Mary!). 4750 miles driven (my normal annual mileage!) through 7 states, 9 national parks, 4 cities and 13 towns plus journeys by bus, tram, trolly, train, boat, car ferry, cable car & helicopter making it top the 5000 mile mark. When I’ve sorted the 2500 photos, there will be web albums!

In six months time, an even longer one to Australia – you have been warned!

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