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Archive for the ‘Poetry’ Category

Here we are again, for the 30-something year. This time we started with food & wine at Scotland’s Restaurant of the Year, http://www.timberyard.co, where the food was lovely, the wine list too much of a tome and the staff doing cool a touch too much aloof. Still, it’s the food that matters most and here it excelled. On to the first cultural highlight with the Philhamonia and the wonderful Edinburgh Festival Chorus under Peter Pan conductor Andrew Davies for a rare outing of Elgar’s oratorio King Olaf. Unfathomable narrative, but musically exhilarating, with three good soloists to boot. The Usher Hall crowd were a bit too restrained; they should think themselves very lucky indeed.

Our fringe started with a little gem called Jess & Joe at TraverseTwo, a growing up story with a difference, told by the characters acting out what has already happened to them. Lovely writing, beautiful performances and unpredictable. I left welled up, with a warm glow. The first art was Beyond Caravaggio at the Scottish National Gallery which I missed, intentionally because of their dreadful gallery space, at the NG in London. Here in a proper gallery, the handful of Caravaggios are wonderful, but served to show up the rest, those he influenced. On to the Book Fest for a Q&A with Dominic Dromgoole, responsible for two of the most inspirational theatrical events of my lifetime, both in the last five years – Globe to Globe, every Shakespeare play in a different language, and the Hamlet World Tour to every country in the world. Insightful, with some great anecdotes and excellent audience engagement. I queued up to get my book signed and he was just as friendly and engaging one-to-one. More art with True to Life, realistic art from the twenties and thirties, including usual suspects like Stanley Spencer and Winifred Knights, but lots new to me. Worth the schlep out to the Scottish National Gallery of Modern Art, a place Lothian Transport seems determined to wipe off the map. Then our first comedy, Ed Byrne at Assembly George Square Theatre, who I’ve been drawn to since his recent TV travel programmes with Dara O’Briain but have never seen. Very funny, very engaging, a bit of a lag in the middle, but a treat nonetheless. Late night supper at the delightfully named http://www.angelswithbagpipes.co.uk. where excellent food combined with friendly service to great effect. A lovely first full day.

Sunday started early with something more appropriate for a late night slot, Wild Bore at TraverseOne, which the critics seem to have taken against, unsurprisingly given that they loom large. It’s three women talking out of their, well, arses, mostly quoting vitriolic reviews of their shows and others, but it evolves and changes rather a lot, and I loved the combination of subversiveness, surprise, anarchy and humour. The next show over at Stand Six couldn’t be more of a contrast – that’s the fringe for you – with poet laureate Carol Ann Duffy reading her work, and multi-brass-and woodwind-instrumentalist John Sampson chipping in. A sombre start with First World War poems, the tone lightened and it became funny and cheeky; a rarger charming hour. I rested before the day’s main event, back at the Usher Hall. Edward Gardner brought his new band, Bergen Philharmonic Orchestra and Chorus, along with a cast of soloists to die for led by Stuart Skelton, and they took us all hostage with an extraordinary interpretation of Britten’s operatic masterpiece Peter Grimes. The usually reserved Usher Hall crowd justifiably erupted. I doubt I’ll ever hear it that good again; a highlight in a lifetime of concert-going. Emotionally drained, I needed a drink before I joined the others at http://www.mumbaimansionedinburgh.co.uk where the food was a delicious new spin on Indian cuisine, but the staff rushed and harassed us too much.

With such an extraordinary start, things had to take a bit of a dip and so it was in (full) Day Three. It started well at that Edinburgh institution, the International Photographic Exhibition, though there were a few too many contrived, overly posed shots for my taste. The day’s first theatre saw the normally reliable Paines Plough deliver a mediocre and rather pointless piece called Black Mountain in their mobile Roundabout theatre at Summerhall, about a couple seeking to rescue their relationship when his ex turns up, or does she? A mildly thrilling atmospheric thriller with cardboard performances. As my companion said, it would have been better on the radio. From here, stand-up Dominic Holland at the Voodoo Rooms lifted things significantly with the brilliantly observational, autobiographical humour of a 50–year-old who’s career has been eclipsed by his 21-year-old son. Then back to Summerhall for Graeae’s Cosmic Scallies, a somewhat slight piece about renewing an old friendship, and Skelmersdale!, which never rose to the giddy heights of their Solid Life of Sugar Water in 2015. We ended on a high with another terrific meal at http://www.lovagerestaurant.co.uk Food & wine eclipsed culture on Day Three, but there are three more full days to go……..

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Contemporary Music

A friend suggested going to see Welsh harpist Catrin Finch & Senegalese cora player Seckou Keita at Union Chapel and what a brilliant suggestion it was. Their instruments blend beautifully and create an uplifting sound. It was the perfect venue, with a quiet respectful audience. Gorgeous.

I really don’t know what to make of Elvis Costello‘s concert at the Royal Albert Hall. Part of BluesFest (what?!). He brings Steve Nieve & they play 8 songs together, some in radical new arrangements. His song selections are eclectic and perhaps a bit quirky. He’s often uncharacteristically flat or off key. He talks a lot. It contained sublime moments, but not enough of them. It was certainly no crowd-pleaser and the audience reaction was distinctly underwhelming. Georgie Fame & the Blue Flames, supporting, were great (though he talked a lot too). They played two songs together, one in each others’ set. I’ve seen almost every EC London outing in 30+ years and this was probably the least satisfying. Most odd.

Opera

The autumn Rossini pairing at WNO was amongst their best ever. Neither William Tell nor Moses in Egypt are typical Rossini (which may be why I liked them so much!); the latter more identifiably Rossini. Tell was the more satisfying all round – Moses was also a musical feast but the production wasn’t so good. Former MD Carlo Rizzi brought the best out of the orchestra and chorus (yet again) and there was no weakness in the soloists – just various levels of good to great.

The English Concert’s performance of Handel’s opera Alcina at the Barbican was a huge treat. A faultless cast was led by Joyce DiDonato & Alice Coote and the orchestra made a beautiful sound. I’d thought it might be a star vehicle for Joyce, but she was superbly matched by the rest and the audience showed their appreciation for them all.

I’ve seen a handful of Philip Glass operas, but until The Trial they’ve all been on a huge scale. What this chamber piece proves is how much more suited his music is to this smaller scale. It’s an absurdist, impenetrable story but it was superbly staged and performed by Music Theatre Wales in Covent Garden’s Linbury Studio.

Dance

Lord of the Flies is a big departure for New Adventures at Sadler’s Wells. With two-thirds of the large cast amateurs selected from workshops and open additions, there’s a freshness and energy thoroughly in keeping with William Golding’s story and contemporary dance is a suitable form to tell the tale. It was dark, but I loved it.

I don’t normally like mixed ballet programmes but Birmingham Royal Ballet‘s Shadows of War at Sadler’s Wells caught my imagination, largely because of the music. The first piece, to a Ravel piano concerto, was a bit frivolous for me, but the second was a fascinating re-staging of a Robert Helpmann work set in wartime Glasgow with music by Arthur Bliss and the third a lovely piece set to Malcolm Arnold and Benjamin Britten – and all at a half to a third of prices at the other Royal Ballet.

Cassandra is a rare modern dance piece from the Royal Ballet at the Linbury Studio. It was a nice combination of dance, music and film and it held me for 70 minutes, but in the end it was just OK. I think it was the lack of effective narrative drive / story that was its weakness.

Classical Music

I persuaded a friend who has recently taken up choral singing to go for one of those ‘scratch’ performances put together in one day. The choice of Elijah was ambitious, but they pulled it off. The soloists were terrific, particularly baritone Neal Davies, who gave it his all as if was at the Royal Albert Hall, and the orchestra of a handful of Philharmonia section principals with music students sounded great. It would have been good to see a much bigger audience – where were all the friends and families of the orchestra and chorus?

The third of the Composer Portrait series at St John’s Smith Square was the best so far. Reverie was about Debussy whose writings were spoken by Simon Russell Beale no less. Pianist Lucy Parham played his gorgeous music beautifully and it was a captivating couple of hours.

Film

As much as I loved Pride, the casting of so many English and Irish actors as Welsh characters did irritate me – though I suppose you need Bill Nighy and Imelda Staunton to sell films like this. I was surprised I never knew the true story behind it, but maybe it didn’t get much news coverage at the time. It’s certainly the most heart-warming, feel-good film for a long long time.

Dylan Thomas centenary

I found out about the Dylan Thomas in Fitzrovia festival very late on, by which time the diary was choc a block with other stuff, but I did manage to fit in some. A Warring Absence was readings of writings by him and his wife about one another by Daniel Evans & Sian Thomas with accompaniment by the Bernard Kane Players as a Platform performance in The Olivier Theatre and it was original and fascinating.  I’d never heard the Stan Tracy Jazz Under Milk Wood before – read excerpts accompanied by jazz which somehow works brilliantly; again original and fascinating. The final Gala Concert I had known about and this proved a real treat. An eclectic selection of Welsh music played by Camerata Wales (including world premieres) with readings of letters and poems by Sian Phillips, Tom Hollander, Griff Rhys Jones, Robert Bathurst, Lesley Manville, Jonathan Pryce and Owen Teale and songs from Welsh tenor John Owen-Jones and old folkie Ralph McTell. Two of the pieces combined Thomas’ works with music very successfully. For an Englishman, Tom Hollander’s reading of Fern Hill was almost as good as Dylan’s own!

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