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Posts Tagged ‘Ashley Hutchings’

Contemporary Music

There was always a risk that Richard Thompson’s 70th birthday concert at the Royal Albert Hall was going to have so many guests that the birthday boy became an extra at his own celebration, but as it turned out he was on stage virtually throughout, whether singing his own songs or duetting with or backing his guests, and an impressive lot they were too. From The Stranglers Hugh Cornwall who was, somewhat surprisingly to most present, in a school band with him aged 14, through Fairport colleagues Dave Mattacks, Dave Pegg, Ashley Hutchings and Simon Nicol, the omnipresent Danny Thompson, Loudon Wainwright III, Martin & Eliza Carthy, Maddy Prior, Kate Rusby, Olivia Cheney, the whole Thompson clan and Pink Floyd’s Dave Gilmour! I could have done without one of the two Stranglers tracks and the Spinal Tap joke fell a bit flat, but there were way more highs than lows in tribute to a genuine legend who has entertained me for fifty of his seventy years.

Opera

Grimeborn continued its hugely successful roll into September with a superb and rare revival of Bellini’s I Capuleti e i Monteccchi. The singing was of an extraordinarily high standard and, at close quarters in in Studio Two, very loud! Later that week, Don Jo was a spin on Mozart’s Don Giovani which was loud in another sense altogether. I’m all up for modern take’s and I was expecting some gender changes, but I wasn’t expecting the recorded music (not much of it Mozart), the fact only two of them could really sing, the long scene breaks and the tackiness of it all. It was such a contrast to the three Grimeborn high’s which had preceded it.

Classical Music

My third and final Prom, another Sunday morning one, was short in time but huge in numbers, with eight choirs totalling 600-700 singers placed in four sections of the auditorium for John Luther Adams’ In the Name of the Earth, a choral homage to the planet with percussion effects and movement from the choirs. It was hugely atmospheric and the sound just wrapped around you and filled the Royal Albert Hall. A big bold experimental success.

The opening concert of the Wigmore Hall season was a Britten feast, with four of his song cycles sung by four young British soloists – one soprano, one mezzo, a tenor and a baritone – and all of them sang beautifully. A real treat for a Britten fan.

The LSO season opening weekend at the Barbican included a rare outing (sighting!) of Messiaen’s final work Eclairs sur l’Au-dela. Famous for orchestrating birdsong and hearing colours, Messiaen’s final 70 minute work peeps into the afterlife and requires 126 players. It showed off the virtuosity of the LSO individually and collectively and Simon Rattle’s love of the work was infectious.

I don’t think I’ve ever known the sedate Wigmore Hall erupt like it did after laBarocca’s concert of the first (Italian) version of Handel’s Aci, Galatea e Polierno. I don’t think I’ve seen so many, twenty, on that tiny stage either. The soprano, Roberta Mameli, blew me away and the bass sang lower than I’ve ever heard before, but I wasn’t keen on the tone of the contralto’s very deep voice. A treat nonetheless.

Film
Despite two lovely performances, I found Mrs. Lowry & Son a bit dull. It’s more BBC4 bio drama than cinema release.

More lovely performances and beautiful filming, but The Sacrifice was too art house for me, slow and ponderous.

I know it’s just posh soap opera, but I did love Downton Abbey. The strands of the story came together expertly, it’s a who’s who of fine British acting (with Imelda Staunton joining the regulars from the TV series) and it looks gorgeous.

The Last Tree was a beautifully made film which could so easily have been judgemental but was in fact hopeful. Superb performances too.

I wasn’t expecting a film about Chinese Americans returning to their homeland to say goodbye to their dying mother / grandmother to be funny, but The Farewell was, and the real life revelation at the end a delightful surprise. Charming film.

Art

Urban Impulses 1959-2016 at the Photographer’s Gallery is almost 50 years of Latin American photography, mostly in black & white and it contained some terrific images. One of the best exhibitions at this venue in a long time. Upstairs was the inaugural New Talent exhibition which contained some impressive work but was a bit skewed to the taste of its single selector / curator. I think they need a panel to ensure a diversity of work.

The William Blake exhibition at Tate Britain was very big, with the amount of detail sometimes overwhelming, and too much religious imagery for my taste, but it was a very comprehensive review of his work and life, particularly good at the biographical aspects.

I was beginning to wonder if Anthony Gormley was a one-trick pony, as all we seem to see are his cast iron men. Well, they make a spectacular appearance in one room of his Royal Academy show, but there’s so much more in the other twelve, half of it new, including two whole room works which you walk through – though he did pinch the idea of his reflective room from Richard Wilson’s 20/50!

I wasn’t sure what to expect at Tim Walker’s Wonderful Things at the V&A. I didn’t know much about the work of this photographer, probably because it’s mostly fashion, but the first room familiarises you with his posed, highly stylised, stage-manged work. From there, ten spaces each record, on ‘stage sets’ a photoshoot inspired by something in the V&A, which accompanies them – snuff boxes, Aubrey Beardsley prints, stained glass and so on. It was unique, surreal and rather extraordinary.

For Mark Leckey’s O’ Magic Power of Bleakness, Tate Britain have built a replica of the space under a motorway where he played as a child. Inside the space, there are three video works, but as we were given a leaflet just before we entered the darkness, we didn’t really understand them until we left! That said, it was strangely hypnotic, though whether it was worth all that effort and a £15 entrance fee is another matter.

Drawing Attention, an exhibition of digital architectural drawings at the Roca Gallery, was a bit specialist for me, though there were some nice images, but I was there to see Zaha Hadid’s extraordinary building anyway; a beautiful space to display up-market bathroom fittings!

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Contemporary Music

Billy Bragg is the antidote to people who don’t give a shit and his value-for-money (£22, half price for the over 60’s!) 2.5 hours set was passionate, covering his whole career but majoring on the excellent new album Tooth & Nail. The new band sounded great and there was a mini-set of solo stuff too. There are few singers or bands left with this much integrity and respect for their audience and we repaid it in quiet engagement and warm response. Kim Churchill, a barefoot man from SE Australia with hair that looked like a straw hat, played an excellent set in support. He told us that he’s been busking around the world for four years when he got a gig at a festival in Canada and needed a lift for the 45-min drive from the hotel to the venue. Billy came to the rescue and there he was nervous but elated on the RFH stage. Dreams come true, it seems.

The Albion Band‘s Christmas concert at Kings Place was a bit of a punt that turned out to be a delight. A combination of songs, carols and readings, with an egg dance thrown in for good measure, it was a charming combination made into an occasion by the presentation of the English Folk Song & Dance Society’s Gold Badge to band founder Ashley Hutchings.

Seeing The Bootleg Beatles in Nottingham was a surprise until an hour or so before and it was a huge treat. They split the show into two halves, each with two sections, so we got the moptops, film period, psychedelia and the endgame. The resemblances and mannerisms were uncanny, but it was the brilliantly played songs that sweep you away, roll back the years and get you singing along, with the occasional dad dance (well, uncle dance in my case). Brilliant.

Opera

How the Whale Became at Covent Garden’s Linbury Studio is an opera for children, particularly those whose parents prefer to take theirs to the politically correct rather than to the panto. With music by Julian Phillips and a libretto by Edward Kemp, it’s based on Ted Hughes stories about the creation of animals by god. It’s not the easiest musical ride (particularly for children) but the production is very inventive and the performers (and musicians) very engaging. A worthy attempt rather than a full-on hit, I think.

Classical Music

The Britten Sinfonia with the Choir of Kings College Cambridge provided my penultimate Britten Centenary event at the Barbican. The timely Ceremony of Carols, just boy’s choir and harp, sounded lovely and Saint Nicholas provided a more rousing second half. As much as I approve of audience participation, I have to confess I didn’t really appreciate the audience drowning out the beautiful choirs during the two hymns for audience participation! I’d never heard Arvo Part’s Cantus in Memoriam Benjamin Britten and it proved to be the perfect opener, with John Tavener’s The Lamb also a timely opening to part two and a taster for my Tavener weekend in January.

I’d never heard Britten’s three Cello Suites so it was nice to end my centenary with something new to me. They are more to be admired for their virtuosity than aural beauty and they were played with extraordinary skill by Dutch cellist Pieter Wispelwey, who gave each one in an informative, charming and entertaining illustrated introduction.

Art

A few hours on the South Bank delivered a bumper crop of exhibitions. First up was Go Away Closer, Dayanita Singh’s B&W photos of India presented in books and museum panels. I loved both the material and the presentation. Downstairs at the Hayward Gallery, Ana Mendieta’s Traces was harder to swallow until her obsession with making ‘art’ using her own body gave way to using the environment instead / as well; a bit too conceptual for me. In the project space, a small exhibition of protest art was nostalgically enthralling – all those anti-war posters and copies of IT. Finally, in the RFH, the annual exhibition of art by offenders, secure patients and detainees (the tile gets longer every year) called The Strength & Vulnerability Bunker was as awe-inspiring as ever; it was the last day, so most of those for sale had gone otherwise there were a number I would have happily bought and hung on my walls.

I adored both Australia and Daumier (1808-79): Visions of Paris at the Royal Academy. The former was a 13-room, 200-year review of the art of a whole country, and I only knew one of the artists! From aboriginal art through colonial landscapes to wonderful Australian impressionists to the present day, this was a real feast. The latter was pretty revelatory too, containing his trademark caricatures but also very high quality paintings and sketches. The two together constituted one of the most enjoyable visits to the RA in a while.

At The Photographers’ Gallery, Home Truths: Photography, Motherhood & Identity wasn’t the easiest exhibition to view, but given that it sets out to challenge the sentimental view of motherhood, that’s not a surprise. The quality of the photography, rather than the subject matter, is what I enjoyed most. At the same gallery, the 1920’s B&W photos of French amateur photographer Jacques Henri Lartigue were charmingly homespun but technically accomplished. I have to confess I enjoyed it more.

The latest Curve installation at the Barbican, Intervals by Ayse Erkman, is a series of theatrical backdrops which you have to navigate as you walk through the gallery whilst they rise and fall. Even though it only takes 10 minutes to get through, the fact you are occasionally trapped means it irritates (well, impatient me, anyway). It is a very original idea, though and another great use of this space.

A Sunday afternoon in Trafalgar Square was a feast of art, starting with Facing the Modern: the Portrait in Vienna 1900 at the National Gallery, a great taster for my Christmas trip to that very city. Wonderful works by Schiele and Klimt plus lots of artists new to me. I went to the NPG for the Taylor Wessing Photographic Portrait Prize exhibition, as wonderful as ever, and Elizabeth I & her People, which was a whole lot more interesting than I was expecting, but there were rich pickings in the displays too. Passable portrait sketches by Bob Dylan, Benjamin Britten’s life in photos, William Morris’ wife and Pre-Raphaelite muse Janey, Michael Peto photos of famous people of the late 20th century, Vivien Leigh photos and film posters, terrific Jonathan Yeo paintings and the imaginary portraits of Derek Bashir!!! Room 31 (post-war Brits) may be my favourite room in any gallery anywhere and the NPG my favourite gallery!

It’s extraordinary how quickly erotica can become dull. The 17th-20th century Japanese pictures in Shunga at the British Museum are technically accomplished and often beautifully coloured, but ever so samey. I’m afraid I became bored ever so quickly. Fortunately, the gold and ceramic pieces from ancient Colombia in Beyond Eldorado at the same venue made up for it. This was a beautifully curated exhibition packed full of fascinating items which told a stories of ancient civilizations.

A couple of hours between kids opera and kids theatre enabled me to catch London Transport Museum’s celebration of 150 years of tube posters and it was a real treat, with lots I’d never seen before. The range of reasons for and themes of posters was extraordinary. The space was too cramped but thankfully there weren’t many people. Just as cramped as the space in Somerset House that I then ventured to in order to see Stanley Spencer’s Heaven in a Hell of War, on a short tour from Sandham Chapel during restoration. They are wonderful and I now can’t wait to see them back in the chapel with the three they couldn’t remove without damaging them.

Film

The Hobbit – The Desolation of Smaug was a lot better than the first installment, visually stunning with terrific 3D, but it’s a still just a journey drawn out to three films – albeit an exciting journey (mostly).

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