Feeds:
Posts
Comments

Posts Tagged ‘David Pountney’

Contemporary Music

Todd Rundgren’s concert at the Jazz Café was a real treat. Small venue – ‘greatest hits’ set – terrific band; and Todd on fine and funny form prancing around like a man half his age. I’m not as familiar with this material as most in the audience, but loved it nonetheless.

Steve Earle couldn’t be accused of offering poor value for money. His sets at the Royal Festival Hall totalled 160 minutes. Sometimes, though, more is less and with poor sound contributing, I’m afraid that’s what it was here. The band was great, the set list eclectic and Earle on brittle and funny form with his chat, but it outstayed its welcome and became a bit of a rushed affair in the end.

Honest John’s Chop Up turned out to be an impulsive treat. Damon Albarn’s label showcased a Ghanaian rapper, Malian singer, US brass ensemble and three people from South Africa who defy description but were huge fun. It was like a party with turns, not all of which were good but some of which were great and I loved it.

Opera

Our autumn opera pairing at WNO, the UK’s most accessible opera company, was a brilliantly cast Don Giovanni and a musically thrilling Katya Kabanova, dedicated to Charles Mackerras (with his wife and daughter present). David Kempster isn’t the best DG I’ve ever heard but his acting was exceptional. There was superb support from a home-grown cast which made you wonder why people make such a fuss about casting international stars. David Soar was a terrific Leporello, Robin Tritshler and Camilla Roberts in fine voice as Don Ottavio and Donna Anna and Gary Griffiths an excellent Masetto. Music Director Lothar Koenigs brought out the best of the WNO Orchestra whose playing of the Katya score in particular was stunning. Amanda Roocroft was an outstanding Katya, with an excellent supporting cast including a fine Boris from Peter Wedd and a suitably malevolent Kabanicha from Leah-Marian Jones.

The Passenger at ENO was a somewhat harrowing experience, but an opera I’m very glad I did experience. It moves between an ocean liner in the 60’s, whose passengers include a former Auschwitz guard and one of her victims, and Auschwitz itself back in the 40’s. It’s a very dramatic but very accessible score and David Pountney’s production is masterly, partly thanks to Johan Engels extraordinary design, with the ship’s deck towering over the rail tracks and desolation of the concentration camp. Richard Armstrong’s conducting was also masterly and the orchestra sounded sensational. Amongst a fine ensemble, Giselle Allen as Marta and Michelle Breedt as Liese were wonderful.

Classical Music

The Cardinall’s Music under Andrew Cawood gave a brilliant recital of William Byrd’s unaccompanied church music at Wigmore Hall. They included selections from five of his contemporaries which by-and-large made Byrd shine (Tallis the exception) and I liked the fact that Cawood breaks with convention to introduce and explain his selections.

I’ve had a passing interest in the music of John Taverner but haven’t really heard that much, so a whole evening of small-scale works at Wigmore Hall seemed like a good place to start. Six choral pieces, three song cycles and solo pieces for cello and piano certainly made it a musical feast. The highlight for me was the choral work, sung with great beauty by a ‘scratch’ choir of young singers put together for the evening under the name Caeli Chorum. Patricia Rozario’s vocal fireworks were extraordinary but the works more challenging, as were the solo instrumental pieces, but it was a fascinating immersive experience nonetheless.

Dance

Clod Ensemble took over Sadler’s Wells but only sold 15% of the seats. Starting at the back of the upper circle, the show took us down each level for a new segment until we were at the back of the stage watching the curtain come down on them with the stalls as the backdrop. I can’t say I understood the concept, and it was more movement than dance, but it was a captivating experience.

Film

I liked The Debt, a film about the botched Mossad abduction of a Nazi war criminal It surprised me and gripped me, not least because of an excellent performance from Helen Mirren.

What I liked most about Tinker Tailor Soldier Spy was the fact that it didn’t patronise you; you had to work to keep up with it! The other thing I liked about it was the collection of stunning performances, including Gary Oldman as Smiley, John Hurt, Kathy Burke, Toby Jones, Colin Frith, Cairan Hinds, Tom Hardy and Benedict Cumberbatch.

We Need to Talk About Kevin was a harrowing experience, but a brilliant piece of film-making. Tilda Swinton really is one of the very best actors working today and yet again she inhabits a role. Wonderful, but if I was a parent it would scare me senseless!

Unless I’ve been avoiding this type of film too long (quite possible!), with The Adventures of Tin Tin – The Secret of the Unicorn, Stephen Spielberg seems to has invented something that is neither animation nor live action but, for a story like this, is better than both. The almost-but-not-quite lifelike characters can look more realistic doing stuff actors or animation can’t. It’s also the best 3D I’ve ever seen. Great fun.

Art

I went to Treasures of Heaven at the British Museum fired up after my recent Caucasus trip. Interesting though it was, there’s a limit to how many religious relics an unbeliever can take – the least interesting of the BM’s big Reading Room shows.

Locked Room Scenario was another of Artangel’s extraordinary installations. When you enter the warehouse where it takes place and ask a girl which way to go, you get a surly response. You’re at an exhibition of the Blue Conceptual art movement, but the entrance to their exhibition is locked so you end up walking round, peeping in where you can, picking up leaflets and looking at the fictitious movement’s timeline. When I was walking away, a young man handed me a page from a book he said I’d dropped. I read it and became convinced this was all part of the experience; the rest of my walk was rather surreal and disorientating.

I’d never heard of Pipilotti Risi before I went to her show at the Hayward Gallery. I love the playfulness of her videos, on translucent screens or hidden in handbags, conch shells and all sorts of other objects. It was like revisiting psychedelia, but with technology which enables artists to do so much more. Huge fun.

The Barbican Gallery continues its unique position amongst London’s major spaces with an exhibition from / about architectural practice OMA (whoever they are!) curated by Rotor (whoever they are too!). It’s a very original presentation of drawings, models, materials etc. though I think you have to be an architect or designer to get the most out of it. An interesting and intriguing one hour wander nonetheless.

The second Koestler Trust Art For Offenders exhibition at the RFH was simply extraordinary. This year it included video, music and spoken word as well as paintings and sculpture. Many of these items would hold their own in any contemporary art selling exhibition. Though the art was uplifting and enthralling, one was left with the feeling of hopelessness that so much talent is locked up.

A visit with the V&A Friends to then newly refurbished Renaissance St. Pancras Hotel was terrific. The highlight is the 5-story stairwell with ceramic tiles on the ground floor, wrought iron and wood banisters, stencilled walls and an extraordinary painted ceiling. They’ve done a wonderful job of restoring all of this and it was a treat being able to see it without having to take out a mortgage to book a room!

In Oxford for lunch, I had enough time to pop into the lovely Ashmolean Museum again (now one of the UK’s very best museums) which included a small but fascinating display of iconic Chinese Cultural Revolution art that showed you how it is possible for paintings to influence people; you could see how they fell for Mao with all these idealised images.

Advertisements

Read Full Post »

Contemporary Music

Todd Rundgren’s concert at the Jazz Café was a real treat. Small venue – ‘greatest hits’ set – terrific band; and Todd on fine and funny form prancing around like a man half his age. I’m not as familiar with this material as most in the audience, but loved it nonetheless.

Steve Earle couldn’t be accused of offering poor value for money. His sets at the Royal Festival Hall totalled 160 minutes. Sometimes, though, more is less and with poor sound contributing, I’m afraid that’s what it was here. The band was great, the set list eclectic and Earle on brittle and funny form with his chat, but it outstayed its welcome and became a bit of a rushed affair in the end.

Honest John’s Chop Up turned out to be an impulsive treat. Damon Albarn’s label showcased a Ghanaian rapper, Malian singer, US brass ensemble and three people from South Africa who defy description but were huge fun. It was like a party with turns, not all of which were good but some of which were great and I loved it.

Opera

Our autumn opera pairing at WNO, the UK’s most accessible opera company, was a brilliantly cast Don Giovanni and a musically thrilling Katya Kabanova, dedicated to Charles Mackerras (with his wife and daughter present). David Kempster isn’t the best DG I’ve ever heard but his acting was exceptional. There was superb support from a home-grown cast which made you wonder why people make such a fuss about casting international stars. David Soar was a terrific Leporello, Robin Tritshler and Camilla Roberts in fine voice as Don Ottavio and Donna Anna and Gary Griffiths an excellent Masetto. Music Director Lothar Koenigs brought out the best of the WNO Orchestra whose playing of the Katya score in particular was stunning. Amanda Roocroft was an outstanding Katya, with an excellent supporting cast including a fine Boris from Peter Wedd and a suitably malevolent Kabanicha from Leah-Marian Jones.

The Passenger at ENO was a somewhat harrowing experience, but an opera I’m very glad I did experience. It moves between an ocean liner in the 60’s, whose passengers include a former Auschwitz guard and one of her victims, and Auschwitz itself back in the 40’s. It’s a very dramatic but very accessible score and David Pountney’s production is masterly, partly thanks to Johan Engels extraordinary design, with the ship’s deck towering over the rail tracks and desolation of the concentration camp. Richard Armstrong’s conducting was also masterly and the orchestra sounded sensational. Amongst a fine ensemble, Giselle Allen as Marta and Michelle Breedt as Liese were wonderful.

Classical Music

The Cardinall’s Music under Andrew Cawood gave a brilliant recital of William Byrd’s unaccompanied church music at Wigmore Hall. They included selections from five of his contemporaries which by-and-large made Byrd shine (Tallis the exception) and I liked the fact that Cawood breaks with convention to introduce and explain his selections.

I’ve had a passing interest in the music of John Taverner but haven’t really heard that much, so a whole evening of small-scale works at Wigmore Hall seemed like a good place to start. Six choral pieces, three song cycles and solo pieces for cello and piano certainly made it a musical feast. The highlight for me was the choral work, sung with great beauty by a ‘scratch’ choir of young singers put together for the evening under the name Caeli Chorum. Patricia Rozario’s vocal fireworks were extraordinary but the works more challenging, as were the solo instrumental pieces, but it was a fascinating immersive experience nonetheless.

Dance

Clod Ensemble took over Sadler’s Wells but only sold 15% of the seats. Starting at the back of the upper circle, the show took us down each level for a new segment until we were at the back of the stage watching the curtain come down on them with the stalls as the backdrop. I can’t say I understood the concept, and it was more movement than dance, but it was a captivating experience.

Film

I liked The Debt, a film about the botched Mossad abduction of a Nazi war criminal It surprised me and gripped me, not least because of an excellent performance from Helen Mirren.

What I liked most about Tinker Tailor Soldier Spy was the fact that it didn’t patronise you; you had to work to keep up with it! The other thing I liked about it was the collection of stunning performances, including Gary Oldman as Smiley, John Hurt, Kathy Burke, Toby Jones, Colin Frith, Cairan Hinds, Tom Hardy and Benedict Cumberbatch.

We Need to Talk About Kevin was a harrowing experience, but a brilliant piece of film-making. Tilda Swinton really is one of the very best actors working today and yet again she inhabits a role. Wonderful, but if I was a parent it would scare me senseless!

Unless I’ve been avoiding this type of film too long (quite possible!), with The Adventures of Tin Tin – The Secret of the Unicorn, Stephen Spielberg seems to has invented something that is neither animation nor live action but, for a story like this, is better than both. The almost-but-not-quite lifelike characters can look more realistic doing stuff actors or animation can’t. It’s also the best 3D I’ve ever seen. Great fun.

Art

I went to Treasures of Heaven at the British Museum fired up after my recent Caucasus trip. Interesting though it was, there’s a limit to how many religious relics an unbeliever can take – the least interesting of the BM’s big Reading Room shows.

Locked Room Scenario was another of Artangel’s extraordinary installations. When you enter the warehouse where it takes place and ask a girl which way to go, you get a surly response. You’re at an exhibition of the Blue Conceptual art movement, but the entrance to their exhibition is locked so you end up walking round, peeping in where you can, picking up leaflets and looking at the fictitious movement’s timeline. When I was walking away, a young man handed me a page from a book he said I’d dropped. I read it and became convinced this was all part of the experience; the rest of my walk was rather surreal and disorientating.

I’d never heard of Pipilotti Risi before I went to her show at the Hayward Gallery. I love the playfulness of her videos, on translucent screens or hidden in handbags, conch shells and all sorts of other objects. It was like revisiting psychedelia, but with technology which enables artists to do so much more. Huge fun.

The Barbican Gallery continues its unique position amongst London’s major spaces with an exhibition from / about architectural practice OMA (whoever they are!) curated by Rotor (whoever they are too!). It’s a very original presentation of drawings, models, materials etc. though I think you have to be an architect or designer to get the most out of it. An interesting and intriguing one hour wander nonetheless.

The second Koestler Trust Art For Offenders exhibition at the RFH was simply extraordinary. This year it included video, music and spoken word as well as paintings and sculpture. Many of these items would hold their own in any contemporary art selling exhibition. Though the art was uplifting and enthralling, one was left with the feeling of hopelessness that so much talent is locked up.

A visit with the V&A Friends to then newly refurbished Renaissance St. Pancras Hotel was terrific. The highlight is the 5-story stairwell with ceramic tiles on the ground floor, wrought iron and wood banisters, stencilled walls and an extraordinary painted ceiling. They’ve done a wonderful job of restoring all of this and it was a treat being able to see it without having to take out a mortgage to book a room!

In Oxford for lunch, I had enough time to pop into the lovely Ashmolean Museum again (now one of the UK’s very best museums) which included a small but fascinating display of iconic Chinese Cultural Revolution art that showed you how it is possible for paintings to influence people; you could see how they fell for Mao with all these idealised images.

Read Full Post »

Contemporary Music

The Decemberists’ concert at Hammersmith Apollo built on their last at the Coronet and buried the memory of their first RFH disaster; this was mostly due to excellent song selection and ordering. They now have a fine body of material and they’ve learnt how to deliver it live and still have fun without compromising quality. I will forgive them the self-indulgent whale song encore because of the 90 minutes before and the gorgeous final encore.

Within minutes of arriving at Shepherd’s Bush Empire, I was regretting it. The traffic was awful and I’d missed most of the intriguing support act, the chatter from people at the back was cacophonous and the sound painfully heavy on base. Then, during his second number, they all shut up, the sound improved and John Grant’s weaved the same magic he did when I first heard his album The Queen of Denmark. He writes very personal songs, sings them with a rich baritone voice and plays piano competently. There’s a second keyboard most of the time and a string quartet some of the time, but no guitars or drums. It’s a rather refreshing sound and live his personality makes for a refreshingly intimate experience. I’d have preferred a venue like the Barbican or Royal Festival Hall, but it was a delight all the same.

Opera

A bumper month!

The latest Guildhall School opera offering is Poulenc’s lovely Dialogues des Carmelites, possibly the most tuneful opera written in the late 20th century! I’ve long been fond of this opera about the martyrdom of nuns during the French revolution and musically the GSMD did it proud. There were some excellent young voices – including a gorgeous Blanche from Anna Patalong, fine turns as the Marquis and his son from Koji Terada and Charlie Mellor and a beautiful Mere Marie from Sylvie Bedouelle. It was great to have a GSMD opera that showed off the fine chorus too. I’m afraid I didn’t like David Farley’s design, where everything was framed by a hole through broken glass, a reference to the opening image of a carriage being attacked by revolutionaries. It was particularly irritating when it framed an opening or closing scene image that about a third of the audience could see.

Back in Cardiff for the WNO late winter pairing of Il Travatore and Die Fledermaus. The former has so much wonderful music that you have to forgive its convoluted and somewhat preposterous plot, and in this production some static staging from Peter Watson and a dark and rather depressing (if clever) series of settings from Tim Hatley. There are so many long scene changes and when the curtain goes up after each of them, you just groan because its just a different configuration of the same giant walls! Welsh boys David Kempster and Gwyn Hughes Jones were both excellent as the Duke and Manrico respectively. Veronica Simeoni sang Azucena brilliantly but couldn’t act for toffee. Katie Pellegrino was technically good as Leonora but it wasn’t always an entirely pleasing sound. The chorus was of course terrific. A bit dull to look at, but a treat to listen to.

Despite the fact I’m not really an operetta man, and certainly not a fan of the somewhat twee Johann Strauss, I rather enjoyed Die Fledermaus, which says much about both the production and the performances. Again, superbly well cast, with some fine singing and acing from Mark Stone, Paul Charles Clarke, Joanne Boag and Nuccia Focile and a delightful cameos as prisoner governor from Alan Opie and actor Desmond Barritt in the non-singing role of the prison warden. It probably benefitted from the affection the ‘old school’ production team have for it – director John Copley, designer Tim Reed and Deirdre Clancy made it fizz with considerable charm and much humour (even though you had heard all the jokes before!).

Rodelinda is this year’s staged offering from the London Handel Festival. It’s one of Handel’s best and musically it shines, with lovely singing from Kitty Whately, Christopher Lowrey, Anthony Gregory and Edward Grint. Susanna Hurrell in the title role was occasionally too loud and harsh and Jake Arditti’s voice was a bit small for Unulfo, but an excellent young ensemble just the same. The orchestral playing, under Laurence Cummings, was outstanding. The modern military setting occasionally jarred, with a particularly tacky ending where royal prince Flavio holds up a flag and gun.

Sir Peter Maxwell Davies & David Pountney’s new opera Kommilitonen! is both a coup and a triumph for the Royal Academy of Music. Max had given up on opera because he was fed up of writing operas based in places like lighthouses to find them staged in a toilet (the best put down of director-led opera ever!). Fortunately, he relented and wrote this highly original opera linking student protests in the US deep south, Mao’s China and Nazi Germany appropriately staged by students in a college. It’s dramatically and musically thrilling and the student talent on show is extraordinary.

Peter Brook’s edited minimalist A Magic Flute was a bit of a damp squib. Even though it ran for around half the normal time, it seemed a very long 95 minutes. There were some nice humourous touches, some clever staging and some nice voices, but overall it underwhelmed. In short, no magic!

Film

Submarine is a charming film, and a hugely impressive debut from actor-come-director Richard Ayoade. There were some gorgeous performances and the picture of school life in Wales oozed authenticity. I loved it.

Route Irish is a lot to stomach; it’s a very well made Ken Loach film but it’s very depressing. I don’t know how true this tale of private security firms in war zones is, but if it’s only a fraction true, it’s shameful. I admired it, but I can’t say I enjoyed it – and it made me angry; but I suppose it was meant to, so ‘job done’.

Werner Herzog’s Cave of Forgotten Dreams is a peek into French caves first discovered just 15 years ago. The 32,000 year-old cave paintings are extraordinary, shown off perfectly in 3D, but there’s a lot of padding and much of the narration is pompous. Now it’s tourism in 3D at your local cinema; whatever next!

The best was left to last this month, with the wonderfully uplifting and deeply moving Benda Bilili!, a film about a bunch of disabled homeless musicians in Congo. The film allowed the musicians own words and their music to speak for themselves – no narration – which is one of its great strengths. Though completely different, it had the same impact as Buena Vista Social Club. Now, to find the CD….

Art

A bumper Art month too; which tells you how much work I did in March!

Cory Arcangel’s installation at the Barbican projects 14 bowling video games created over 24 years. It’s a fascinating examination of how technology evolves, but it isn’t art!

Eve Arnold’s photos at Chris Beetles’ lovely new gallery were terrific. There are a large number taken during filming of The Misfits and I’d have loved to have bought one of Marilyn Monroe and Arthur Miller, but £12,500-£17.500 they were way beyond my price range!

I went to the wrong branch of Hauser & Wirth where there was a video installation of Chernobyl by Diana Thater, which did little for me – worthy though it was. When I got to the right branch, Martin Creed’s paintings also did little for me – until I came across his giant revolving neon ‘Mothers’, which I loved.

The NPG has a terrific exhibition by an early 20th century photographer called Emil Otto Hoppe. His B&W prints of famous political and artistic figures of the time have so much depth; you seem to be peering into their souls. They are shown with some wonderful London street scenes from the same period, with a documentary style that seems to me to be way ahead of their time.

I was a bit sceptical about Watercolour at Tate Britain; I thought it might be one of those ‘excuses for an exhibition’ in order to make money in this new museum / gallery free entry world. It turns out to be an excellent review of c.500 years of the art form with an exploration of the techniques and a diverse range of pictures, including some simply stunning ones. In truth, it does fizzle out in the last quarter (modern stuff, including the usual suspects like the talentless Tracey Emin), but that doesn’t deter from the astonishing highs. In the same gallery, Susan Hiller’s exhibition is fascinating & intriguing, showing off her inventiveness & technical skills – but as art it left me completely cold; admiration but not pleasure.

I keep going to contemporary art exhibitions and come out disappointed and British Art Show 7 at the Hayward is no exception. There were some nice pictures from Alasdair Gray and a clever 24-hour film collage of time references synchronised with the actual time from Christian Marclay (I only sat in for the 5.30pm section!), but it was Roger Hiorns again who was the most creative. When I walked into a film booth (I really do have a problem with film in galleries and tend to stay in each for only a short while) it was just a metal park / station bench. When I came out there was a real naked man sitting on the back of the bench looking at a real fire burning on the seat next to him. Terrific.

Back at the NPG, they’re showing another fascinating photographer I’ve never heard of! This time it’s the 50’s / 60’s B&W portraits of artists, writers and musicians by Ida Kar. They are both fascinating subjects and fascinating pictures.

At the Museum of London, they have a lovely exhibition of London Street Photos spanning 150 years to the present day. They perfectly capture the personality of my adopted city over the years and contain many by even more photographers new to me! By contrast, the Barbican Centre Gallery nearby is showcasing the work of the 70’s New York avant-garde and in particular polymaths Trisha Brown, Laurie Anderson and Gordon Matta-Clark, the latter the only one new to me. Though much of the background work like preparatory drawings left me cold, I was quite taken with Anderson’s interactive pieces (a pillow that plays to you as you rest your head and a desk from which the sound travels through your arms to your ears as you place your elbows on it and cover your ears!) and the two Brown performances I caught – five dancers walking the walls and two weaving in and out of clothes on top of a rope and steel climbing frame. The Barbican is challenging the Hayward in off-the-wall things like this; they sometimes (often?) fail, but you have to admire their nerve in putting on such niche stuff.

I knew nothing about Gabriel Orozco before I went to his exhibition at Tate Modern. It was a very diverse selection of pictures, ‘sculptures’, installations and project descriptions, some of which were interesting and some of which were just dull. The biggest room was almost entirely filled with photographs that he took of a yellow motorcycle he bought and rode in search of identical ones, taking a photo of each pairing as he did. Why? Hardly worthy of a major retrospective, in my view.

I’m not overly fond of Dulwich Picture Gallery’s permanent collection, but they are indispensible when it comes to special exhibitions, particularly by illustrators. Norman Rockwell may be sentimental, twee and sweet Americana, but he’s technically accomplished as this exhibition of c.30 original paintings, c.10 studies, 4 posters and c.300 Saturday Picture Post front covers shows; he’s particularly good at faces and children. It was particularly fascinating to see how the SPP covers evolved over almost 50 years.

Back at Chris Beetles’ new photo gallery they’d swapped the Eve Arnold I started the month with for a terrific set of B&W pictures of actors, models and musicians by Terry O’Neill. I would have so liked to buy a copy of Macca playing piano at Ringo’s 1981 wedding, a picture that comes alive as you look at it, but didn’t have £2000 on me!

I’d avoided the Royal Academy’s Modern British Sculpture exhibition because the reviews were so bad but as I was passing with time to kill and as it’s free for Friends, I gave it a quick look and it was nowhere near as bad as I was led to expect. It was worth a visit for an amazing Adam by Jacob Epstein alone, but there were others to admire, though they did make up less that half of the exhibition. How you can mount a survey of modern British sculpture without three recent titans – Anthony Gormley, Richard Wilson & Anish Kapoor – is however beyond me. We got a less important example from Damien Hirst but were fortunate to be spared a Tracey Emin. Upstairs, it was hard to get excited about Watteau’s drawings, accomplished though they are. There are an awful lot of studies of heads and hands and few finished works.

Phew, did I really do all that on top of 20 plays, musicals and ballets?!

Read Full Post »