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Posts Tagged ‘Giselle Allen’

This extraordinary adventure started when I collected my headphones and began to follow the instructions of my fisherman friend in my ears. As we walked through Aldeburgh he introduced characters from the community and told me about their tough lives. After a while music from Peter Grimes could be heard too.

My first visit was to a fisherman’s hut, somewhere he lived and worked when not at sea. At Moot Hall, the noticeboard included information about the trial of Peter Grimes. A visit to the unoccupied room of schoolteacher Ellen was interrupted by her return, requiring me to hide in the wardrobe lest she see me! Off to a lock-up to fetch some keys for my fisherman friend I encountered a rather drunken Bob Boles, the Methodist preacher.

Leaving the town, I walked on a path through the marshes to a hut. Inside, Peter’s apprentice busied himself and gave me an identical fisherman’s lucky charm to the one I’d seen in the first hut before ushering me out of the back door. I was now Peter Grimes, facing a group of vigilantes determined to get me.

Three & a half hours later I was sitting on Aldeburgh beach. The rain had stopped but the shingle was damp. A spitfire flew past a few times to remind us it was 1945 and the second world war had just ended. The continual sound of the waves was broken by the opening music of Peter Grimes. A long ramshackle set of boats and walkways faced the town and the audience.

The orchestra was recorded but the singers sang live, amplified, though you hardly knew it. You could hear every word. In a fine cast, Giselle Allen was the best Ellen I’ve ever seen, and David Kempster a wonderful Balstrode. The choruses soared and at times appeared to be coming from the sea itself. The drama gripped from the off as we moved from the court to the streets of The Borough to the pub to the chapel to the beach and to Peter’s hut.

This was the ultimate in site specific performance and my discomfort disappeared the more captivated I became. Punchdrunk on a smaller scale and opera director Tim Albery scaling new heights. A once-in-a-lifetime experience that exceeded expectations and proved to be as exhilarating as art can be.

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With eight days at the paralympics at the beginning of the month, five days housebound at the end of the month and seven shows in-between, there wasn’t much room for ‘the rest’.

Opera

We’d seen both productions in our autumn visit to WNO in Cardiff before – Handel’s Jeptha some years back and Puccini’s La Boheme just 3 months ago. Neither were quite up to their earlier incarnation, but both were well worth re-visiting. Jeptha was never meant to be staged and it is directed by my bête noire Katie Mitchell, but despite that I like the modern war-time staging and the music is simply gorgeous. Robert Murray was excellent in the title role. The La Boheme staging is one of the best, but the new Mimi, Giselle Allen, wasn’t really believable. This was a ‘safe’ visit – the next one is Janacek and Berg and the one after Wagner and a modern one about Wagner, so they should be more challenging!

Ballet

I was persuaded to go to San Francisco Ballet by some visitors, but came out glad I was. The very diverse third mixed programme was a veritable feast. It started with a quirky and camp Mark Morris piece (not his best), then we got a more classical piece (to a lovely Prokofiev symphony), a captivating Japanese dance drama and some more modern dance with a blend of early and contemporary music. It seemed like a very young company which is probably why it all felt exuberant and fresh.

Art 

Another London at Tate Britain was both a superb idea and a brilliantly curated exhibition of B&W photos of London taken by foreign photographers. It included most of the 20th century’s iconic photographers and though it focused a bit too much on ‘grimy poor London’ it was unmissable.

At the Photographers’ Gallery, the annual Deutsche Borse Photography Prize exhibition was the best ever, in particular the images of Ghanaian scavengers and the arty Japanese selection. The new galleries have been improved since they moved in and now provide an excellent space to show these works.

The Korean Eye exhibition at the Saatchi Gallery was one of the best of their recent overseas contemporary art exhibitions with a nice combination of sculpture, installation and painting (yes, painting!). An excellent bonus during this visit was a small but hugely creative exhibition of chess sets by British artists (the usual suspects such as Hirst and Emin). How does this gallery survive without subsidy?

At the ICA, I liked Bruce Nauman’s soundwork Days – you walked through a space where speakers on both sides projected people speaking. Sadly, the rest of the soundworks ‘exhibited’ at the same time were hugely disappointing.

A brilliant trio of exhibitions at the NPG this month with the BP Portrait Prize living up to its reputation, photos of people associated with London 2012 (not just athletes) all over the building and a surprisingly interesting exhibition of pictures and photos of the queen  I’m no monarchist, so enjoyment of the latter was a bit of a shock!

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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.

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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 »