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Posts Tagged ‘John Dowland’

Contemporary Music 

I couldn’t make Neil Young’s concert at the O2 and it was always going to be risky going to Birmingham instead. Sadly, nine hours of my life and c.£130 weren’t really worth it; I’d have been better off staying with my memories of all his concerts since the first one 42 years ago! The core issue was song choice. 50 minutes in, four songs later, I began to despair. The new stuff is fine, though elongated – one ending with 10 mins feedback and another with 10-mins of ‘What a fuck up’ chanting (not wrong, there, Neil) – beyond my self-indulgence tolerance limit. In the first two hours, just two classics from the 45-year back catalogue (one also subjected to the endless ending). There was apparently another hour, but I had to leave – and in truth, didn’t feel too bad about that as I’d had enough by now. I suspect this will be my last NY concert; a sad way to end my relationship with a genuine genius I have virtually worshiped.

The world of wrinklie rock redeemed itself just four days later when The Who performed their second rock opera, Quadrophenia, live at the O2. This is a much neglected work and one I’ve always loved as much as Tommy. It sounded fresh, with an enlarged band including three brass, two keyboards, two guitars, bass and drums. The film / photo montage, put together by Roger Daltrey, and the lighting were brilliant and the sound was good. Modern technology enabled deceased band members to contribute vocals and a bass solo by video; very moving. The additional 45 minutes included tracks from Who’s Next which if anything sounded even fresher. Support band Vintage Trouble, an American retro four-piece, were well worth getting there early for and their hard work paid off with a great audience reception.

Opera

June was opera month – nine! – one of which, Grimes on the Beach, I’ve already blogged.

I’m not a huge Rossini fan, but it’s impossible to resist both Joyce DiDonato and Juan Diego Florez. La Donna del Lago is a bit daft, with a Scottish setting & characters but sung in Italian, and John Fulljames production is a bit odd, starting and ending in some sort of museum, but the music is good and the singing was sensational. In addition to my two faves, Daniela Barcelona impressed hugely in the trouser role of Malcolm. It would be great if the Royal Opera found a better vehicle for these extraordinary talents, though.

The Perfect American is Philip Glass’ new opera about Walt Disney and, of the five operas of his I’ve seen, I think it’s his best. The score has more variety and less minimalist monotony and his subject matter is fascinating. What takes it from good to great though is Phelim McDermott’s astonishing production, designed by Dan Potra, Leo Warner, Joseph Pierce & Jon Clark, which is packed full of Improbable’s trademark invention, with every bit of it appropriate and effective. In an excellent cast (with such clear diction that, for once, you could hear every word – it can be done!), Christopher Purves shone as Walt. One of the best evenings at ENO and of modern opera in a long time.

The summer pairing at WNO was another Cardiff treat. A new opera by Jonathan Harvey, Wagner’s Dream, set at the moment Wager died, was paired with his Lohengrin. Wagner had apparently been contemplating a ‘Buddhist opera’ and at that moment just before death he reflects on it as we see it performed behind him. Wagner’s moments are acted in German and the opera is sung in the ancient Buddhist language of Pali. With added electronica, it was played and sung beautifully and staging and design were both effective and elegant. Lohengrin will go down as one of WNO’s finest moments. Despite needing a stand-in for the big role of Telramund (well done, Simon Thorpe!), the musical standards were exceptional, with the orchestra and chorus soaring (at one point with four additional fanfare groups at four points in the auditorium sending shivers up your spine). Apart from a noisy scene change in Act Three (while the orchestra was still playing), the staging was highly effective. I love pairings / groupings of operas and next time we have Donizetti’s Tudor trilogy – an 18th century Italian spin on 16th century British history!

Britten’s Owen Wingrave was the first opera made specifically for TV and it’s very rarely staged; gold star then to the Guildhall School for this contribution to the centenary. It’s an excellent production of his pacifist opera about a boy who defies his family’s military traditions. The setting is contemporary and the traverse staging is ‘framed’ by scenes from modern warfare showing what might have happened had he not rebelled, with projections used very effectively. Amongst the fine cast, Joseph Padfield was outstanding as military tutor Coyle and Samantha Crawford and Catherine Blackhouse both impressed as Owen’s aunt and fiancée respectively. 

I very much enjoyed the first outing of Deborah Warner’s production of Britten’s Death in Venice at ENO back in 2007, but I wasn’t prepared for how much better a revival could be. With beautiful, elegant designs from Tom Pye, it really is a masterly staging, but the chief reason that propels it to ‘Masterpiece’ is John Graham Hall as Aschenbach. Very occasionally a singer inhabits a role in such a way that they begin to own it. Simon Keenlyside IS Billy Budd and now John Graham Hall IS Aschenbach; it’s mesmerising. I’m so glad the Britten centenary (and half-price tickets!) persuaded me to see it again as it will go down as one of my great nights at the opera.

Gerald Barry’s opera of The Importance of Being Ernest in Covent Garden ‘s Linbury Studio was a quirky affair. The small orchestra was on a series of white steps surrounded by white walls. The singers entered from the audience and occupied the rest of the steps. The instrumentation includes plate-smashing. Lady Bracknell is a man in a suit with no attempt at female impersonation. The music is strident, almost spoken. It’s more semi-staged than staged. I admired the originality, I loved the way the orchestra was part of it and the performances were very good – but I can’t say I loved the opera. 

The ROH contribution to the Britten centenary (and the queen’s diamond jubilee) is his only historical opera Gloriana and it proves to be a better piece than the myths suggest (though having seen the Opera North production 19 years ago I knew this!). The problem with this new production is director Richard Jones decision to ‘frame’ it by our present queen’s visit to see it at a village hall, complete with 1953 production values and visible wings. Even during the overture we get a brief appearance from every monarch between the two Elizabeth’s in reverse chronological order with olympic style name cards and a row of schoolboys holding up cards signalling their geographic origin! This all robs the opera of its grandness, majesty and pomp. Still, musically it’s first rate with the orchestra & chorus on top form and the largely British cast including many personal favourites. Susan Bullock makes a great queen and it was wonderful to see Toby Spence again, in fine vocal form after his serious illness.

Classical Music

Another Handel oratorio for the collection – Susanna – from Christian Curnyn and the Early Opera Company at Christ Church Spitalfields. It’s not in Handel’s premiere league, but it was beautifully played and sung and an uplifting end to a challenging day. Emilie Renard and Tim Mead, both new to me, were excellent as Susanna and her husband, and the small chorus was so good I yearned for more than the seven items they were given. Will I ever hear them all live? I doubt it!

Dance

I returned to see The Clod Ensemble after enjoying their last show at Sadler’s Wells. That one was in four parts, with the audience moving from upper circle to dress circle to stalls to stage! Zero was staged conventionally, on stage, but I’m afraid it did nothing for me. The blues harmonica got it off to a great start but it was all downhill from then. I don’t know what it was about, I wasn’t impressed by the movement and the 80 minutes just dragged.

Britten Dances at Snape, part of the centenary Aldeburgh Festival, was a lovely varied cocktail of four pieces from three choreographers – Ashley Page, Cameron McMillan & Kim Brandstrup –  and two ballet companies; The Royal Ballet of Flanders & our own. In addition to two Britten pieces, the musical choices included his arrangement of Purcell and a piece from contemporary composer Larry Groves’ which takes Britten’s take on a Dowland piece as it’s starting point! A unique evening and a unique contribution to the centenary.

Film

Behind the Candelabra was a must-see after the trailer. Though a touch overlong, what makes it worth going to is highly impressive performances from Michael Douglas, Matt Damon & an unrecognisable Rob Lowe. Hard to believe it isn’t getting a cinema release in the US; the land of the free is still the home of the bigots.

I rather liked the new Superman film Man of Steel, the ultimate in prequels, which starts with his birth on Krypton and ends with him getting his job at the Daily Planet. It’s all a bit exhausting, and I’ve seen better 3D (I think maybe I should give up 3D), but it’s gripping and new Superman Henry Cavill is very good. Russell Crowe plays Russell Crowe again as Superman’s dad.

If you like those American gross out comedies like Superbad, you’ll like This is the End and I do /did. This one adds gore and disaster to the cocktail and the effects are excellent. It’s one of those films that’s better in the cinema than at home, because there’s a contaigon about the audience reaction which improves the experience.

Art

A lean month for art. I did pop into the NPG to see the annual BP Portrait Award exhibition, though it seemed to ack sparkle this year. Over at the lovely new giant White Cube in Bermondsey, there are four North American artists on show, the best (and most) of which is Julie Mehretu (actually, she was born in Ethiopia). Her giant B&W canvases are multi-layered and grow on you. It’s like she started with an architectural drawing, they overlaid it with another , then another….Original.

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Contemporary Music

It’s hard to write about the Paul McCartney concert at the O2 without downloading a complete thesaurus of superlatives. It was the sixth time I’d seen him in the 21 years he’s been performing live with Wings or solo, and the third in as many years. It was at least as good as all the others – amazing visuals, brilliant sound, 2.75 unbroken hours containing 41 songs (including 27 Beatles songs, two getting their UK live premiere 46 years after their recording!). I sang, swayed, danced and cried. Absolute magic.

Opera, Dance & Classical Music

The ENO’s Castor & Pollux sounded as good as it looked dreadful. Rameau’s music is different to his contemporaries – just as crisp and clean, but with less frilly stuff! Sadly, the white box-modern dress-piles of earth-running around-inexplicable nudity production meant it was a lot better with your eyes closed. The singing of Allan Clayton, Roderick Williams, Sophie Bevan and Laura Tatulescu was lovely though – and the orchestra under Christian Curnyn sounded gorgeous.

Undance at Sadler’s Wells was an intriguing prospect – a double-bill of opera and dance as a collaboration between composer Mark-Anthony Turnage, artist Mark Wallinger and choreographer Wayne McGregor. The opera, Twice Through the Heart, was in fact a monodrama / song cycle about an abused woman who murders her husband. Favourite Sarah Connolly sang beautifully ‘inside’ 3D projections (we were given glasses on the way in!). It was a bit inaccessible on first hearing, but interesting and well executed nonetheless. Undance itself was based on the 19th century ‘motion photography’ of Eadweard Muybridge with projections behind the dancers, one mirroring the other. It was clever and intriguing, but felt like it should be a third of a triple bill rather than a pairing with a mini-opera. I didn’t dislike the evening, but somehow it felt like a couple of snacks rather than a full meal.

The Bizet Double-Bill at The Royal College of Music was a fascinating affair. Djamileh, an ‘opera comique’ had few laughs and inexplicably lost its happy ending to a murder, but the sound was unquestionably Bizet. Chinese tenor Lei Xu and British soprano Katherine Crompton sounded beautiful, as did the orchestra under Michael Rosewell. Le Docteur Miracle was certainly played for laughs, but also ended with a death Bizet didn’t (I think) write. In a veritable United Nations of casting, the singing of the girls – South African Filipa van Eck and Anastasia Prokofieva (guess where she’s from!)  – was great and the acting of Israeli  Pnini Grubner and homegrown Oliver Clarke equally good. A delightful evening.

Offenbach operettas are hardly subtle, but Scottish Opera’s touring production at the Young Vic removed any subtlety Orpheus in the Underworld did have. Everyone was trying so hard, particularly Rory Bremner’s libretto, squeezing in as many contemporary satirical references as he could think of, and the performers exaggerating every move and expression until it seems Am Dram. There was some good singing and the solitary pianist played the score well, but I felt like they were relentlessly beating me on the head with a newspaper (as one character did actually do to another at one point). Having said that, I admire them for touring small-scale opera to 33 venues in Scotland and Northern Ireland including artistic black holes like Stornoway and Lerwick, but why come to London with this? It made me yearn for a revival of ENO’s production with Gerald Scarfe’s extraordinary designs.

The BBC Symphony Orchestra’s concert at the Barbican was terrific. They combined Walton’s cantata Belshazzar’s Feast with Sibelius’ suite from the music of a play on the same subject and added in some Sibelius songs and Britten’s Sinfonia da Requiem. Edward Gardner is now in the conducting premiere league and his interpretations here were thrilling. The chorus sounded great in the Walton and soloist Gerald Finlay great in both the Walton and the Sibelius sons. For once, the audience didn’t hold back the cheers; a cracker.

The LSO is an orchestra at the height of its powers. The Monteverdi Choir is one of the world’s best. Sir John Elliott Gardiner is in the premiere league of conducting. Even so, their concert of Beethoven’s 1st and 9th Symphonies was even more of a treat than I was expecting. The soloists don’t get to do much in the 9th, but they did it well. The chorus soared and the orchestra thrilled. Possibly the best in a lifetime of 9th’s

Back at Wigmore Hall there was a lovely concert pairing the 16th century songs of John Dowland with those of the 20th century composers he influenced – Peter Warlock and Ivor Gurney – with singers Ian Bostridge, Sophie Daneman and Mark Stone accompanied by lute, piano, flute, cor anglais & string quartet in various combinations. I could have done without the cheesy German Christmas encore with children’s pageant that followed a rather lovely evening of English song.

Magical Night at the Linbury Studio was the British premiere of a Kurt Weil ‘kinderpantomime’ choreographed by Aletta Collins, who has created a simple story of toys that come alive in the kid’s bedroom at night (heard that before?!). It was the Weill that was the attraction for me and it was interesting but hardly thrilling. The dance was OK, but the whole show was a bit of a disappointment overall.

Art

I was drawn to Painting Canada at Dulwich Gallery by its poster, as I often am by poster images. Sometimes the poster doesn’t properly represent the content of the exhibition (take note, Tate!) but on this occasion it does. It’s a beautiful exhibition of 122 paintings and oil sketches by the ‘Group of Seven’ Canadian artists from the early 20th Century. I’m not sure I’ve ever been to such a cohesive and consistently good exhibition of paintings. They’re virtually all landscapes, the colours are vivid and they show off (probably flatter) Canada brilliantly. Gorgeous.

Glass-maker Dale Chihuly is best known in the UK for the enormous ‘chandelier’ which dominates the V&A entrance. We were lucky to have a major exhibition of his work at Kew Gardens some years ago, but that’s about my only exposure to his work. Halcyon Gallery now has a brilliant selling exhibition which is surprisingly large and has a long 3-month run. The 57 works are well exhibited and beautifully lit. The only downside was the prices – from £11.5k to £700k; just a little beyond my art budget!

The annual Landscape Photography exhibition in the NT Lyttleton circle foyer is as good as ever; though guarantee to make mere mortal photographers like me feel totally inadequate! There are so many lovely photos here, I had to go round twice to take them all in.

I was initially disappointed by the V&A Friends visit to William Morris’ former home – Kelmscott House in Hammersmith – when I discovered we were only going to see the small basement museum (the rest is now a family home again). However, the curator brought out a lot of fascinating items, like original artwork for wallpaper and fabrics, and added some interesting historical facts to make it worthwhile in the end.

Down in Surrey, a feast of the work of another Arts & Crafts couple – George & Mary Watts – was to be had at the Watts Gallery and nearby chapel. He’s an underrated player in this movement’s game and it was great to see so many of his paintings in one place. The beautifully decorated round chapel (inside and out) by his wife on a nearby hill was an unexpected bonus despite the fading light.

It has taken me 21 months to get round to seeing WildWorks ‘Enchanted Palace’, which is occupying 15 rooms of Kensington Palace during their renovations. There were only 4 days to go, so off I went and boy was I glad I did. They tell the story of seven of the princesses who lived there by installations, light, sound, story books and cards and actors. it’s sometimes mysterious, sometimes playful, often beautiful and always captivating. I now can’t wait for their Babel in Battersea Park in 2012. 

Film

I adored My Week With Marilyn. It was funny and moving, littered with a who’s who of great British actors. Kenneth Branagh does a terrific turn as Laurence Olivier and Michelle Williams is uncanny as Marilyn, but for me it was Eddie Redmayne’s movie – he’s as mesmerizing on film as he is on stage, proven yet again by his Richard II less than 2 weeks later.

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