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Posts Tagged ‘Kurt Weill’

I’m not sure how Brecht & Weill even knew about John Gay’s 18th century original, The Beggar’s Opera, but it’s easy to see the attraction of 21st century theatre folk to this piece, which resonated more on Monday night than it ever has with me before – and not just because of Macheath’s comments about returning after the interval, choosing to remain and being united, and the extensive use of the flag of St. George as England was being humiliated elsewhere! This is a radical adaptation by Simon Stephens, edgier and ruder, which I rather liked.

It’s relocated in the East End of London, amongst the underclass and criminal lowlife. Peachum runs a professional begging gang made up of the homeless, veterans, lunatics, alcoholics and druggies. The corrupt police chief Brown was in the army in Afghanistan with Macheath, the rogue the ladies can’t resist, including the police chief’s own daughter Lucy, Peachum’s wife and daughter Polly and prostitute Jenny. A coronation parade is going to visit their ‘manor’ and Macheath has something on the king, whilst Peachum has something on the police chief and Mrs Peachum controls Jenny through drugs. The closing scene of Act I, where relationships and connections are revealed, is superbly staged, including a keystone cops parody, and the final scene of Act II brings out the Valkyrie helmets and the vocals turn more operatic to brilliantly underline the satire of John Gay’s and Brecht & Weill’s originals. It retains the sensibilities of 30’s Berlin through the music, which somehow fits perfectly with the new setting; it has an anarchic, manic quality and it’s superbly played and sung in this production under MD David Shrubsole.

Rory Kinnear has real menace and swagger as Macheath and a surprisingly good voice for someone without much experience in musical theatre. Nick Holder is more seeped in musical theatre and this is one of his best performances, combining just as much menace with a penchant for cross-dressing, in heels and red-streaked wig. Rosalie Craig excels too as a nerdy Polly with a ruthless streak. I loved Peter de Jersey’s very physical dictator-like police chief and Haydn Gwynne’s oily Mrs Peachum. It’s great to see the wonderful Debbie Kurup at the NT in a terrific turn as Lucy. It’s an excellent supporting cast with a stand-out performance from George Ikediashi as the Balladeer. I wasn’t sure about Vicki Mortimer’s rather ramshackle home made look design, though it did provide some great moments, and the costumes were excellent. Rufus Norris staging was outstanding.

Another evening at the NT which exceeded expectations; long may that continue.

 

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The last time I saw this show, it had the resources of Opera North – probably enough to run this fringe venue for a decade – and tickets were four times as much. Big budgets don’t always result in the best shows though and I enjoyed this production a lot more – perhaps the best this enterprising venue has (so far) given.

Kurt Weill’s score only has one real standard – Speak Low – but it’s a consistently good score, and here it’s beautifully played by MD Aaron Clingham on his baby grand (in the room this time, thank goodness!) and beautifully sung (unamplified) by an exceptional cast.

The story is a bit daft. An ancient lost statue of Venus ends up in a New York gallery where it is kissed by a drunken man, comes alive and they fall in love. Rodney is already engaged (bring on dumped fiancée with screechy voice and stroppy mom) so Venus makes her disappear. It takes a farcical turn as Gloria’s mum wants justice and the gods want Venus back.

Sarah June Mills has created an excellent modern art gallery with paintings that are more than they seem. Lydia Milman Schmidt’s staging is excellent and choreographer Rhiannon Faith manages to create a superb second act  ‘ballet’ in this tiny space. The production values are very high for the fringe and a lot higher than we’ve seen at Ye Olde Rose & Crown before.

The ensemble is outstanding and the leads are great. Kendra McMillan is appropriately statuesque and other-worldly as Venus and David Jay-Douglas captures the naivety of lovestruck Rodney. The world of modern art is brilliantly represented by James Wolstenholme’s gallery owner Savory and his protective secretary Molly; a fine performance from Danielle Morris.

Weill was unique amongst the composers of Broadway’s golden age (well, as a man from decadent Berlin escaping the Nazi’s, he would be wouldn’t he!) and his shows are distinctive because they are not formulaic; each one tells a different story differently. We don’t have revivals anywhere near often enough and this outstanding production is very welcome. Don’t miss!

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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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This is effectively a staged song-cycle of 15 Kurt Weill songs from 6 of his American shows, linked together to tell the story of a relationship between a French chanteuse and an American songwriter.

They are well played and sung by seasoned musical performers Frances Ruffelle and Nigel Richards. There are two tango dancers whose authentic routines are interwoven with the story. The 7-piece band, under James Holmes no less, are superb (and they all even get to do a bit of acting). There’s a stylish design from Chloe Lamford……..

………..but it did absolutely nothing for me! I’m not sure I entirely understand why. It’s more of a sketch than a story. The songs are not Weill’s best. Maybe the slickness and style buries any passion. It  only really came alive three-quarters through its 90 minute uninterrupted length, by which time my mind was wandering.

I admired it, but I can’t say I really enjoyed it, or indeed saw the point of doing it. If you want to put on Weill, why not a chamber version of one of the neglected shows or just a concert? A worthy failure, I’m afraid.

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