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Posts Tagged ‘Lothar Koenigs’

Opera

The Met Live Rigoletto was wonderful, though two long intervals did mar the dramatic flow somewhat. The staging in 60’s Las Vegas (brilliant design) worked as well as the ENO’s gangster Chicago one many years ago and the lead performances were simply stunning – Zeljko Lucic as Rigoletto, Diane Damrau as Gilda and Piotr Beczala (who I saw there in Manon on my US trip in 2012) as The Duke and there was brilliant support from Stefan Kocan as assassin Sparafucile. The production team were new to opera; in fact they were responsible for Spring Awakening, one of my favourite musicals of recent years (and one of my biggest theatre investment losses!).

My latest visit to WNO showed them off at their best and gave us a flavour of new Director David Poultney’s vision, with a pairing of his new production of Lulu and a revival of his 32-year-old production of The Cunning Little Vixen. They are far from my favourite operas, but I doubt either could get better productions. Lulu was a terrific visual spectacle on Johan Engels giant double-circle steel frame (with wings!), and the orchestra and singers, led by Marie Arnet’s wonderful Lulu, were sensational. Sadly, I find it hard to enjoy Berg’s music and the absurdist surrealist story doesn’t really engage me! Vixen fared better as the music is more accessible and the story, though somewhat slight, is more understandable. The late Maria Bjornson’s superb design, with people and animals popping up all over the place, doesn’t look in the slightest bit dated. Again the standard of singing and playing was exceptional (MD Lothar Koenigs again with the baton – boy, was he a good find for WNO!) with Sophie Bevan a delightful Vixen.

Classical Music

One would never have expected a free lunchtime concert at a music conservatoire to produce anything as beautiful and thrilling as Elgar’s 1st Symphony by the Academy Concert Orchestra at the Royal Academy of Music; it was as good as I’ve ever heard it. I’m sure having the great Edward Gardner to conduct helped, but nevertheless the musicianship seemed extraordinary.

Joyce DiDonato’s ‘Drama Queens’ concert (accompanied by the brilliant Il Complesso Barocco) had a slow start but when it got going, boy did it get going. In a stunning flame red Vivienne Westwood gown which transformed as the evening progressed, she sang eleven baroque arias, some by well-known composers like Handel and Monteverdi but a significant number of rarities. The fillers (breathers) by the ensemble were much more than that, most notably Vivaldi’s Concerto for Violin & Strings with a stunning solo from Dmitry Sinkovsky. Her personality always shines through and it felt like an evening with a very talented friend (and the best thing ever to come out of Kansas!).

Well the Britten centenary got off to a good start with a rare opportunity to hear all three string quartets in chronological order at the Royal Academy of Music. Three young quartets formed within the last six years – Leporello, Wilhelm & Jubilee! – did a great job. Two of them were all-girl quartets and the third had one girl; I’m not sure what to read into that! 17+ more centenary events to come!

Art

The NPG’s Man Ray exhibition only includes his photographic portraits but it’s terrific. Most of them are 20th century artists and other members of the avant-garde. Even though they are between 40 and 80 years old, they seem astonishingly contemporary; that’s style for you.

I had to abandon a visit to the cinema because they’d sold out a Saturday afternoon performance of a film that had been running for three weeks! Can’t we be impulsive any more? Well, we can because this gave me the impulse for a Mayfair gallery wander. Bruce Nauman’s neon works at Hauser & Wirth were great, though the narrow entrance to one (of only four) excluded the larger of us! I was impressed by the use of colour in Fiona Rae’s new paintings at Timothy Taylor, but couldn’t fathom why she’d spoilt them by including little Teddy’s peeping out all over the place. Fred Sandback has become a favourite and his works at David Zwimer were brilliant. It’s amazing what you can do with a bit of string, some white space and an imagination! Their other (group) exhibition would have been better if you’d known which artist was which. The final visit was entirely on spec (Time Out pointed out the others); an Azeri artist called Niyaz Najafov who’s red and black grotesques at Gazelli Art House were interesting but not particularly nice to look at. That’s art for you…..

The Wellcome Collection’s exhibition Death: A Self Portrait was recommended but the prospect of seeing it didn’t exactly capture my imagination. Finding myself nearby with spare time, I ventured forth to find it quite fascinating. It’s the personal collection of one man and the range – of sources, periods and themes – is extraordinary. More skeletons than you’ll see in a normal lifetime!

A trio of Royal Academy exhibitions in one day delivered fascinating and unexpected results. The Manet exhibition focuses just on portraits, so it does become a bit monotonous. There are some terrific pictures and I liked the way photos of the subjects were also displayed, but it’s patchy. It’s also padded out as four rooms are closed, two have no pictures and one has just one! In the member’s rooms, it was hard to get close enough to the many engravings that made up most of the British Landscapes show so it proved a bit frustrating. I liked the Turner and Sandby contributions a lot more than the Constable and Reynolds ones, but that’s the same as I feel about their paintings generally. The really pleasant surprise was the Mariko Mori exhibition in the new galleries. Her sculptures and installations feature light, stones and even water. It’s very different, all very cosmic and new age, and I loved it – a more soothing and relaxing experience than the other two.

Film

Hyde Park on Hudson was an enjoyable if slight insight into the relationship between King George VI and President Roosevelt (and Rooseveldt and his mistress) just before the Second World War. Bill Murray is very good as FDR as is Laura Linney as his mistress, but in all the publicity, the superb performances of Samuel West and Olivia Coleman as the King and Queen seem to have been ignored!

Beasts of the Southern Wild was another of my catch-ups and the third to reap big rewards. Sometimes the hand-held camera’s shakiness irritates, but the overall effect is extraordinary. This is a slice of poor America you rarely see, as shocking as much of what you see in the third world and the central performance by young Quvenzhane Wallis is simply extraordinary.

Despite a stunning performance from Daniel Day-Lewis, I’m afraid I found Lincoln pompous, overlong and rather dull. It focuses on only one aspect of the period – the vote to abolish slavery – but took forever to cover it. As always with Spielberg, he overdoes the sentimentality and loses cynical me by doing so.

Hitchcock is so much better than the critics would have you believe. It focuses just on the making of Psycho and both Anthony Hopkins and Helen Mirren are superb. It’s very funny and it seemed to me to be a particularly British humour, which may be why it hasn’t gone down so well in the US.

Zero Dark Thirty would be a much better film if they cut the first 90 minutes, before they establish the target, in half. The final hour as they mount the raid and assassinate Bin Laden, is terrific.

I’m puzzled again by the mediocrity of the reviews of I’ll Give it a Year, which I thought was a complete hoot. Rafe Spall and Stephen Marchant are the masters of foot-in-mouth clumsy behaviour, so this is a double whammy. A RomCom that’s as rom but a whole lot more com than the norm, populated with a fine cast of the best of British. Listen to me, not them!

Other

I’d been to Vintners Hall for a wine tasting (somewhat appropriately) but my second visit was a more thorough tour of the public areas. It’s one of the best livery halls in London and, with entertaining anecdotes from their GM, was a fascinating visit. It’s great that an ancient tradition like Swan Upping, part of this company’s heritage, continues today.

A sneaky afternoon off found us at the London Studios watching the recording of new sitcom Vicious with Ian McKellen and Derek Jacobi as a pair of old queens and Frances de la Tour and Iwan Rheon as their neighbours. It’s by a Will & Grace writer and it was great fun watching it being made (3 hours to make 25 minutes!). It’s on ITV in April (you’ll hear me laughing in Episode Three!). There was a lovely aside from Jacobi as he showed us the photo that was part of the set – a real one of him & McKellen at university in 1958!

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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 »