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Opera

There was much to like about Coraline, the Royal Opera at the Barbican Theatre, but I’m not sure the adaptation and production served both Neil Gaiman’s story and Mark Anthony Turnage’s music well as neither were dark enough. Good to see a family friendly opera at accessible prices though.

I didn’t go and see the Royal Opera’s 4.48 Psychosis first time round in 2016 because I didn’t like the Sarah Kane play from which it is adapted. The reviews and awards propelled me to this early revival, again at the Lyric Hammersmith, and I’m glad they did. Philip Venables work makes sense of Kane’s play, a bleak but brilliant exposition of depression and in particular the treatment journey in the eyes of the sufferer. Words are spoken and projected as well as sung and there is recorded music, muzak and sound effects. The artistry of the six singers and twelve-piece ensemble was outstanding. Not easy, but unmissable.

Classical Music

The new Bridge Theatre put on a lunchtime concert of Southbank Sinfonia playing Schumann’s 3rd Symphony, which was a delight, particularly as they unexpectedly blended in poems read by actors. I only wish I’d booked seats within the orchestra, as that would have been a rather unique experience; let’s hope they do it again.

At Wigmore Hall, a young Stockholm-based chamber ensemble called O/Modernt gave a recital spanning almost 400 years of English music from Gibbons to Taverner with an emphasis on Purcell & Britten. They were assisted by a mezzo, a theorbo and vocal ensemble The Cardinall’s Musick. There was even a quirky improvisation on a theme by Purcell. It all sounded very fresh, though there was a randomness about it.

At the Barbican, a delightful double-dip started with a concert of Elgar choral works by the BBC Singers at St Giles Cripplegate. I particularly loved the fact the Radio 3 introductions were made by members of the ensemble. Then at Barbican Hall the BBC SO & Chorus under Andrew Davies gave a wonderful WWI themed concert bookended by Elgar pieces and featuring the London Premiere of a contemporary song cycle and a lost orchestral tone-poem, the highlight of which was an Elgar piece this Elgar fan had never heard, the deeply moving but thoroughly uplifting The Spirit of England, so good I will forgive the ‘England’ that should be ‘Britain’.

Another LSO rehearsal at the Barbican, this time with their new Chief Conductor Simon Rattle, a man who knows what he wants, if ever I saw one; Mahler’s 9th and a new work. It proved to be a fascinating contrast with Mark Elder’s less directive rehearsal method. Again, I wanted to book for the concert.

London Welsh Chorale did a good job with Handel’s Judas Maccabaeus at St Giles’ Cripplegate. It’s one of the first oratorio’s I ever heard (my mother was in Caerphilly Ladies Choir!). They were accompanied by a small orchestra and had four fine young soloists.

I actually went to the LSO Tippett / Mahler Barbican concert to hear Tippet’s Rose Lake again (I was at its world premiere) and as much as I enjoyed it, it was Mahler’s unfinished 10th which blew me away. A highlight in a lifetime of concert-going.

The British Museum reopened the fabulous Reading Room for some concerts and I went to the quirkiest, obviously, for Lygeti’s Poeme Symphonique for 100 Metronomes. They were all set off at the same time, but ended individually, with the fifth from the left on the back row hanging in there the longest for its solo finale followed by a minute’s silence. Strangely mesmerising.

Dance

The Royal Ballet’s Bernstein Mixed Bill was a lovely addition to his Centenary. The first piece, danced to the Chichester Psalms, was wonderful, and the last, to the Violin Serenade, was a delight. Though I love the 2nd Symphony, which provided the music for the middle piece, it was a bit dim and distant to wow me as the others had.

The Viviana Durante Company’s short programme of early Kenneth Macmillan ballet’s, Steps Back in Time, benefitted from the intimacy of Barbican Pit, but could have done with programme synopses so that we could understand the narrative, better recorded sound for the two works that had it, and on the day I went some aircon! Lovely dancing, though.

Comedy

Mark Thomas’ latest show tells the story of running a comedy workshop in the Jenin refugee camp in Palestine, two Palestinian comedians with him on stage and four more showcased on film. In addition to a good laugh, you learn a lot about life in occupied Palestine. The post-show Q&A at Stratford East was a real bonus. Important and entertaining.

Film

Love, Simon is as wholesome and sentimental as only American films can be, but its heart was in the right place and it was often very funny.

The action was a bit relentless in Ready Player One, and the ending a touch sentimental, but it’s a technical marvel and proves Spielberg can still cut it, now with mostly British actors it seems.

Funny Cow was my sort of film – gritty, British, late 20th Century – with some fine performances and some really funny stand-up. Maxine Peak was terrific.

I enjoyed The Guernsey Literary & Potato Peel Pie Society, though it was a bit slow to get off the ground. Particularly lovely to see Tom Courtney at the top of his game.

Art

A bumper catch-up month!

I was impressed by Andreas Gursky’s monumental photographs of the modern world (ports, factories, stock exchanges…) at the Hayward Gallery. Much has been said about the gallery’s refurbishment, but I honestly couldn’t tell the difference!

I’m not sure I understand the point of an exhibition about performance art events that have taken place, so Joan Jonas at Tate Modern was an odd affair; intriguing but not entirely satisfying. However, Picasso 1932, also at Tate Modern, was astonishing – work from just one year that most artists would be happy of in a lifetime, with an extraordinarily diverse range of media, subjects and styles. Wonderful.

I love discovering artists and Canadian David Milne at Dulwich Picture Gallery was no exception, his Modern Painting exhibition is a beautiful collection of landscapes, with one room of early city scenes, all very soft and colourful.

Another Kind of Life: Photography on the Margins at the Barbican Art Gallery brought together some world class, cutting edge photographers, but it was all rather depressing. The quality of photography was excellent, but all those prostitutes, addicts, homeless people…..Agadir by Yto Barrada downstairs in the Curve didn’t do much for me and the wicker seats you sat in to listen to the audio aspects of the installation were excruciatingly uncomfortable.

At the NPG, Victorian Giants: The Birth of Art Photography consisted entirely of portraits, mostly from the mid-19th Century, by four photographers. They were surprisingly natural and technically accomplished, but I’m not sure it was the ‘art photography’ it said on the can. At the same gallery Tacita Dean: Portrait consisted mostly of short films of people with loud projector sound as accompaniment and it did nothing for me.

At the RA, a small but exquisite display of Pre-Raphaelite book illustrations by the likes of Millais, Rossetti, Burne-Jones and Holman Hunt. A little gem, but oh for a much bigger one.

Ocean Liners: Speed and Style at the V&A was a brilliantly presented exhibition which conveyed the glitz and glamour but also covered the wonders of the engineering and the historical significance of the mode of travel. Unmissable.

At the Photographers Gallery the annual Deutsche Borse Photography Foundation Prize Exhibition had a real political bite this year with swipes at Monsanto, the US justice system and former Soviet and East European states. Downstairs Under Cover: A Secret History of Cross-Dressers was difficult to take in as it was a load of standard size snaps found in flea markets and car boot sales, but the accompanying display of Grayson Perry’s Photograph Album covering the early days of his alter ego Clare was fascinating.

The content of the Sony World Photography Awards Exhibition at Somerset House was better than ever and it was much better displayed, though it made me feel like a rubbish photographer again. In the courtyard, there were five geodesic domes, ‘Pollution Pods’, replicating the pollution in five world cities with live readings. New Delhi and Beijing come off particularly badly but London wasn’t as bad as I was expecting. It really made you think.

All Too Human at Tate Britain was another of those exhibitions where the premise was a bit questionable, but there were enough great paintings to forgive that. Wonderful Lucien Freud and Bacon pictures and a lot of 20th century British artists new to me. In the Duveen Hall, Anthea Hamilton has created a quirky swimming pool like space with sculptures and a performer moving around all day. Called The Squash, it was momentarily diverting.

Rodin & the art of ancient Greece places his sculptures alongside some of the British Museum’s collection of Greek pieces and it works brilliantly. Rodin apparently took inspiration from The Parthenon sculptures and was a regular visitor and lover of the BM. Wonderful.

The Travel Photographer of the Year Award exhibition moved completely outdoors and to City Hall this year, but the standard was as good as ever. The young photographer entries were particularly stunning.

I was overwhelmed by the scale and beauty of Monet & Architecture at the National Gallery. A once-in-a-lifetime opportunity to see 78 pictures together, a quarter of which come from private collections, a third from public collections scattered all over North America, and only 10% in the UK, half in the NG’s collection. Going at 10am on a Monday was also a good idea, seeing them with a handful of people instead of the crowds there when I left. While there I took in Drawn in Colour: Degas from the Burrell, thirty lovely works, but as always with pervy Degas all young women and girls, Murillo: The Self Portraits, which isn’t really my thing, and Tacita Dean: Still Life, which I enjoyed marginally more than her NPG show!

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Opera

My winter pairing at WNO at the WMC in Cardiff was Verdi’s La Forza del Destino, a hugely underrated opera, and Puccini’s regularly revived Tosca. The former was an excellent new production and the latter a 26-year-old one which has stood the test of time. Both were beautifully sung and conductor Carlo Rizzi has real feel for the Italian repertoire, so the orchestra sounded gorgeous.

Jake Heggie & Terrence McNally’s opera Dead Man Walking has taken eighteen years to make it to the UK and even then only semi-staged by the BBC SO. Why on earth haven’t ENO or the Royal Opera staged this modern masterpiece? Anyway, at the Barbican Hall it was an absolute triumph with a sensational cast led by Joyce DiDonato, Michael Mayes, Maria Zifchak and Measha Brueggergosman and students from GSMD in smaller roles. I left emotionally drained but privileged to have attended something so special.

Classical Music

The LSO and LSC gave one of the best performances of Mahler II I’ve ever heard at the Barbican Hall. It’s a big work that’s often more suited to bigger venues like the Royal Albert Hall, but here it was uplifting and thrilling.

Attending an LSO rehearsal in the Barbican Hall proved fascinating. Most movements were played right through before revisiting sections at the request of the conductor, soloist or players. Elgar’s 1st Symphony sounded so good I almost returned for the concert, and the rehearsal introduced me to new pieces by Janacek and Bartok.

Another of those delightful Royal Academy of Music lunchtime concerts saw their Symphony Orchestra virtually on fire under the baton of Jac van Steen in a beautiful Sibelius programme. I so love these lunchtime RAM treats.

The Royal College of Music Symphony Orchestra’s programme of more obscure Stravinsky pieces from the first ten years of his exile was more enticing on paper than it turned out in performance, though the eight visiting singers from Moscow’s Tchaikovsky Conservatoire were excellent, and their enthusiasm infectious.

Film

Phantom Thread looked gorgeous and the performances were outstanding, but I couldn’t engage with the rather flimsy and inconsequential story at all, I’m afraid.

I adored Lady Bird, a delightful coming of age film told through the relationship of a mother and daughter. It feels like an Inde film but its nominated for BAFTA’s and Oscars.

I try and see all the Oscar and BAFTA nominated films and only one or two normally disappoint. This year, in addition to Phantom Thread, it was The Shape of Water. There was a lot to enjoy, but it seemed a bit slight and overlong. A case of too much hype, I suspect.

Finding Your Feet is my sort of film, a quintessentially British cocktail of humour & romance within a well observed account of growing old. Laughter and tears. Loved it.

I, Tonya is the most extraordinary true story made into a brilliant film which is ultimately sympathetic to its subject in the same way Molly’s Game was sympathetic to its subject. Two great contemporary true stories in one year.

Art

A disappointing afternoon of art started with Peter Doig at the Michael Werner Gallery, where so many seemed sketches or unfinished works, and much smaller than his usual giant canvases. At the Serpentine Gallery, Wade Guyon’s digital paintings did nothing for me while up the road at the Serpentine Sackler Gallery, Rose Wylie’s child-like pictures did a bit more, but not a lot. On to the National Gallery, where I fared much better with Monochrome, an exhibition of black & white, grey and one colour art throughout history, ending with Olafur Eliasson’s yellow room. Fascinating.

Whilst visiting Cardiff, I popped in to the National Museum of Wales to see Swaps: Photographs from the David Hurn Collection. This Welsh photographer did just that – swapped photos with other photographers he met, including global figures like Cartier Bresson, which he has now given to the museum – a brilliant idea and a fascinating collection. Another exhibition called Bacon to Doig showed 30 items on loan from a major private collection of modern art; a real quality selection it was too. Finally, in a room containing a decorative organ they have removed the art and someone plays and sings a piece by Icelandic artist Ragnar Kjartansson called The Sky in the Room continuously – beautiful!

The Royal Academy’s exhibition Charles I: King & Collector doesn’t really contain my sort of art, but I admired much of the artistry, the significance of the collection and was hugely impressed by the extraordinary achievement of getting all of these pictures from all over the world into one exhibition.

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Opera

It wasn’t long into Semiramide at Covent Garden that I realised that I don’t really like Rossini’s brand of plinky-plonk music with frilly bits! I was lured by favourite mezzo Joyce DiDonato, but even her presence, and other fine singing and playing, couldn’t lure me back after the interval to this misguided production and more plinky-plonk music! 1h50m was enough, another 1h30m was beyond me.

Classical Music

Mezzo Cecilia Bartoli & Cellist Sol Gabetta, accompanied by the latter’s brother’s wonderful 18-piece ensemble, gave a recital at the Barbican Hall to promote their new CD. Though I admired the artistry, and thought the pairing worked well most of the time, I wasn’t that keen on the content or order of the programme, I’m afraid.

Britten Sinfonia put together two excellent but rarely performed choral pieces with a world premiere for orchestra to make a lovely evening at the Barbican Hall. Bernstein’s Chichester Psalms links it to his centenary and it seemed almost new here. Vaughn Williams Dona nobis pacem showed off the talents of the Choir of King’s College even more, with two wonderful soloists, Ailish Tynan and Neal Davies. I like seeing world premieres and Emma-Ruth Richards’ Sciamachy was an interesting new piece that deserves further hearing.

The LSO & LSC let their hair down in style at the Barbican with a concert version of Bernstein’s musical Wonderful Town under Simon Rattle no less. You rarely hear a musical score played and sung so well, but they has fun with it too, taking the Act I conga finale through the audience, and again as an encore, this time collecting people along the way. I don’t always like opera singers doing musicals, but those here largely avoided the operatic frills. It was paired with Bernstein’s very different 2nd symphony, an inspired idea which worked brilliantly.

Film

My initial instinct not to see Murder on the Orient Express was proved correct as I found it slow and rather dull and unengaging, despite the nice tongue-in-cheek style and idiosyncratic camera angles.

The Florida Project was slow to grab me, but grab me it did, with its documentary-like examination of the US underclass, and it has some of the best child acting I’ve ever seen.

I enjoyed Star Wars: The Last Jedi more than the previous instalment, partly because I didn’t see it in 3D and partly because it was more balanced between story and spectacle, working at an emotional level too.

Art

A disappointing afternoon at Tate Britain started with Impressionists in London which should really be titled 19th Century French artists in exile in London, because a lot weren’t impressionists (the term no doubt chosen to sell the show) and a lot weren’t of London. Not very well curated, I forgave it for a room of eight Monet London pictures brought together from eight different collections. Upstairs, Rachel Whiteread proved to be a one trick pony – a giant room of casts in concrete or resin. More is less….a lot less. We went on to the new V&A galleries for Opera: Passion, Power & Politics which redeemed the afternoon, an opera-lovers treat accompanied by gorgeous music which changed as you walked through. Lovely.

A wonderful morning at NPG followed the disappointing afternoon, with the revelatory Cezanne Portraits, from the man who I didn’t know did portraits, and the ever wonderful Taylor Wessing Photography Prize exhibition, better every year. After lunch, on to Every Thing at Once, a big exhibition of modern art installations and sculptures on three floors of an office block they are taking forever to renovate at 180 Strand. There was the usual tosh, but pieces by the likes of Anish Kapoor and Ai Wei Wei and the bonus of four other full room installations, two of which were terrific, made it a worthwhile visit.

Tove Jansson was a Finnish painter-turned-illustrator, most famous for creating the Moomins, and her retrospective exhibition at Dulwich Picture Gallery was fascinating. I could have done with more paintings, but she didn’t paint many after she turned illustrator!

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Opera

Italian-American composer Gian Carlo Menotti wrote 28 operas, but we hardly ever see them here, so GSMD’s The Consul was a great opportunity to see an opera I’ve only seen once, zonks ago in Stockholm, and a great job they made of it too (though I wish they’d lost the final scene!). The only Menotti I’ve seen in the UK was a double-bill of short works in a tiny room at the Edinburgh fringe, also ages ago. The audience was small, but one of them stood to take a bow; Menotti was now living in Scotland!

I’m very partial to Handel operas, and Rodelinda’s a good one. ENO assembled a superb cast, in which Rebecca Evans, Tim Mead and Neal Davies positively shone. Though I liked the relocation to fascist Italy, I thought some of the black comedy in Richard Jones’ production jarred, with laughter sometimes drowning out the beautiful singing. Still, musically exceptional.

Classical Music

The LSO’s celebration of Bernstein’s centenary at the Barbican started two months early with his first and third (last) symphonies. I don’t normally like narration but the latter had acting royalty Clare Bloom which helped. It was well paired with Bernstein’s flute concerto Halil and the adagio from Mahler’s (unfinished) 10th but in the second concert Mahler’s twice-as-long 1st, as much as I loved it, hijacked Bernstein’s bash by swamping his 1st.

Dance

Birmingham Royal Ballet’s Aladdin at Sadler’s Wells looked gorgeous and I loved the score, but the choreography seemed somewhat uninventive and I didn’t really engage with the story, I’m afraid.

Film

Call Me By Your Name is a quintessentially ‘continental’ film that’s (mostly) in English and I thought it was delightful, living up to its 5* reviews for once, and a brilliant advert for visiting Italy.

Paddington 2 is as charming as it gets, a delightfully funny film with a British who’s-who cast.

I loved Film Stars Don’t Die In Liverpool and was surprised, at the end, to find it was based on a true story. That’s what happens when you don’t read the blurb and the reviews!

Beach Rats was a bit slow, inconsequential and overrated, I’m afraid. Another case of reviews leading me astray.

I can’t recall the real events depicted in Battle of the Sexes, but they made for a very good film, with Emma Stone impressive as Billie Jean King.

Art

I surprised myself by how captivated I was at Basquiat: Boom for Real at the Barbican Art Gallery. An untrained Haitian-American who started as a graffiti artist, this year one picture sold for £80m! Given he only lived 28 years, his influence is extraordinary. In the Barbican’s Curve Gallery, there was a climate change installation by John Akomfrah featuring a one-hour six screen film, two triptych’s and hanging containers, all of which I found rather powerful in making its point.

Harry Potter: A History of Magic at the British Library was an excellent 20th anniversary celebration of the phenomenon, illustrating J K Rowling’s take on magic with real historical writings and objects, with handwritten drafts of the stories and book illustrations thrown in as a bonus, including very good ones by the author herself. Well worth a visit for potterheads!

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Opera

La Voix Humaine is a rarely staged 50-minute one-woman opera by Poulenc, one of only three he wrote, and Opera Up Close are to be congratulated on an accessible, high quality production at Kings Place starring Sarah Minns with the score played on piano by Richard Black. Captivating.

A French double-bill at the Royal College of Music proved to be a delight. Chabrier’s Une Education Manquee, about a couple who didn’t know what to do on their wedding night, and Poulenc’s rather surreal cross-dressing boob-expanding Les Mamelles de Tiresias worked brilliantly together and the singing and playing was divine.

I saw the rarely performed Leoncavallo opera Zaza in concert a couple of years ago, so I was looking forward to seeing it staged. Sadly, the staging and design were so incompetent and inconsiderate (sightlines and audibility) that I wished I was hearing it in concert again! The final straw was a downpour soon after the second half started, where the noise of the rain on the canvas roof virtually drowned out the singers – but that wasn’t Opera Holland Park’s fault.

The Arcola‘s enterprising Grimeborn (geddit?) opera festival staged a musical-opera hybrid called The Marriage of Kim K which was a great idea, very ambitious and had its moments, but didn’t entirely work. It alternated between the story of Kim Kardashian’s short marriage to Kris Humphries, Mozart’s opera The Marriage of Figaro and a British couple (him composer, her lawyer) on a couch fighting over the remote and switching between the two. It was this middle section which let it down by being rather dull and underperformed (and often out of tune). Gold star for trying, though, and hopefully we’ll see it again re-worked and improved.

Classical Music

I don’t think I’ve ever reacted so differently to two halves of the same concert as I did at Simon Keenlyside’s recital at Wigmore Hall. I adored the first half of Vaughn Williams, Finzi and Sibelius, but didn’t care for the more frivolous selections of Poulenc and Mahler in the second half, despite the obvious skills of the performers. A matter of taste, I guess.

The BBC Singers / Eric Whitacre concert at GSMD’s Milton Court was an absolute gem. An eclectic programme of ten pieces by living composers from five countries, including four world premieres and one UK premiere, with all composers present, with Whitacre’s first and latest compositions included. To cap it all, an encore of favourite Laura Mvula’s own arrangement of her song Sing to the Moon. Wonderful stuff.

Andrew Norman’s children’s opera A Trip to the Moon, based on the 1902 French silent movie of the same title, was paired with Sibelius 2nd Symphony in a terrific LSO Discovery concert in the Barbican Hall that saw the former involve local communities and both involve GSMD students, under Simon Rattle. Watching the white-shirted post-grad students sitting alongside the black-shirted LSO players provided a great sense of current musicians nurturing the next generation, which really moved me – and they sounded bloody great together too.

Soprano Sophie Bevan & tenor Allan Clayton gave a lovely recital of 28 Shakespeare songs by 20 different composers at Wigmore Hall, a very diverse and sometimes unpredictable selection. The acoustic was unkind to the soprano as it was to Simon Keenlyside’s baritone last week, which is a bit odd.

Contemporary Music

My first Prom this year was a late night celebration of Scott Walker‘s late 60’s solo albums, songs that have never been played live by anyone let alone Jarvis Cocker, John Grant, Suzanne Sundfor & Richard Hawley, with small choir and big orchestra! I didn’t think Cocker’s voice suited Walker’s songs, but the other three were terrific. I’m not a huge fan, but it was well worth the punt.

Film

Seeing Baby Driver broke a two-month film famine. It wasn’t the sort of film I usually go to – glorifying violence in a Tarantinoesque way – but it was exciting and brilliantly made, though let down by the implausibility of the ending.

Dunkirk is an extraordinary film about an extraordinary event. It was tense for the whole 100 minutes, but deeply moving too. Unmissable.

Dance

The Barbican gave over their Art Gallery for four weeks of performance art, well dance really, created by Trajal Harrall. There were lots of short works in different places, so I planned my visit to see as many as possible. Sadly, they weren’t as organised as me so I ended up having to go with the flow a bit, but that proved to be fun. I managed to sample about twelve pieces over a couple of hours and left feeling rather pleased with myself.

Art

A lot to catch up on…..

The Royal Academy’s Summer Exhibition was great this year, though I missed all those architectural models I’m so fond of. Still, the biggest selling exhibition of them all had a lot I would have bought if I bought art!

If I wasn’t a Friend, I probably wouldn’t have gone to the Sargent watercolours exhibition at Dulwich Picture Gallery, which would have left a gaping hole in my life because I loved it! Portraits, city scenes and landscapes, they were all wonderful.

A visit to Whitechapel Gallery en route to a concert proved disappointing as Benedict Drew’s The Trickle-Down Syndrome was slight, A Handful of Dust was a bit pointless and the ISelf Collection underwhelming!

White Cube Bermondsey is such a big gallery that trying to fill it with women surrealists was bound to lead to variable quality, but fortunately there was enough good stuff to make Dreamers Awake worthwhile.

You don’t expect to see Picasso in a private gallery, let alone 111 paintings, drawings, sculptures, tapestries & ceramics of Minotaurs and Matadors, all bar one from private collections! It wasn’t a selling exhibition and entrance was free, so I’m not sure how the Gagosian funds it, but I’m glad they do.

Gregory Crewdson‘s heavily staged and artificially lit photos are like stills from an indie movie or paintings by Edward Hopper, which appear to tell a story but tantalisingly don’t, quite. His Cathedral of the Pines exhibition at the Photographers Gallery puts nudes in white clapperboard houses in snowy landscapes. Weird but a little bit wonderful.

A lovely double-dip at the NPG en route to the theatre, starting with the excellent class of 2017 at the BP Portrait Award, followed by The Encounter, featuring drawings from the 15th to 17th centuries, mostly culled from private collections including fifteen, a third of them, from the Queen! Another treat.

Soul of a Nation: Art in the Age of Black Power at Tate Modern took me by surprise. Covering just 20 years of Black American art from the outset of the 1960’s civil rights movement, it contained some powerful, bold political statements alongside some terrific abstract pictures.

Though low lighting and overcrowding made Hokusai: Beyond the Great Wave at the British Museum a bit of a challenge, it was great to see his complete range of gorgeous, finely detailed work. I shall now pour through the catalogue to see them properly!

The month ended on a real art high with Alma-Tadema at Leighton House, an artist I’d never heard of whose very comprehensive retrospective was absolutely fabulous.

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I don’t normally blog classical music, except in my monthly round-ups, but I feel compelled to abandon this policy to tell as many people as possible about this extraordinary event. I only found out about it c.10 days before; despite being a Barbican member, it had somehow passed me by. 60 performances, from 15 to 105 minutes long, by 450 performers in seven venues, plus foyers and lakeside, over two days. You exchanged your day or weekend ticket for a wristband and created your own event by seeing whatever took your fancy. 

Saturday started brilliantly with the BBC Symphony Orchestra giving an excellent Firebird Suite, in front of a specially commissioned film synchronised live on stage by the director. This is one of my favourite pieces of music, so I was on a high as I walked over to the lovely St Giles Cripplegate for a recital by favourite countertenor Iestyn Davies and Lutenist Thomas Dunford, but by the time this beautiful concert, mostly Dowland, was over I was in heaven. Next stop was the Conservatory where you picked up earphones and waited for the four character mini-Carmen to begin their short promenade performance, ending with a strangulation under the greenery, almost at my feet. In The Curve the BBC Singers gave a lovely selection of unaccompanied choral pieces in atmospheric lighting. Moving half-way through was a pointless distraction, though. Back in the Hall, I fell in love with the voice and personality of the beautifully named American soprano Angel Joy Blue whose eclectic set was, well, a joy. In the foyer and at the lakeside I encountered Street Orchestra London, a cross between buskers, pop-up and flash-mob. They were a delight and their sense of fun was infectious. Then there was a short walk up the road to the lovely LSO St Luke’s where the Guildhall School post-graduate wind students thrilled with Richard Strauss rarely heard symphony for winds. I has planned to return home at this point. The final Britten Sinfonia concert featured someone called Chilly Gonzales, whose talents apparently included rap, something I’m not fond of, to put it mildly. I had second thoughts as there was by now a buzz about it, so I thought I’d give it a go, sitting on the end of a row in case I decided not to see out the ninety minutes. 1h 45m later I was leading the standing ovation! He deconstructed the Oasis’ song Champagne Supernova as Britten had a Purcell theme and gave us The Young-ish Person’s Guide to the Orchestra. I have never laughed so much in a concert, though it was as musically brilliant as it was funny. From Chilly virgin to Chilly fan in an evening, going home on another high.

Sunday started just as well, with the LSO playing a selection of the John Williams film music they originally recorded. It sounded thrilling with almost 100 players on stage and the video interview clips with Williams between pieces, putting them in context, was a great idea. I discovered the second LSO Williams concert was not a repeat (as the BBC SO’s had been the day before), so I was tempted to return, but decided to stay with my plan to support a new work by Sven Helbig with the BBC Singers, Helbig’s electronics and an atmospheric accompanying film. I liked it, though it was dark in the hall and the sound soporific, so I struggled to remain conscious! In between these two events there was a quirky visit to The Curve Gallery where the music came from helium filled balloons as they exhaled and descended. ‘Horn Hangout’, an entertaining Q&A with the LSO horn section was followed by a horn flash-mob at the lakeside as they were joined by members of the Coldstream Guards and amateur players. Great fun. Back in The Curve, you walked through a sound installation in darkness whilst people in black made further sounds and illumination waving what seemed to be pliant light sabres! On to the Hall, where The Academy of Ancient Music played a selection from Handel’s Water Music preceded by a lovely trio of Handel arias from countertenor Tim Mead. Up to the Conservatory again, this time for a percussion sextet playing a one-hour piece called Timber on planks of wood. I didn’t think I’d see it through, but it hypnotised me – like Glass, but wood! The final concert in the Hall was another inspired idea, featuring brass and winds with pieces by Bernstein, Miles Davies after Rodrigo (featuring trumpet player Alison Balsom) and Gershwin. A big, brash, loud statement to close the weekend.

It’s intention was to be accessible, informal and friendly and it certainly achieved that. The performers dressed casually, there was illuminating commentary from the stage, live video for close-ups, free seating and sessions in the foyers and at the lakeside. There was quality music from premiere league orchestras, choirs and soloists, plus GSMD students and I particularly liked the fact it featured works for winds, brass and percussion that get less airtime. The quirky additions were great fun. My personal selection was 14 events in 6 venues and another 4 in the foyers / outside. I enjoyed every single one of them.  Something like ten hours of music; an absolute feast. I can’t wait for the next one, when I intend to take a gang with me.

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Contemporary Music

I’d never heard of Joe Henry until his field recordings of railroad songs with Billy Bragg last year, and I only heard that record a few days before their lovely concert at Union Chapel, which took a side-trip to include some timely protest songs, and a surreal ending when they were joined on stage by Chas & Dave!

Opera & Dance

I wasn’t keen on the music of Lygeti’s Le Grand Macabre when I saw a staged production at ENO eight years ago, but with the superior LSO, on stage, under Simon Rattle, the LSC in the auditorium aisles (flouting fire regulations!) and a fine line-up of soloists and instrumentalists popping up all over the place in the audience it was rather thrilling. I got the humour which I missed last time, though I’m not sure I got Peter Sellers’ Chernobyl staging (which the composer took against when this version was first staged in Salzburg 19 years ago). I still don’t understand it, but now I’m not sure I’m supposed to!

Les Enfants Terrible, a ballet-opera by Philip Glass, was only partly successful for me. I liked the music, played by three pianos, and the design was good (apart from an unscheduled break when a screen refused to move!) but I’m not sure Javier de Frutos’ choreography with multiple dancers for the two principal roles really worked; it was a bit too fussy.

Film

January is always a busy month in the cinema as all the Oscar contenders are released, and so it was……

Passengers was a bit far-fetched, but quality SciFi nonetheless. Worth seeing for Michael Sheen as an android barman!

A Monster Calls is a highly original and deeply moving story of a young boy coping with his mother’s death from cancer. Young Lewis MacDougall was extraordinary.

Manchester by the Sea took me by surprise. It has a very un-Hollywood authenticity and emotionality; it feels very much like a European film. Sad but beautiful.

La La Land had so much hype it was never likely to live up to it and so it was. Though I enjoyed it, the score, singing and dancing all weren’t good enough to make it an Oscar winner, though it probably will as it’s Hollywood’s love affair with Hollywood.

I adored Lion, so heart-warming and beautifully acted. Based on the true story of a lost Indian boy adopted by a Tasmanian couple, it ended beautifully and movingly with film of the meeting of the real people on which it was based.

Jackie was a big disappointment, despite a fine performance by Natalie Portman. A film about a very interesting woman and a very interesting period turned out to be ever so dull.

I’m not sure it was a good idea to make T2 Trainspotting; I found it a bit disappointing. It was a film of its time and maybe it should have been left that way.

I greatly admired Denial, the very gripping story of the defamation case brought by holocaust denier David Irving against an American academic. It unfolded like a thriller and had a superb British cast.

Art

Dulwich Picture Gallery discovered another old master, this time 17th century Dutch landscape artist Adriaen van de Velde. His pictures might be landscapes, but they have lots of people and animals in them, and there are beaches, sea and boats too. Sadly, there were only 23 finished paintings, less than half the show.

William Kentridge‘s six installations at Whitechapel Gallery were fascinating and playful. I’d seen individual works by him before, but this combination of machines, video, music and tapestry really showed off his inventiveness.

Malian photographer Malick Sidibe‘s exhibition of B&W photographs at Somerset House was a revelation, such an evocative representation of Malian society since the 60’s, and the accompanying soundtrack of Malian music was the icing on the cake.

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