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Posts Tagged ‘Malcolm Arnold’

Opera

A bumper month, with no less than five operas (well, six if you count a double-bill as 2!).

First up, another excellent double-bill at GSMD, this time an unusual pairing of Donizetti’s one-act operatic farce I Pazzi per Progetto, set in a psychiatric institute (!) and a rare and underrated but less manic Malcolm Arnold comic one-acter The Dancing Master. Production and performance standards were, as always, sky high with a stunning performance from Alison Langer and great contributions from Alison Rose, Szymon Wach and Lawrence Thackeray.

Korean composer Unsuk Chin’s opera of Alice in Wonderland was a real treat. Brilliantly staged by Netia jones behind and around the BBC SO on the Barbican Hall stage, with terrific projections, including Ralph Steadman’s caricatures, and excellent costumes, the adaptation darkened and deepened the work and the music was very imaginative and surprisingly accessible (for modern opera!). Rachele Gilmore was a magnificent Alice with outstanding support from Andrew Watts, Marie Arnet and Jane Henschel amongst others.

The Indian Queen is an unfinished semi-opera by Purcell set in pre-colonial and colonial Central America which director Peter Sellers has played with by adding music, dancing and dialogue to make it a rather overlong 3.5 hours. It has its moments (mostly musical) but he pushed it too far, particularly adding five ‘Mayan creation’ dances before it even starts. They’ve programmed eight performances at ENO and judging by the empty seats on the night we went, that’s 3 or 4 too many

Handel’s ‘opera’ Giove in Argo is actually a ‘mash-up’ of stuff from other operas, called a ‘pasticcio’. I didn’t enjoy the first act of the London Handel Festival production at the RCM’s Britten Theatre because the singing seemed tentative and the production dark and dull, but it picked up considerable in the following two acts. Overlong at 3h15m, but with some lovely music and some stunning singing by Galina Averina and Timothy Nelson and a spectacularly good chorus.

The Rise & Fall of the City of Mahagonny at Covent Garden may never have been, or will ever again be, sung and played as well, but somehow Brecht & Weill’s ‘opera’ doesn’t really belong there. The whole enterprise seems at odds with their ethos. It’s a satire that for me didn’t have enough bite in this production, though it’s fair to say that the rest of the audience seemed to be lapping it up. That said, the quality of the singers, chorus and orchestra under Mark Wigglesworth blew me away.

Classical Music

An evening of French music at the Barbican introduced me to two unheard pieces by Debussy and Faure and renewed my acquaintance with Durufle’s beautiful Requiem, which I haven’t heard in ages. Stand-in conductor Dave Hill did a grand job, with the LSO and LSC on fine form.

Contemporary Music

The Unthanks at the Roundhouse was short(ish) but sweet. I liked the line-up, which included string quartet and trumpet. The songs from the new album sounded great, if a bit samey (as they do on record), and a selection of old material responded well to new arrangements. In the end though, it’s the heavenly voices of the sisters which make them so unique. Gorgeous.

Art

Magnificent Obsessions at the Barbican Art Gallery was a fascinating exhibition built around the personal collections of 14 artists. You can see how their collectibles influenced their art, some of which is also showcased. My favourites included Martin Parr’s collection of old postcards and Andy Warhol’s kitsch cookie jars. Fascinating.

I tagged the Paris Pinacotheque Vienna Secession exhibition to a business trip and it was a superb review of the movement, though a bit cramped in their space. Lots of Klimt, but others I was less familiar with. A real treat.

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Contemporary Music

A friend suggested going to see Welsh harpist Catrin Finch & Senegalese cora player Seckou Keita at Union Chapel and what a brilliant suggestion it was. Their instruments blend beautifully and create an uplifting sound. It was the perfect venue, with a quiet respectful audience. Gorgeous.

I really don’t know what to make of Elvis Costello‘s concert at the Royal Albert Hall. Part of BluesFest (what?!). He brings Steve Nieve & they play 8 songs together, some in radical new arrangements. His song selections are eclectic and perhaps a bit quirky. He’s often uncharacteristically flat or off key. He talks a lot. It contained sublime moments, but not enough of them. It was certainly no crowd-pleaser and the audience reaction was distinctly underwhelming. Georgie Fame & the Blue Flames, supporting, were great (though he talked a lot too). They played two songs together, one in each others’ set. I’ve seen almost every EC London outing in 30+ years and this was probably the least satisfying. Most odd.

Opera

The autumn Rossini pairing at WNO was amongst their best ever. Neither William Tell nor Moses in Egypt are typical Rossini (which may be why I liked them so much!); the latter more identifiably Rossini. Tell was the more satisfying all round – Moses was also a musical feast but the production wasn’t so good. Former MD Carlo Rizzi brought the best out of the orchestra and chorus (yet again) and there was no weakness in the soloists – just various levels of good to great.

The English Concert’s performance of Handel’s opera Alcina at the Barbican was a huge treat. A faultless cast was led by Joyce DiDonato & Alice Coote and the orchestra made a beautiful sound. I’d thought it might be a star vehicle for Joyce, but she was superbly matched by the rest and the audience showed their appreciation for them all.

I’ve seen a handful of Philip Glass operas, but until The Trial they’ve all been on a huge scale. What this chamber piece proves is how much more suited his music is to this smaller scale. It’s an absurdist, impenetrable story but it was superbly staged and performed by Music Theatre Wales in Covent Garden’s Linbury Studio.

Dance

Lord of the Flies is a big departure for New Adventures at Sadler’s Wells. With two-thirds of the large cast amateurs selected from workshops and open additions, there’s a freshness and energy thoroughly in keeping with William Golding’s story and contemporary dance is a suitable form to tell the tale. It was dark, but I loved it.

I don’t normally like mixed ballet programmes but Birmingham Royal Ballet‘s Shadows of War at Sadler’s Wells caught my imagination, largely because of the music. The first piece, to a Ravel piano concerto, was a bit frivolous for me, but the second was a fascinating re-staging of a Robert Helpmann work set in wartime Glasgow with music by Arthur Bliss and the third a lovely piece set to Malcolm Arnold and Benjamin Britten – and all at a half to a third of prices at the other Royal Ballet.

Cassandra is a rare modern dance piece from the Royal Ballet at the Linbury Studio. It was a nice combination of dance, music and film and it held me for 70 minutes, but in the end it was just OK. I think it was the lack of effective narrative drive / story that was its weakness.

Classical Music

I persuaded a friend who has recently taken up choral singing to go for one of those ‘scratch’ performances put together in one day. The choice of Elijah was ambitious, but they pulled it off. The soloists were terrific, particularly baritone Neal Davies, who gave it his all as if was at the Royal Albert Hall, and the orchestra of a handful of Philharmonia section principals with music students sounded great. It would have been good to see a much bigger audience – where were all the friends and families of the orchestra and chorus?

The third of the Composer Portrait series at St John’s Smith Square was the best so far. Reverie was about Debussy whose writings were spoken by Simon Russell Beale no less. Pianist Lucy Parham played his gorgeous music beautifully and it was a captivating couple of hours.

Film

As much as I loved Pride, the casting of so many English and Irish actors as Welsh characters did irritate me – though I suppose you need Bill Nighy and Imelda Staunton to sell films like this. I was surprised I never knew the true story behind it, but maybe it didn’t get much news coverage at the time. It’s certainly the most heart-warming, feel-good film for a long long time.

Dylan Thomas centenary

I found out about the Dylan Thomas in Fitzrovia festival very late on, by which time the diary was choc a block with other stuff, but I did manage to fit in some. A Warring Absence was readings of writings by him and his wife about one another by Daniel Evans & Sian Thomas with accompaniment by the Bernard Kane Players as a Platform performance in The Olivier Theatre and it was original and fascinating.  I’d never heard the Stan Tracy Jazz Under Milk Wood before – read excerpts accompanied by jazz which somehow works brilliantly; again original and fascinating. The final Gala Concert I had known about and this proved a real treat. An eclectic selection of Welsh music played by Camerata Wales (including world premieres) with readings of letters and poems by Sian Phillips, Tom Hollander, Griff Rhys Jones, Robert Bathurst, Lesley Manville, Jonathan Pryce and Owen Teale and songs from Welsh tenor John Owen-Jones and old folkie Ralph McTell. Two of the pieces combined Thomas’ works with music very successfully. For an Englishman, Tom Hollander’s reading of Fern Hill was almost as good as Dylan’s own!

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