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Posts Tagged ‘Natalie Dessay’

Classical Music

Sir Colin Davies had pulled out of the LSO‘s concert performances of Turn of the Screw due to his deteriorating health, but in the end it turned out to be their first concert after his death. The orchestra’s Chairman & MD made lovely pre-concert tributes, but the greatest tribute of all was that they performed his choice for the Britten Centenary to perfection. Six superb well-matched soloists – Catherine Wyn-Rogers as the housekeeper, Sally Matthews as the governess, Katherine Broderick as Miss Jessel,  Andrew Kennedy as Quint,  Lucy Hall as Flora and an extraordinary performance from 11-year old Michael Clayton-Jolly – were complemented by beautiful playing from the small chamber orchestra under Richard Farnes. I’ve never heard it played & sung so well.

Opera

The Firework-Maker’s Daughter was a charming opera for young people staged in a very lo-tech minimalist style which suited the story-telling of Philip Pullman’s tale. David Bruce’s music, full of appropriately Eastern influences, was tuneful and, unusually for modern opera, accessible on first hearing. There wasn’t a fault in the casting and the small orchestra played beautifully. It was great to see so many (quiet!) kids as it’s a rare evening that is likely to turn them on rather than off opera!

I admired the originality of ENO’s ‘3D’ opera Sunken Garden at the Barbican Theatre and I liked Michel van der Aa’s music, but I didn’t engage with David (Cloud Atlas) Mitchell’s story at all. It didn’t sustain its length (2 hours without a break) and seemed achingly slow. Another one of those situations where the composer shouldn’t have directed? A worthy failure, I think

My third and last (this season) Met Live proved to be the best. David McVicar’s Glyndebourne production of Handel’s Giulio Cesare is one of the best productions of a Handel opera I’ve ever seen and this is one of Handel’s best operas. In truth, Natalie Dessay didn’t hit her stride as Cleopatra until the second act (and even then made a few nervous mistakes) and David Daniels didn’t really show us his best as Cesare, but they both had enough moments of greatness and the supporting cast was faultless. Patricia Bardon and Alice Coote stole the first act, there was a great Ptolemy from Christophe Dumaux and a delightful Nirenus from Rachid Ben Abdeslam. Robert Jones’ design and Brigitte Reiffenstuel ‘s costumes were a real treat.

Dance

I saw the first outing of Fabulous Beast’s The Rite of Spring at ENO paired with an opera. Now at Sadler’s Wells paired with Petrushka it seemed to make so much more sense. This time the Stravinsky scores were played in their four-handed piano versions and were simply brilliant. The ballets become dances, performed by people of all shapes sizes and colours, with none of the fusty ballet business. Rite is better than Petrushka, but I enjoyed the contrast most of all.

The first time I saw Prokofiev’s ballet of Romeo & Juliet, I was astonished that it could tell the story as dramatically as either the play or the two operas made from it. I haven’t seen it for a while, and that Kenneth McMillan production is the only one I have seen, albeit a few times, so it was good to see a different production (and at half the Covent Garden price) by the National Ballet of Canada at Sadler’s Wells. It’s quirkier and brasher, but I liked it. The corps de ballet pieces are bright, with fights handled well and humour unearthed, yet the tragedy is still tragic. It isn’t a match for the McMillan because  it doesn’t move you in the same way, but it’s fresh and less conservative – and the score , the greatest of all ballet scores, was played beautifully.

Contemporary Music

Counting Crows’ concert at Hammersmith Apollo was a huge disappointment; largely because of the sound, which was simply appalling. It turned everything into bland mush with few audible words. Support Lucy Rose (who I’d seen solo with John Cale as a result of which I bought her album) was a whole lot better. Nothing more to say really.

Art

It’s a lot easier to get into the Barbican’s Curve Gallery than it was for Rain Room and it’s well worth doing so. Geoffrey Farmer’s installation fills the space with hundreds of puppets made from paper cut-outs and fabric and places them on tables and podia with a soundtrack throughout and a slideshow at the end. A silent, still, spooky army.

The Designs of the Year exhibition at the Design Museum is extraordinarily eclectic, covering architecture, ‘products’, graphics etc., and a fascinating look at design’s ongoing impact on our lives. Visiting it was also an opportunity to see the newly changed permanent exhibition, which added some retro charm and nostalgia to the visit.

I wasn’t expecting David Bowie is at the V&A to be so big, so comprehensive and so captivating. The automated audio tour didn’t always work (very sensitive to your position and movement) but the combination of costumes, hand-written lyrics, stage sets, video and movie clips were enthralling, though almost impossible to take in on one visit. Beautifully curated, it’s provides conclusive proof of his genius.

A visit to RIBA was somewhat less satisfying as the exhibitions were clearly intended for professionals rather than laymen. Still, it was good to take a look at Dutch floating housing and different approaches to new towns over time and geography.

Film

I rather enjoyed Danny Boyle’s Trance, even though it’s hard to keep up with a real mindfuck of a plot. It twists and turns and keeps you guessing right until the end – well, assuming I got it right!

I enjoyed the Paul Raymond biopic The Look of Love too, though it’s a bit of a soulless piece. His was an interesting life and period Soho looks great, but there was something missing.

If I’d known it was about dysfunctional families, I probably wouldn’t have gone to see Love Is All You Need – I’ve got one of my own! It is a rather lovely and original film though, touching but not sentimental, occasionally funny and sometimes surprising. The mix of Danish and English dialogue worked really well, and brought additional authenticity.

Comedy

Attending a recording of Mark Thomas’ Radio 4 show Manifesto at the BBC Radio Theatre is great value as it’s the full monty (2.5 hours) for free and the drink’s are cheap! The ideas put forward were largely funny, the discussion entertaining and Mark’s added stories a hoot. This will all be distilled down to 28 minutes of course and, like my visit to the News Quiz, you can tell what will be on the cutting room floor. This one took place on the evening of Thatcher’s funeral, so maybe more editing than usual!

I haven’t been to the Comedy Store for ages and I thoroughly enjoyed my latest visit to their improv. night. Perhaps we were lucky to have the combined experience of Paul Merton, Josie Lawrence, Lee Simpson, Neil Mullarkey, Andy Smart and Richard Vranch (no longer confined to the piano). The format doesn’t change much, but the inventiveness is what matters and it seemed as fresh as the first time.

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Opera

ENO has given us its best work for ages away from home at The Young Vic, The Return of Ulysses. This 370- year-old opera is given a radical updating that for once works. It’s staged in and outside a modern apartment that revolves, fully transparent on all sides – a sort of mini Big Brother house. There are two shop style cameras that project close-ups and detail onto two screens at either side of the stage. At the start it’s sparkling and new, but as the opera progresses it becomes smeared and more. You completely believe Pamela Helen Stephen (terrific – never better) has been waiting 20 years for her man, as you do Tom Randle (wonderful)’s exhaustion after such a long war. There isn’t a fault in the rest of the cast (even an understudy as Eurimaco) who sing Monteverdi’s music beautifully, accompanied by a lovely sounding 14-piece ensemble situated stage left where you can hear every note. It’s a masterpiece of staging and acting when you can take a shower fully naked in a revolving glass room without showing any of your bits, as Randle managed! Despite this undoubted success, I’m still somewhat nervous that Terry Gilliam (as opposed to Berlioz!)’s The Damnation of Faust next month will take a few steps back after this huge leap forward.

Opera Shots was a double-bill of new operas at the ROH’s Linbury Studio. The first is a 30-minute mess by The Police’s Stewart Copeland in a gothic / commedia dell arte style with a ragbag of musical styles; the design is the best thing about it. The second is a 60-minute comic gem from Anne Dudley and Monty Python’s Terry Jones – tuneful, very funny and positively charming.

I’m a bit indifferent about Covent Garden’s Aida. The design has one of those big walls that revolves (yawn) and some quirky costume combinations. The singing by a UN cast (Russian, Polish, American, Korean & British) is mostly good, in that vocal-power-at-the-expense-of-beauty-and-characterisation way, but the acting is wooden. The chorus didn’t start well, but get better. One expects better from a world class opera house.

Classical Music

When the LSO decided to change its plan to screen Eisenstein’s Ivan The Terrible accompanied by Prokofiev’s score played live to a concert performance of the oratorio, I almost sold my ticket back. How glad I am I didn’t, as it was a fascinating evening. The 75-minute piece for orchestra, chorus, mezzo and bass has a lot of flaws but it was always interesting and showed off the power of the LSO and LSC. I could have done without the live Russian narration and wished I hadn’t followed the surtitles of the preposterous and pompous words and just listened to the glorious sound. The opener was his Violin Concerto, another piece new to me that I also enjoyed.

The first two acts of the concert performance of five-act Pelleas & Mellisandre were a little subdued, restrained and static, but things picked up in the third act and the fourth was thrilling. The Orchestre de Paris and a largely French cast clearly had an affinity with their composing compatriot, but it was Laurant Naouri as Golaud and Simon Keenlyside as Pellaes who shone. Natalie Dessay kept her head in the score and failed to animate Melisandre for me, I’m afraid. This orchestra is the first I’ve seen that credits the designs of its outfits!

Dance

Balletboyz the Talent was absolutely mesmerising and one of the best evenings of dance ever! The three pieces were very different but together made an exciting combination. It was edgy, original, thrilling and sexy and I loved it.

Art

It’s amazing what you can do in a morning at the British Museum! On this occasion, we took in the fascinating exhibition of treasures from Afghanistan, with some wonderful 2000 year old gold, accompanied by a little display showing the importance of the Afghan city of Herat in the history of Central Asian art, followed by a small but fascinating Eric Gill display showing designs for stamps, coins, books etc which I never even knew he did and finally a selection of their huge collection of drawings that included anyone and everyone. This is surely the world’s greatest museum?

Back to the Barbican Gallery to catch the other two performances as part of their New York Avant Garde ‘exhibition’ and they were both worth seeing – in one, the container divided by doors is occupied by five dancers moving fast and often confronting one another and in the other, three are climbing a wall with holes for hands and feet. Fun!

At Karsten Schubert, there’s a small but excellent exhibition of sculptures and pictures by American Fred Wilson on the theme of race politics. The most striking is a series of heads of Nefertiti that look like they are Egyptian antiquities and that go from white to black via shades of grey.

The Cult of Beauty at the V&A links together the late 19th century aestheticists – Leighton, Morris, Rosetti, Burne-Jones, Dresser et al. There are some beautiful paintings, designs and objects but as a whole it was somewhat over-powering.

Royal Family at the Hayward Gallery is a tiny exhibition about representations of its title. The only thing I liked about it was how they made an exhibit of a letter from Charles’ people declining to loan them a statue of him in heroic pose presented to him on tour by people in the Amazon!

It’s amazing how many exhibitions you can take in walking from the tube to the pub if your route takes you down Cork Street and you’ve got some time to kill! I started with William Nicholson at Browse & Darby – almost 60 pictures loaned from private collections including some absolutely stunning landscapes. Across the road at the Waddinton, I found Bill Woodrow’s sculptures / installations dated and faded, but a few doors up at Hay Hill there was a lovely exhibition of contemporary Icelandic artists; I was hugely impressed by the paintings of Tolli and the photos of Iris Thorstenindottir. On the way home, I took in the Deutsche Borse Photography Prize exhibition, which is underwhelming this year except for the political documentary work of Jim Goldberg which was deeply moving.

The art month ended back at the V&A for Figures & Fictions, a selection of contemporary South African photography and a stunning collection it was too; I’d be surprised is you could put together a better British collection. Then I popped into the Yohji Yamamoto fashion exhibit on the way out and it proved that fashion isn’t me!

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