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Posts Tagged ‘Paris Pinacotheque’

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

In yet another senior moment, when I booked for it I’d forgotten that Maria Friedman‘s show at The Pheasantry was a repeat of the one just ten months ago at the same venue, but it hardly mattered. These Sondheim & Bernstein songs can be heard over and over again and you hear something new or the interpretation is subtly different or its just like a glorious encore. The venue is intimate and this time I was in the front and able to appreciate every nuance and every note. From the ‘overture’ – Jason Carr‘s ‘ mash-up’ of Sondheim & Bernstein melodies – it was an absolute delight.

The second ‘cabaret’ of the month paired the same Jason Carr with Janie Dee. The former, usually accompanying others or orchestrating shows, mixed his own songs with vintage musicals fare. He’s no great singer so guests Anna Francolini and Melvin Whitfield proved welcome. He does have bags of charm though and was very engaging with his audience…..as was Janie Dee, who hot-footed it over from Putting It Together for a short but perfectly formed if somewhat unpredictable set in which she invested more than a touch of acting. A very original take on the cabaret form, which I loved.

Classical Music

Flicking through those concert hall brochures, in this case St. John’s Smith Square, a series called Composers in Love took my fancy and Beloved Clara if the first of four I booked. It tells the story of the relationship between Robert Schumann and his wife Clara and the relationship of both of them with Brahms. Actors Harriet Walter and Henry Goodman read a selection of their letters and pianist Lucy Parham played appropriate selections. When I booked it, I had no idea it was going to be such a treat. The music was gorgeous and you learn a lot about these people’s lives. I was enthralled and now can’t wait for the other three.

I don’t know the work of John Tavener very well, but everything I’ve heard I’ve liked. When I saw a ‘celebration weekend’ in the St. John’s brochure, it seemed an ideal opportunity to correct that. Four concerts, twenty-one works spanning 43 years, three UK premieres and one world premiere, five hours of music. Between booking and going he died, so it became a posthumous review of his work. There was extraordinary range, from pieces for solo instruments through string quartets, a brass ensemble and the church organ to orchestral suits and choral works, but mostly choral works. Amongst the highlights were The Hidden Treasure for string quartet, cello work The Protecting Veil, Trisagion for brass quintet and new choral work Miroir des Poemes. This was a very good idea!

Opera

During a 24-hour post-work skive in Paris, I made an impulsive first visit to Opera Bastille for Massenet’s Werther for the only opera of the month. Roberto Alagna didn’t turn up and though his cover did his best he wasn’t really up to it. The rest of the singing was good though, the orchestra under Michel Plasson was excellent and the period production imported from Covent Garden was fine. The building didn’t really impress, though the sight-lines and acoustics were good and in egalitarian France those of us at the back were invited to fill the more expensive seats further forward!

Art

Pop Art Design at the Barbican does what it says on the can – looks at how Pop Art influenced design. It’s an interesting idea and the selection is eclectic. There are Warhol works I’ve never seen before and household furniture and other items that seem ever so familiar. This is the sort of show the Barbican does well.

Paul Klee: Making Visible at Tate Modern is a fabulous exhibition. A huge collection of works showcase extraordinary variety and a sublime use of colour. Seeing it on a Saturday evening was a bonus, as the thinner attendance allows you to savour everything close up and from a distance. When I first entered the Mira Schendel exhibition two floors up, I wondered if it was a continuation of Klee, but it went off the boil very quickly as she became ever more conceptual. In fairness, it picked up towards the end with some nice installations, but there was a lot of rubbish in between.

Dulwich Picture Gallery has a huge hit on their hands with An American in London – Whistler and the Thames. Fifteen minutes to get a ticket, 30 minutes to enter the first room and too many people to fully enjoy it. It pulls all its punches in the first room with extraordinary etchings of Thames scenes done in his 20’s; the rest is fine but just doesn’t match these.

Sculptor Bill Woodrow‘s exhibition at the Royal Academy was a hit & miss but mostly miss affair. Clever but neither beautiful nor funny!

The tiny Ben Uri Gallery hosted a show of the London Group which was a who’s who of 20th century British artists and contained a high count of absolute gems amongst just 49 works. Most museums would die to show a collection like this and this is an unfunded gallery that doesn’t charge admission. Magnificent!

Jake & Dinos Chapman’s Come & See at the new Serpentine Sackler Gallery was a lot of the same old stuff – scenes of carnage in glass cases, defaced 19th century pictures etc. – but there was new work like contraptions for brain damage and self-deprecating films with David Thewlis & Rhys Ifans (not new, but I hadn’t seen them before). It was presided over by 37 life-size Klu Klux figures wearing rainbow socks and smiley badges. An odd combination of the macabre and playful.

My 24-hour Paris skive was an art feast with three exhibitions at the Pinacotheque and another at the Centre Georges Pompidou. La Dynastie Brueghel had paintings from 12 painters spanning 6 generations from the early 16th to late 17th centuries. It focused mostly on the elder and younger Jan’s, there was a shortage of Pieter’s and there were too many flower paintings, but it was well worth the visit. Chu Teh-Chun was new to me but I rather took to his brightly coloured abstract pictures, which were a huge contrast to the etchings in Goya et la Modernite which composed most of the third Pinacotheque show. Le Surrealisme et L’Object at the Centre George Pompidou was a collection spanning most of the 20th century featuring all the usual subjects, beautifully curated by theme. As it was no. 4, I probably didn’t do it justice.

Film

I hadn’t seen the first one, so Anchorman 2 was a bit of a punt, partly selected as 3rd choice because it fitted a location and time slot. Though it’s a tad overlong, and not all of the American humour works here, it does have a lot of laughs and ends with an extraordinary number of celebrity cameos. God fun, though far from life changing!

I’m at a loss to understand what all the fuss is about with American Hustle (10 BAFTA nominations!). I liked the period look, it was sometimes funny, but it was overlong and poorly structured and, well, rather dull. Not a patch on the director’s last film – Silver Linings Playbook.

I’m puzzled by the critical indifference to Mandela: Long Road to Freedom. It compresses so much into almost 2.5 hours and does so extremely well. Idris Elba is stunning. The whole thing is captivating and moving. Go!

You would be forgiven for thinking that The Hunger Games: Catching Fire isn’t actually a new film, the second in the series, but a new version of the first one. It just seemed to be more of the same and I was hugely disappointed.

Twelve Years a Slave is a harrowing, uncompromising and unsentimental story of someone kidnapped onto slavery. It may win a BAFTA, but it won’t win an Oscar because the Americans won’t be able to publicly confront something that is only 150 years ago in their short history. I’d love to be proven wrong, though. Not easy to watch, but a stunning film nonetheless.

I love the Coen brothers films, but Inside Llewyn Davies was a huge disappointment. It just didn’t go anywhere and the journey was rather dull, even if the cinematography and performances were good.

The Wolf of Wall Street ended my film-going month and was the fastest three hours I’ve ever spent in the cinema. Funny and chilling in equal measure, it’s a coruscating expose of the sort of excesses of the financial sector we’ve got used to in recent years and it’s a career defining role for Leonardo DiCaprio.

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