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Posts Tagged ‘Peter Gabriel’

Contemporary Music

I didn’t consider SO Peter Gabriel’s ‘masterpiece’ until this concert. There are better songs on other albums, but somehow this one hangs together best. It was the ‘main course’ of a 140-minute meal which also included two new songs and lots more oldies. The visuals were excellent and the sound was superb. His voice sounds better than it ever did and the band of regulars were as tight as can be. There was a touch of theatricality and more than a touch of idiosyncrasy and I loved it!

I’ve waited 34 years to see Graham Parker with the Rumour again, but the wait was worth it. Always one of the great live bands, they never sounded better than this re-union. Combining songs from the new album with a whole load of oldies and no tuning and chatting time-wasting, this was 23 songs in 110 glorious minutes with his fans creating an extraordinary atmosphere at Shepherds Bush Empire. They even had The Silver Seas’ Daniel Tashian in support (though there was too much talking by otherwise excellent GP fans!)

A week / month for old rockers it seems.

Opera

The focal point of the autumn visit to WNO in Cardiff was ‘The Tudors’; a trilogy of operas by Donizetti in Italian based on British Tudor history – Anna Bolena, Maria Stuarda and Roberto Devereux – in chronological order on consecutive days! In truth, Bel Canto isn’t my favourite operatic sub-genre, but the prospect was enticing nonetheless. The orchestra and chorus were wonderful (sprightly young conductor Daniele Rustioni is a real fine) and there was some good singing but the productions, dressed almost entirely in black, were somewhat disappointing. The highlight turned out to be Tosca, added so that I could take some friends, with lovely singing from American Mary Elizabeth Williams as Tosca and Wales’ own Gwyn Hughes Jones as Cavaradossi.

Fiona Shaw’s production of Britten’s The Rape of Lucretia for Glyndebourne on tour is the darkest I’ve ever seen. The theatre in Woking was a bit big for it, but the singing and playing was uniformly excellent so I’m glad I added it to my centenary collection. It looks like there will be three operas I won’t catch this year – A Midsummer Night’s Dream, Billy Budd & Paul Bunyan, though I will catch up with that in Feb (having missed curtain up by falling asleep with jet-lag in Sept!); shame, that.

Classical Music

The LPO‘s Britten Centenary concert at the RFH put together an intriguing selection of rarely performed works. The lighter first half featured a ballet suite and a folk songs suite, but the second half was more melancholic, with the song cycle Nocturne, brilliantly sung by Mark Padmore, and the Cello Symphony with soloist Truls Mork. The orchestra under Vladimir Jurowski sounded wonderful and it made me regret not booking more of the The Rest is Noise series of 20th Century music, of which this was a part.

Film

I sneaked off for an afternoon to make a dent in my growing film hit list and saw both Sunshine on Leith and Le Weekend back-to-back. Though I enjoyed both, the former probably suited me better. There are too few film musicals these days and I found SoL heart-warming, moving and funny. LW is a great and highly original midlife crisis film and it’s good to see Hanif Kureshi back in the screenplay saddle and Lindsay Duncan back on the big screen.

Filth also lived up to expectations – a thoroughly original and anarchic film that could only be made in Britain. James McAvoy’s range as an actor really is remarkable and here he’s a drink and drug addled copper with a past he can’t shake off.

Another sneaky late afternoon / evening double-bill paired Blue Jasmine and Captain Phillips. The former really is a career high for Woody Allen, who already has a whole load of career high’s. Cate Blanchet is superb, but in getting all the attention, Sally Phillips brilliant performance is being neglected (A Brit & a Kiwi leading a US film – what do we make of that?). I’m not sure I’ve ever seen a film which sustains tension for over two hours, but Captain Phillips certainly does. It’s a stunning achievement for director Paul Gereengrass and again, the attention on Tom Hanks (who is excellent) ignores the superb performances by the Somalian actors playing the pirates.

Art

Elmgreen & Dragset’s six-room installation at the V&A tells the story of a failed architect by letting you view his home, now up for sale. Butlers and maids occasionally engage you in conversation, telling you stories about him and you’re even given a copy of a play called Tomorrow that features him. Outside the building, a hoarding invites you to view the apartment. An extraordinary installation.

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Expectations were running high, but I hadn’t clocked that this was the 13th of Robert Lepage’s shows I’d seen! (20 if you include the 2 Shakespeare’s, 2 operas, 1 collaboration and 2 Peter Gabriel concerts). It was the first ‘in-the-round’, or 360 as this is billed at The Roundhouse, a new venue for him.

The drum that you surround is 1 metre high, with its outer edge a revolve and in its floor 36 trap doors for people and props to enter and move around. Above there’s a canopy which you can light or project onto and which has four slits from which playing card shaped screens descend, and a series of fans around the edges. Underneath it are all of the actors, technicians, props, dressing ‘rooms’ and electrical and mechanical gubbins. It’s a technological marvel and I’d love to have a peep inside, but it did slow things down a lot.

The show is his usual jigsaw of seemingly unconnected people and events. This time we’re in Las Vegas and the Nevada desert. There’s a couple getting married in an Elvis themed chapel. She’s pregnant. There are UN soldiers on R & R from training in the desert. There’s a British TV producer who’s spooked. One hotel maid (who’s sick) is training a new one. There are a couple of bars and a lot of bedrooms – oh, and a cowboy called Dick.

You normally leave a Lepage show with your brain finishing off the jigsaw, full to the brim at the end of a feast and exhilarated by the theatricality and ingenuity of it all. Here, I gasped when only six actors took their bow and gasped again when eight technician’s heads popped up too. I admired the extraordinary technological and logistical achievement, but I felt flat as the show had left me cold. Like Feast a couple of weeks before, I had enjoyed many of the component parts but was left unsatisfied by the whole.

I won’t give up on the genius after one misfire, but my confidence is dented (there are three more parts to come!) and I do hope it’s not a case of the machines taking over; I still smile when I think of what he created with an overhead projector in Needles & Opium!

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March was a ‘lull before the storm’ work-wise, so it was action packed otherwise! In addition to 12 theatre outings…….

MUSIC

Performing your classic album live in its entirety has become fashionable with old rockers, so it was no surprise when John Cale decided to do it with Paris 1919, accompanied by an orchestra. It didn’t really take off until the third song, not every song worked well and given that it’s little over 30 minutes that doesn’t make for an entirely satisfying experience on its own. Fortunately, he followed this with four cracking numbers with his terrific three-piece band and another two with the orchestra – and a brilliant encore (which we had to earn!), so the evening (though still not much more than 80 minutes) was redeemed.

There’s a straight line from The Kinks through Squeeze, Madness and Blur to Lily Allen representing a modern soundtrack of London. ‘Songs in the Key of London’ was another one of those compilation shows which sort-of tried to do this (and included songs from all but the latter), put together by Squeeze’ Chris Difford. Unfortunately, it didn’t succeed as well as other shows of its kind, largely because it was under-rehearsed and the sound was inexcusably bad. Other former Squeezers Jools Holland & Glen Tilbrook and Chas and Suggs from Madness took part, together with an eclectic selection of the less well known. It had its moments and the surprise appearance of Elvis Costello at the end to sing Hoover Factory and My Brilliant Parade was a treat, if only to see him on home soil again.

Cara Dillon’s St. Patrick’s Day concert in Canary Wharf was lovely, if a little short and in a somewhat incongruous venue. A guest appearance from Seth Lakeman was a real bonus and whetted my appetite for a long awaited opportunity to see a full set from him (now booked for the Open Air Theatre in September!).

Whilst most young musicians seem to spend their lives repeating the formula that made them successful, a 60-year old called Peter Gabriel who has spent his life reinventing and innovating is still at it! His concert at the O2 showcased the new album of ‘covers’ (re-interpretations, I’d say) with a full orchestra and no band; it worked surprisingly well live in such a big space. The second half was an unpredictable selection of old songs re-arranged for orchestra including great versions of San Jacinto and Solisbury Hill. Old men showing the way; who’d have thought it!

I hadn’t clocked that it was Mothers Day when I booked an afternoon concert of Rogers & Hammerstein songs at the Barbican with two of my favourite musical performers – Maria Friedman and Daniel Evans – so it was a bit cheesy & populist for my taste. Though it was great to hear these songs played by a full orchestra and the singing was good, the song choice was a bit predictable and safe and the amplification (for the second time this week at the Barbican!) was poor.

Showstopper! is an improvised musical put together on the spot, partly from audience suggestion. In fact, it’s the same formula as Impropera (which I saw in December), the Scat Pack’s improv movies and others. They are as good as the inspiration at the time and this wasn’t a classic, but it was worth the trip. We ended up with Blood on the Heather – the story of the Glencoe massacre where the McDonalds and the Campbells fought each other – with songs in the style of Cabaret, Annie, Rent, Abba and Sondheim!

More classically, I went to another mezzo soprano recital of English song at Wigmore Hall, this time Sarah Connelly with a lunchtime programme of Purcell, Howells, Gurney, Warlock, Bridge, Britten and songs by her accompanist Eugene Asti. It was a lovely selection and she sang beautifully.

Purcell’s Dioclesian is a rarely performed ‘semi-opera’ about the Roman emperor of the same name (who I got rather interested when I went to Split in Croatia where the city centre is built within the ruins of his retirement home!). The Royal College of Music paired with an ‘early dance’ group turned it into a delightful evening. It’s not up there with his classics like The Fairy Queen, but it was good to catch it. The amount of musical talent on show in their Baroque Orchestra and Chamber Choir (most of whom also took the solos) was breathtaking. 

Britten’s War Requiem is one of my favourite choral pieces and it got a wonderful outing at the Barbican on the 50th anniversary of the London Concert Choir. The soloists – Janice Watson, Adrian Thompson and Roderick Williams – were fantastic and the Southbank Sinfonia made a terrific sound. It’s the greatest anti-war music ever written and still relevant and moving.

OPERA

Its 17 years since I was last in Wandsworth Prison (!), for Pimlico Opera’s Guys & Dolls. This month I returned for the same company’s Carmen. It worked well almost halved to under 90 minutes (it makes you wonder how many operas would benefit from similar editing!) losing none of the story and none of the best music. The cast of 11 professionals (including four excellent principals) and 13 prisoners gave it their all and though it’s a sad story, it was an uplifting experience. When you look at the faces of the performing prisoners at the curtain call, they tell you everything about the importance of this experience for them; if it changes only one of them forever, it will have been worthwhile…..and as you start the long walk out, the funny comments shouted from the cells remind you how many other lost souls weren’t performing. On this occasion, I was struck by the fact that half of the prisoner cast were recent immigrants to the UK and I’m still puzzled as to why…

The Guildhall School have been on a roll of late, so perhaps it was inevitable that there’d be a blip, and Cherubin doesn’t really live up to recent form. Massenet’s opera picks up where Mozart left off in The Marriage of Figaro and follows the exploits of Cherubin as he enlists. It’s a much neglected piece – it took 89 years to get a UK premiere in 1994, and that was its last outing here! The chorus is very good, but there were fewer outstanding leads (except the gorgeous soprano Elena Sancho-Pereg again!) and the set was rather ugly.

The London Handel Festival puts on a fully stage opera every year (and there are c.45 to choose from!) and this year was the best I’ve seen, in fact one of the best Handel operas I’ve ever seen.  Il Pastor Fido is a ‘pastoral’ (you know…..gods and shepherds, everyone loving someone who doesn’t love them, but it all ends happily!) with a dance-opera prologue and dances to end each act. What made this stand out was the most faultless and beautiful playing and singing, aided by the Britten Theatre’s terrific acoustic. I’m not sure I’ve ever seen eight pitch perfect and perfectly matched performances; it was 190 minutes of gloriously uplifting music and it flew by.

Hungarian composer Peter Eotvos has created an opera from Tony Kushner’s extraordinary epic play Angels in America and very good it is too. It was given a semi-staged performance at the Barbican with the BBCSO and an excellent, mostly American, cast. He’s managed to distil it from over 6 hours to just over two without losing the essence of the play. I really hope it gets a staging here soon, as it has in France, Germany, The Netherlands and the US.

Katya Kabanova at ENO was a musical treat with superb singing and playing. The minimalist set (you know chipboard, no colour, jagged angles and shadows) somehow heightened the drama, but I’m afraid I didn’t engage with it emotionally. Still, it sounded gorgeous.

DANCE

Sutra is an extraordinary multi-cultural collaboration between choreographer Sidi Larbe Cherkaoui, sculptor Anthony Gormley, musician Szymon Brozoska and the Shaolin Monks from China! Its contemporary dance meets martial arts, though less athletic than I was expecting. The use of 21 coffin-like boxes is brilliant and I liked the score, played live by a 5-piece ensemble including the composer. In the end though, I’m not sure it’s the classic the critics have hailed it, though I was glad to have caught it. We smiled at the incongruity of a large group of the monks getting on the bus back to the tube after the show!

FILM

I can’t put my finger on why I’m indifferent about Tim Burton’s Alice in Wonderland. The 3D as quite good, but nothing like Avatar at the IMAX, and there are some lovely characterisations in both acting (Helena Bonham-Carter in particular) and voice (Alan Rickman stands out). It just wasn’t magical and other-worldly enough!

I loved Crazy Heart, a film about a burned out alcoholic Country star for which Jeff Bridges won a well-deserved Oscar. For an American film on a subject like this, it was surprisingly unsentimental and all the better for it. T Bone Burnett’s music was excellent.

I’m not keen on war films – relentlessly depressing – but I felt I should catch The Hurt Locker given all those awards, and was very glad I did. It’s an extremely well-made film which manages to drive home the point that these wars are pointless and impossible to win than any news or documentary I’ve seen. Still relentlessly depressing though!

ART

Though I’m glad I went to see it, the Paul Nash retrospective at Dulwich Gallery doesn’t really satisfy. There are eight great pictures amongst a selection of work which seems to me to show a restless man who kept changing, not in an inventive way, but in an ongoing search for his own style.

You think you’ve never heard of Paul Sandby until you set eyes on the iconic 18th Century watercolours, sketches and maps at his exhibition in the Royal Academy and realise you’ve seen many as prints. It’s a very comprehensive collection and you get a real feel for how a man like this made his living more than 200 years ago. I was particularly taken with a picture of Cardiff with the original west gate and wall; I never knew Cardiff had a wall and it’s 10 miles from where I spent the first 18 years of my life!

Irving Penn’s Portraits is one of two fine exhibitions at the National Portrait Gallery. The originality of his B&W images rests on a complete lack of distracting décor and the fact that he often places his subjects into restricted spaces or limits the portrait to less than the whole of his subject. I liked them a lot more than I thought I’d like Vogue photos! In contrast, the second exhibition of Indian Portraits spans 300 years from the mid-16th century to the mid-18th century and it’s rich with colour and detail and includes fascinating scenes of life.

There’s a really quirky installation at the Barbican’s Curve gallery from eccentric Frenchman Celeste Boursier-Mougenot . After walking through a dark space on decking with projections of guitarists playing but a soundtrack of birdsong, you get to a bright space with islands of sand containing guitars and cymbals being ‘played’ by zebra finches landing on them as they fly around the space. Just when you thought you’d seen it all…..

Until now, the work I’ve seen by Chris Ofili has left with a ‘so what’ feeling. I felt the same at the beginning of his retrospective at Tate Britain – his obsession with elephant dung, afro hairstyles and black women all seem rather childish, though I did like the colours and the titles ( including ‘7 bitches tossing their pussies before the divine dung’, ‘7 brides for 7 bros’ and ‘Albinos and bros with fros’!) made me smile. An extraordinary amount of money has been spent on a housing for his 13-painting series The Upper Room which I’m not sure it deserves. There’s a fun room of rather different series pictures, some a clear homage to Japanese woodcuts, a less successful room of obscure dark blue paintings and a final room of very different new work. In the end, it rather grew on me and walking back through it a couple of times, I stopped thinking and just enjoyed the colourfulness and playfulness of it all.

Tate Modern’s poster for its Arshile Gorky exhibition totally misrepresents it and drags people in under false pretences; if I’d paid, I’d be demanding my money back! The lovely poster picture is one of a handful in one room out of eleven rooms; the rest is shit (and if you change the ‘i’ to ‘o’ in his first name that would seem appropriate!). Their other current exhibition is a bit more interesting (only a bit mind), covering the impact in the 1920’s of magazine / movement De Stijl led by Theo van Doesburg. Painting wise it’s a lot of Mondrianesque red, black, white, blue and yellow boxes; I found the impact on design and graphics more interesting.

Visiting the Ron Arad exhibition at the Barbican was less of a must and more of filler; I was in the building with time to kill! Maybe that’s why I was so bowled over by it. I knew him as a man who designed interesting chairs, which he does, but he’s so much more – a designer-artist-sculptor-architect. The architecture was astonishing and completely new to me, and there were other objects like bookcases, vases and lamps. I loved Lolita the chandelier – you could text a message to her and it appeared as a scroll on Lolita! The exhibition design was terrific (he designed it himself) adding much to the pleasure of the experience.

Finally (anyone still there?) the Horace Walpole / Strawberry Hill exhibition at the V&A was interesting, though rather dull in presentation. A fascinating man with a great eye for art, design and style who ‘collected’ much more than the gothic he is best known for.

Phew; time to go on holiday for a rest……

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