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Posts Tagged ‘Purcell’

Opera

ENO took Britten’s folk opera / operetta Paul Bunyan to Wilton’s Music Hall, where it somehow fitted like a glove. It’s an odd mythical concoction about the American Dream, but its real strength is its lyrical score, which showed off the young singers and chorus brilliantly. It seemed darker than the previous two occasions I’ve seen it, which seemed appropriate given recent events.

My 2018 Proms ended on a high the night before the Last Night with a lovely performance of Handel’s Theodora by Arcangelo and five excellent soloists. Despite being a chamber ensemble and small choir, they filled the RAH. The countdown to Proms 20-19 begins!

My only visit to WNO at the WMC in Cardiff this autumn was for Prokofiev’s epic War & Peace. It’s a flawed opera, with the first half a series of scenes lacking cohesion, and I thought their decision to translate it into English was a mistake as it came over as clunky, but the soloists were terrific and above all the second half showed off both the chorus and orchestra to thrilling effect.

Classical Music

For some reason, I was disappointed in the Berlioz Prom. It wasn’t the musicianship, which was extraordinary, but maybe it was a programme of lesser Berlioz. I just didn’t think it did The Orchestre Revolutionnaire et Romantique, John Elliott Gardiner, favourite Joyce DiDonato and viola player Antoine Tamestit justice. The rest of the audience and the critics appeared to disagree, so maybe it was just an off night for me.

A double-dip of two Proms in one evening proved very rewarding indeed, starting with a superb performance of Britten’s War Requiem from the Royal Scottish National Orchestra & Chorus, probably my favourite choral work, and continuing with 60 mins of 850 years of late night polyphony from the ever wonderful Tallis Scholars; it’s amazing how those 30 or so voices fill the Royal Albert Hall.

The Parry centenary concert at Wigmore Hall was a delightful way to spend an hour on a Sunday afternoon. Songs by him and his friends and contemporaries were beautifully sung by Louise Alder & Nicky Spence accompanied by William Vann and it was all very uplifting. Back in the same venue the following lunchtime, soprano Lucy Crowe and pianist Joseph Middleton gave another lovely recital of English song from Purcell to Ireland, Walton and Michael Head, an early 20th century composer new to me. The folk song encores proved to be the highlight.

Art

As if to compensate for the hugely disappointing exhibition at the Weiner Gallery, Magic Realism: Art in Weimar Germany 1919-33 at Tate Modern was a real treat, with artists new to me as well as those like Otto Dix I’ve seen vast amounts of this summer. Across the Bridge, Artist Rooms: Jenny Holzer was worth popping into, though much of it goes over my head.

A visit to Cornwall meant a second visit to Tate St. Ives, which had a hit-and-miss exhibition of Patrick Heron. I loved some of the colourful abstractions, but much of it left me cold.

Renzo Piano: The Art of Making Buildings at the Royal Academy covered his illustrious career from before the Pompidou Centre to The Shard by focusing on sixteen projects, built and unbuilt (yet). The trouble was it was all very static – each project a table on which there were notes, drawings and models with more drawings and photos on the walls around. The most interesting project was one I’m unlikely to ever see, in New Caledonia, in the Pacific Ocean! For architects and architectural students only, I’d say.

Film

BlacKkKlansman wasn’t an easy watch, but its humour and its chilling ending were enough to make it well worth seeing.

I enjoyed The Children Act, the second film of the summer featuring the consequences of Jehovah’s Witnesses fundamentalism, especially for Emma Thompson’s deeply touching performance.

Crazy Rich Asians was a great advert for the Singapore Tourist Authority, but I rather overdosed on rich Asians, crazy or otherwise. It had its funny moments, but there weren’t enough of them to warrant the reviews that sent me to see it.

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Opera

My second visit to Grimeborn 2017 at the Arcola Theatre was for Lully’s 17th Century opera Armide. It was the first night, so it was a touch ragged at the edges, the production was a bit static (lots of posing) and it was hard to follow the story, but there was much to enjoy in the singing and playing.

Classical Music

Handel’s oratorio Israel in Egypt, in its full three part version, got a terrific first performance at the Proms by the Orchestra & Choir of the Age of Enlightenment under William Christie. I love the way it builds, I love the fact that 27 of the 39 parts are choruses and I loved the fact that the soloists came out of the choir.

An English music Prom featuring the National Orchestra & Chorus of Wales proved to be an eclectic delight. Two pieces I’d never heard by favourite composers – Britten & Purcell – with the most delicate and uplifting rendition of Elgar’s Enigma Variations and the world premiere of Brian Elias’ Cello Concerto, with the composer in attendance. Brilliant.

A new innovation at the Proms this year was ‘Beyond the Score‘, where the first half was a profile of the composer and background to the work, with actors, visuals and musical extracts, followed by the complete symphony, in this case Dvorak’s 9th, From the New World. Though I thought the first half was a bit long, it was insightful and I very much enjoyed the experience and felt I heard more in the piece as a result. Mark Elder and the Halle were on fine form.

The 120-year-old Cincinnati Symphony Orchestra made their belated Proms debut with a programme of Bernstein, Copeland and Tchaikovsky. I thought they were more at home with the American repertoire that the Russian, which they proved conclusively with a stunning encore of Bernstein’s Candide Overture, better than I’ve ever heard it played before. The Proms audience made them very welcome indeed.

Contemporary Music

The late night  Stax Prom, celebrating 50 years of the label, exceeded expectations big-time. I wasn’t a huge fan in the day, but came to Stax later and visited the studios in Memphis in 2004. Two of the original house band and three of the original singers were supplemented by some of the best British soul voices, led by Sir Tom Jones. Jools Holland’s R&B Orchestra were great (though the sound could have been a bit better) and it was full of highlights, with a terrific atmosphere in the Royal Albert Hall.

Film

I was introduced to the folk art of Maud Lewis when I went to the Art Gallery in Halifax Nova Scotia last September, so the bio-pic Maudie perhaps meant more to me as a result. True to her life story and beautifully filmed, I adored it, and Sally Hawkins was sensational as Maud.

Atomic Blonde was thrilling but too violent for me, with much of it improbably prolonged violence. Gold stars to the stunt men and women, though.

I was bored very early on in the over-hyped A Ghost Story, and presenting the ghosts as people covered in sheets with slits for eyes just seemed preposterous.

Thankfully, The Big Sick exceeded its hype and caught me by surprise as to how moving it was. Unlike the typical laddish Judd Apatow film; very grown up.

I’m very fond of independent British films, and God’s Own Country is one of the best in recent years, beautifully filmed and it really shows off Yorkshire!

Art

I’m not a fashion man, but you have to admire the classic design and extraordinary craftsmanship of Balenciaga at the V&A. Up the road at the Serpentine GalleryGrayson Perry’s exhibition was just the right size to give the pieces room to breathe and to avoid overwhelming the viewer, and the gallery managed the flow of punters brilliantly. The art, of course, was as fascinating as he always is.

A wonderful day of art started at St. James’s Piccadilly with the sculptures of Emily Young in the gardens. All heads, but different types and different stone, they were lovely. At the Royal Academy, I managed to get us into the Friends preview of Matisse in the Studio which was a little gem, showcasing pictures with the items from his studio in them. They have been loaned from so many different places it really is a once-in-a-lifetime show. Downstairs in the RA the one-room wonder that was Second Nature: The Art of Charles Tunnicliffe, some of the most gorgeous illustrations I’ve ever seen. After lunch a return to Picasso: Minotaurs & Matadors at the Gagosian which was well worth a second viewing, then off to Tate Modern for Giacometti, which was way more diverse and way more fascinating than I was expecting. Now that’s what I call an art feast!

+ / – Human was this year’s Roundhouse summer installation, seven round white drones which moved above your head, coming teasingly close but rarely close enough to touch, with at atmospheric soundtrack. Fascinating and fun.

The Pink Floyd Exhibition: Their Mortal Remains at the V&A was interesting and well put together (apart from the fact it was a bit crowded and you sometimes lost the automated audio guide as you moved) but I gave up on them too soon, as they became somewhat overblown and pompous, so I’m not enough of a fan to rave about it.

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The Rest of 2016

I spent a third of the last third of the year out of the country, so my monthly round-up’s for this period have merged into one mega-round-up of the two-thirds of the four months I was here!

Opera

Opera Rara’s concert performance of Rossini’s rare Semiramide, the last Bel Canto opera, at the Proms was a real highlight. It’s a long work, four hours with interval, in truth too long, but it contains some of Rossini’s best music (and I’m not even a fan!). The OAE, Opera Rara Chorus and a world class set of soloists under Sir Mark Elder gave it their all, with ovations during let alone at the end. Brilliant.

I was out of the country when I would have made my usual trip to Cardiff for WNO’s autumn season, so I went to Southampton to catch their UK premiere of Andre Tchaikowsky’s The Merchant of Venice when I got home and I was very glad I did. It’s a fine adaptation of Shakespeare’s play, with a particularly dramatic court scene, and it was beautifully sung and played, with a terrific performance by American Lester Lynch as Shylock.

I’m not sure I’ve ever been to something that sounded so beautiful but looked so ugly. Handel’s Oreste, a pasticcio opera (a compilation of tunes from elsewhere, in Handel’s case his own works) which the Royal Opera staged at Wilton’s Music Hall. The singing and playing of the Jette Parker Young Artists and Southbank Sinfonia were stunning, but the production was awful. One of those occasions when it’s best to shut your eyes.

Classical Music

Another delightful lunchtime Prom at Cadogan Hall, this time counter-tenor Iestyn Davies and soprano Carolyn Sampson, both of whom are terrific soloists, but together make a heavenly sound. I was less keen on the six Mendelssohn songs than the six Quilter’s and even more so the glorious six Purcell pieces. It was a joyful, uplifting hour.

Juditha triumphans is a rare opera / oratorio by Vivaldi that was brilliantly performed at the Barbican by the Venice Baroque Orchestra and a superb quintet of female singers including Magdalena Kozena as Juditha. It took a while to take off, but it then soared, and the second half was simply stunning.

Visiting the LSO Steve Reich at 80 concert at the Barbican was a bit of a punt which really paid off. The three pieces added up to a feast of modernist choral / orchestral fusions. The composer was present and received an extraordinary ovation from a surprisingly full house.

Berlioz Requiem is on a huge scale, so the Royal Albert Hall was the perfect venue, and it was Remembrance Sunday, so the perfect day too. The BBC Symphony Orchestra, with ten timpanists and an enormous brass section of 50 or 60, occasionally drowned out all three choirs (!) but it was otherwise a thrilling ride.

Joyce DiDonato‘s latest recital with the wonderful baroque ensemble Il Pomo d’Oro was a bit if a disappointment. It had some extraordinary musical high spots, but the selection could have been better and she didn’t really need the production (lights, projections, haze, costumes, face painting and a dancer!). It didn’t help that the stage lights sometimes shone into the eyes of large chunks of the audience, including me, blinding them and sending me home with a headache.

At the Royal Academy of Music their Symphony Orchestra was conducted by Sir Mark Elder in a lunchtime concert of Shostakovich’s 5th Symphony and it was thrilling. Sir Mark did another of his fascinating introductory talks, this time illustrated with musical extracts.

The BBC Singers gave a lovely curtain-raising concert of unaccompanied seasonal music by British composers at St Giles Cripplegate, half from the 20th century and half from the 21st, before the BBC SO‘s equally seasonal pairing of Rimsky-Korsakov’s Christmas Eve Suite and Neil Brand’s A Christmas Carol for orchestra, choir and actors in the Barbican Hall. This was a big populist treat.

I’ve heard a lot of new classical music since I last heard John Adams‘ epic oratorio El Nino, so it was good to renew my acquaintance and discover how much I still admire it. 270 performers on the Barbican stage provide a very powerful experience – the LSO, LSC, a youth choir and six excellent American soloists who all know the work. Thrilling.

Canadian bass-baritone Gerald Finley, accompanied by Sir Antonio Pappano on piano no less, gave a superb but sparsely attended recital at the Barbican Hall. It was an eclectic, multi-lingual and highly original selection, beautifully sung. More fool those who stayed away from this absolute treat.

The standards of amateur choirs in the UK are extraordinary, and the London Welsh Chorale are no exception. Their lovely Christmas concert at St. Sepulchre-without-Newgate included extracts from Handel’s Messiah, Vivaldi’s Gloria plus songs and carols. The soprano and mezzo soloists were superb too.

Dance

Rambert’s ballet set to Haydn’s oratorio The Creation at Sadler’s Wells was one of the best dance evenings of recent years. If you shut your eyes, this would be a world class concert with three fine soloists, the BBC Singers and the Rambert Orchestra. With a gothic cathedral backdrop, the dance added a visual dimension which wasn’t literal but was beautifully impressionistic and complimentary.

English National Ballet had the inspired idea to ask Akram Khan to breathe new life into Giselle and at Sadler’s Wells boy did he do that. It’s an extraordinarily powerful, mesmerising and thrilling combination of music, design and movement. From set, costumes and lighting to an exciting adapted score and the most stunning choreography, this is one of the best dance shows I’ve ever seen.

Michael Keegan-Dolan’s Swan Lake the following week, also at Sadler’s Wells, wasn’t such a success, and steered even further away from its inspiration. It revolved around a 36-year old single man whose mother was desperate to marry off, but there were lots of references to depression and madness. I’m afraid I didn’t find the narrative very clear, its relationship to the ballet is a mystery to me and it’s more physical theatre than dance. It had its moments, but it was not for me I’m afraid.

Back at Sadler’s Wells again for The National Ballet of China‘s Peony Pavilion, a real east-meets-west affair. Ancient Chinese tale, classical ballet with elements of Chinese dance, classical music with added Chinese opera. Lovely imagery and movement. I loved it.

New Adventures’ Red Shoes at Sadler’s Wells might be the best thing they’ve done since the male Swan Lake. With a lush Bernard Herman mash-up score, great production values and Matthew Bourne’s superb choreography, it’s a great big populist treat.

Contemporary Music

Camille O’Sullivan brought an edginess to the songs of Jacques Brel which I wasn’t comfortable with at first but then she alternated them with beautifully sung ballads and I became captivated. She inhabited the songs, creating characters for each one. Her encore tributes to Bowie & Cohen were inspired.

There were a few niggles with Nick Lowe‘s Christmas concert at the Adelphi Theatre – it started early (!), the sound mix wasn’t great and he gave over 30 minutes of his set to his backing band Los Straightjackets (who perform in suits, ties & Mexican wrestler masks!) but (What’s so funny ’bout) Peace Love & Understanding has never sounded more timely and the closing acoustic Alison was simply beautiful. He’s still growing old gracefully.

Film

I loved Ron Howard’s recreation of the Beatles touring years in Eight Days a Week, plus the remastered Shea Stadium concert which followed. What was astonishing about this was that they were completely in tune with all that crowd noise and no monitors or earphones!

Bridget Jones Baby was my sort of escapist film – warm, fluffy and funny – and it was good to see Rene Zellweger and Colin Frith on fine form as the now much older characters.

I, Daniel Blake made me angry and made me cry. Thank goodness we’ve got Ken Loach to show up our shameful treatment of the disabled. Fine campaigning cinema.

I loved Nocturnal Beasts, a thriller that’s as close to the master, Hitchcock, as I’ve ever seen. I was gripped for the whole two hours.

Fantastic Beasts lived up to its hype. Though it is obviously related to Harry Potter, it’s its own thing which I suspect will have quite a series of its own. Starting in NYC, I reckon it will be a world tour of locations for future productions.

Kiwi film The Hunt for the Wilderpeople is a very funny, heart-warming affair with a stunning performance by a young teenager, Julian Dennison, matched by a fine one from Sam Neill.

I loved A United Kingdom, based on the true story of Botswana’s Seretse Khama, leader from mid-60s independence to 1980. It’s the true story of a country that has been a beacon of democracy in a continent of corruption.

The Pass must be one of the most successful stage-to-screen transfers ever. I was in the front row at the Royal Court upstairs, but it seemed even tenser on screen. Good that three of the four actors made the transfer too.

One of my occasional Sunday afternoon double-bills saw Arrival back-to-back with Sully. The former was my sort of SciFi, with the emphasis on the Sci, and it gripped me throughout. I’m also fond of true stories & the latter delivered that very well.

I liked (Star Wars) Rogue One, but it was a bit slow and dark (light-wise) to start with, then maybe too action-packed from then. I’m not sure I will do 3D again too; it’s beginning to feel too low definition and overly blurry for a man who wears glasses.

Art

Sally Troughton‘s installations in the Pump House Gallery at Battersea Park didn’t really do much for me, but Samara Scott‘s installations in the Mirror Pools of its Pleasure Garden Fountains certainly did. A combination of dyed water and submerged fabrics created lovely reflective effects.

There was so much to see in the V&A’s You Say You Want a Revolution? Records and Rebels 1966-1970. It was an astonishing five years and the exhibition covers music, art, design, fashion, politics, literature…..you name it. I shall have to go again to take it all in.

Wifredo Lam is a Cuban artist I’ve never heard of, getting a full-blown retrospective at Tate Modern. There was too much of his late, very derivative abstract paintings, but it was still overall a surprising and worthwhile show.

South Africa: the art of a nation was a small but excellent exhibition covering thousands of years from early rock art to contemporary paintings and other works. Most of the old stuff was from the British Museum’s own collection, so in that sense it was one of those ‘excuses for a paying exhibition’ but the way they were put together and curated and the addition of modern art made it worthwhile.

The Picasso Portraits exhibition at the NPG was a lot better than I was expecting, largely because of the number of early works, which I prefer to the more abstract late Picasso. Seeing these does make you wonder why he departed from realism, for which he had so much talent.

Abstract Expressionism at the Royal Academy was also better than expected, largely because of the range of work and the inclusion of artists I didn’t really know. I do struggle with people like Pollock and Rothko though, and can’t help thinking they may be taking the piss!

The Taylor Wessing Photographic Portrait Prize exhibition, back at the NPG, seemed smaller than usual, but just as high quality. I do love these collections of diverse subjects and styles.

Back at the Royal Academy, Intrigue: James Ensor by Luc Tuymans was a very interesting exhibition of the work of an underrated Belgian master (with an obsession with masks and skeletons!) curated by a contemporary Belgian artist. I’ve seen samples of his work in my travels, but it was good to see it all together, and I liked the curatorial idea too.

At Tate Modern, a double-bill starting with a Rauschenberg retrospective. I’ve been underwhelmed by bits of his work I’ve come across in my travels, but this comprehensive and eclectic show was fascinating (though I’m still not entirely sold on his work!). The second part was Radical Eye, a selection from Elton John’s collection of modernist photography (with more Man Ray’s that have probably ever been shown together). It’s an extraordinary collection and it was a privilege to see it.

Star Wars Identities at the O2 exceeded my expectations, largely because of the idea of discovering your own Star Wars identity by choosing a character and mentor and answering questions on behaviour and values and making choices at eight ‘stations’ en route which were recorded on your wristband, in addition to film clips, models, costumes etc. The behavioural, career and values stuff was well researched and the whole experience oozed quality.

I didn’t think many of the exhibits in Vulgar: Fashion Redefined at the Barbican were vulgar at all! It was an exhibition made up entirely of costumes, so it was never going to be my thing, but it passed a pre-concert hour interestingly enough.

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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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