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Posts Tagged ‘Rebecca Evans’

Opera

Italian-American composer Gian Carlo Menotti wrote 28 operas, but we hardly ever see them here, so GSMD’s The Consul was a great opportunity to see an opera I’ve only seen once, zonks ago in Stockholm, and a great job they made of it too (though I wish they’d lost the final scene!). The only Menotti I’ve seen in the UK was a double-bill of short works in a tiny room at the Edinburgh fringe, also ages ago. The audience was small, but one of them stood to take a bow; Menotti was now living in Scotland!

I’m very partial to Handel operas, and Rodelinda’s a good one. ENO assembled a superb cast, in which Rebecca Evans, Tim Mead and Neal Davies positively shone. Though I liked the relocation to fascist Italy, I thought some of the black comedy in Richard Jones’ production jarred, with laughter sometimes drowning out the beautiful singing. Still, musically exceptional.

Classical Music

The LSO’s celebration of Bernstein’s centenary at the Barbican started two months early with his first and third (last) symphonies. I don’t normally like narration but the latter had acting royalty Clare Bloom which helped. It was well paired with Bernstein’s flute concerto Halil and the adagio from Mahler’s (unfinished) 10th but in the second concert Mahler’s twice-as-long 1st, as much as I loved it, hijacked Bernstein’s bash by swamping his 1st.

Dance

Birmingham Royal Ballet’s Aladdin at Sadler’s Wells looked gorgeous and I loved the score, but the choreography seemed somewhat uninventive and I didn’t really engage with the story, I’m afraid.

Film

Call Me By Your Name is a quintessentially ‘continental’ film that’s (mostly) in English and I thought it was delightful, living up to its 5* reviews for once, and a brilliant advert for visiting Italy.

Paddington 2 is as charming as it gets, a delightfully funny film with a British who’s-who cast.

I loved Film Stars Don’t Die In Liverpool and was surprised, at the end, to find it was based on a true story. That’s what happens when you don’t read the blurb and the reviews!

Beach Rats was a bit slow, inconsequential and overrated, I’m afraid. Another case of reviews leading me astray.

I can’t recall the real events depicted in Battle of the Sexes, but they made for a very good film, with Emma Stone impressive as Billie Jean King.

Art

I surprised myself by how captivated I was at Basquiat: Boom for Real at the Barbican Art Gallery. An untrained Haitian-American who started as a graffiti artist, this year one picture sold for £80m! Given he only lived 28 years, his influence is extraordinary. In the Barbican’s Curve Gallery, there was a climate change installation by John Akomfrah featuring a one-hour six screen film, two triptych’s and hanging containers, all of which I found rather powerful in making its point.

Harry Potter: A History of Magic at the British Library was an excellent 20th anniversary celebration of the phenomenon, illustrating J K Rowling’s take on magic with real historical writings and objects, with handwritten drafts of the stories and book illustrations thrown in as a bonus, including very good ones by the author herself. Well worth a visit for potterheads!

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Opera / Dance

The summer pairing at WNO was amongst the best since they moved to the WMC. Christopher Alden’s production of Turandot is 17 years old, but you’d never know it. It was inventive and fresh with three excellent leads in Gwyn Hughes Jones, Rebecca Evans and Anna Shafajinskaia. Musical Director Luther Koenigs had apparently never conducted it before, but the sound he got from the orchestra and chorus was rich, lush and positively gorgeous – a shivers-up-your-spine job. Cosi Fan Tutte isn’t my favourite Mozart – overlong for the silly story  – but this new British seaside staging complete with prom, mini fairground, Punch & Judy show and Café was delightful and the singing of all six leads – Neal Davies, Robin Tritschler, Gary Griffiths, Camilla Roberts, Helen Lepalaan & Claire Ormshaw – was excellent. Yet again, Britain’s most accessible opera company provided quality and value.

The ENO’s A Midsummer Night’s Dream is musically beautiful, but the production is so contemptuous and disrespectful of its dead composer, Benjamin Britten, who can’t answer back. This isn’t Britten’s opera, its director Christopher Alden’s.  If he wanted to steer so far from the composer’s intentions, he should have written his own opera. This is the worst example of director arrogance I have ever seen – and from someone whose work I have so far admired (including the revival of his WNO Turandot above). This is the second occasion this year where the ENO have allowed a director’s vision to overwhelm and overpower a composer’s work. If they were alive they couldn’t / wouldn’t do it, which makes it completely unacceptable. It’s particularly galling that they’ve ditched a lovely production for this travesty. Oh, I wish I’d kept my eyes closed.

Cocteau Voices is an inspired double-bill at the ROH’s Linbury Studio. It pairs Poulenc’s one woman opera based on a Cocteau playlet with another two-character Cocteau playlet, written for Edith Piaf and her lover, adapted as a wordless dance drama with an electronic score from Scott Walker. In the latter, three dancers play each character and it was a mesmerizing athletic visual feast. Italian singer Nuccia Focile isn’t as good an actress as Joan Rogers in the only other production of this piece I have seen (by Opera North) and I found it difficult to believe in her as a dumped lover. After a while, I tuned out the libretto (in English) and just allowed the music to wash over me. One of the better ROH2 experiments.

L’amico Fritz is a rare opera from the man who provided half of Cav & Pag (if he knew, I wonder what Mascagni would think of the fact only one of his 15 operas is now regularly performed – and that as part of a double-bill; I’d certainly be interested in hearing some of the others). Young soprano Anna Leese is the reason for seeing this; she is simply delightful. David Stephenson is also good as, well, David, but I’m afraid Eric Margiore was no match for either of them – and he completely fell apart on the third act. I thought the modern-ish settings took away the opera’s charm, clever though they were, but the orchestra sounded particularly lush. It’s a minor opera, but one I’m glad I caught up with. As much as I have loved OHP over the years, I’m afraid it’s starting to become country house opera in the city, with the associated prices, dress and non opera-loving audience; I fear the worst…..

Contemporary Music

I’ve never been that keen on Ron Sexsmith, who I’ve always found depressing, but my nephew gave me his new album and a compilation to convert me and it worked. It’s the production of the new stuff that lifts it for me, though I have to say the older material worked well in concert. He was supported by Anna Calvi, who was original but a bit intense for me. As it was part of Ray Davies’ Meltdown, he both introduced her and sang a song with Sexsmith. A nice evening.

I wasn’t as enthused by the programming of Ray Davies’ Meltdown as I was Richard Thompson’s last year, even though he is as much of a hero. However, his final concert with his band, the LPO and the Crouch End Festival Chorus was another highlight in a lifetime of concert going. The first half saw the whole of the highly under-rated 1968 album Village Green Preservation Society (it was released on the same day as The Beatles white album!) played for the first time and the second half a set of 13 Kinks & solo classics, the pinnacle of which was Days, with the addition of two thousand audience members singing too. When the orchestra and chorus left the stage, he came back saying ‘we can’t finish yet, it’s not even 10 o’clock’ and the band delivered a three song mini-set which had us all dancing. Terrific!

I couldn’t resist going to Glee Live as the TV show has become such a guilty pleasure. There was much to enjoy, and it was extremely well staged at the O2, but the fan worship and tendency to both over-sing and over-amplify marred what could have been a real fun evening – albeit a short and expensive 80 minute one that came in at over £1 a minute!

Art

I was hugely disappointed by the Joan Miro retrospective at Tate Modern, particularly as the first room was stunning. After these gorgeous early paintings, he moved to Paris and got in with bad company (Picasso and Masson) and it’s poor surrealism, abstraction and downhill from there! I actually preferred Taryn Simon’s exhibition, showing her somewhat obsessive and indescribable collection of genealogical photographic groups. Each group represents people associated with an event or location and there are (explained) gaps where the sets are incomplete. As I said, indescribable!

Chris Beetles indispensable gallery / shop had probably the most comprehensive exhibition of Heath Robinson ever mounted. It was stunning, though it was closely packed and too much to take in. In addition to his quirky stuff, there were less well-known fairy tales and cricket drawings, amongst others. Against this, the fascinating Hoffnung exhibition also there couldn’t compare.

The weather marred our annual visit to the Taste of London restaurant showcase in Regent’s Park, though there also appeared to be a lot less restaurants, less interesting food and a broader less foodie remit. I think it may be time to drop this particular modern tradition.

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