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Posts Tagged ‘Saul’

The Rest of November

Contemporary Music

Blind Malian’s Amadou & Mariam staged their concert in complete darkness. The effect was to heighten the listening experience of their uplifting music. I could have done without the life story narrative, which was a bit naff, but otherwise it was an extraordinary experience.

Roy Harper is another of those artists who are part of the soundtrack of my life and Stormcock one of my very favourite albums. I haven’t kept up with his later work and haven’t seen him for some time, but his 70th birthday concert at RFH was irresistible. It proved to be deeply moving – he appeared to be ‘signing off’ and almost cracked up a few times. The 8-piece brass and string ensemble meant he focused mostly on my personal Roy Harper period and I loved it. When Jimmy Page guested for the double-guitar fireworks (on 5th November!) of That Same Old Rock (he played on the album) it was absolutely magical and the hall erupted.

I was amazed when they decided on Hammersmith Apollo for the Gillian Welch concert. It’s a shabby, tacky and dirty place and ever so big for two acoustic musicians. Though I would have much preferred somewhere like the Barbican or the Southbank Centre, she did pull it off. I like the new album and the first set was largely taken from it. The big surprise though was how this was a mere taster for an outstanding second set which ended with superb encores of country classic Jackson and Jefferson Airplane’s White Rabbit . I’ve waited a long while to see her, but it was well worth the wait – next time, somewhere else though? Please…

Taking eight people to Ronnie Scott’s to see jazz vocalist Ian Shaw was always going to be a risk, but one that paid off. The musicianship shone through and the audience were suitably attentive. His band included a silver-haired bassist who played with Billie Holiday and Charlie Parker. Wow! Astonishingly, it was my first visit to RS, but now that they have shows at civilised times I shall be back!

Opera & Classical Music

The operatic adaptation of Joseph Conrad’s novel Heart of Darkness seems to me to be a great success. Set mostly aboard a boat in the Congo, it has great atmosphere and tension thanks to Robert Innes Hopkins superb design and Tarik O’Regan’s music. There was some excellent singing from Alan Oke, Gweneth-Ann Jeffers and Morten Lassenius Kramp with the small ensemble Chroma under Oliver Gooch providing a colourful orchestral background. Just what the Linbury Studio is for.

The Guildhall School of Music & Drama have uncovered a neglected comic gem with Die Lustigen Weiber von Windsor, Nicolai(who?)’s take on Shakespeare’s The Merry Wives of Windsor. It’s given a sparkling and fresh modern dress production by Harry Fehr with a brilliant set and costumes from Tom Rogers. For some reason Nicolai changed the names of the Ford’s and Page’s but not Falstaff or Fenton. He’s dumped Mistress Quickly, Bardolph and Shallow, but otherwise it’s true to its source. Barnaby Rea is excellent as Falstaff, Ashley Riches is very good as the second cast Fluth (Ford) and Ellie Laugharne is a sweet-voiced Anna – but its Sky Ingram’s show; her Frau Fluth (Ford) is fabulous; we’ll be hearing a lot more of her for sure.

I’ve wanted to see Vaughan Williams’ Hugh the Drover for a very long time, so Hampstead Garden Opera’s production was very welcome indeed. I have to confess though that I wasn’t expecting it to be such a good opera and for the musical standards of this ‘amateur’ production to be so outstanding. It was beautifully played by The Dionysus Ensemble, a group of music students & recent graduates, under the leadership of Oliver-John Ruthven. The leads were also students & recent graduates and they were also exceptional. David de Winter was terrific as Hugh, with Elaine Tate a lovely sweet-voiced Mary and Ed Ballard fine as baddie butcher John. This ballad opera is so so underrated, but this new chamber version will hopefully lead to more productions. A whole packet of gold stars to HGO for leading the way.

Handel’s Saul is a lovely dramatic oratorio and Harry Christophers & The Sixteen delivered an excellent interpretation at the Barbican, helped by a set of outstanding soloists including Sarah Connelly, Christopher Purves and Robert Murray. The quality of the choir is exceptional with a handful of them stepping forward to sing the smaller solo parts.

Opera North’s Ruddigore is destined to be as classic a G&S production as ENO’s The Mikado still is many years on. It’s a completely preposterous story of course, but it’s given a sparking fresh production by Jo Davies, with sepia design from Richard Hudson, and is an absolute delight. Grant Doyle is an excellent leading man, Hal Cazalet (who trained next door at GSMD) acts and sings superbly well as sailor Dauntless, Heather Shipp is as batty as Mad Margaret should be and there’s superb support from a few old favourites I seem to see too little of these days – Anne-Marie Owens, Richard Angas and Stephen Page. I sincerely hope their visits to the Barbican become regular – it would d be good to have good quality opera at decent prices here in London!

Dance

I loved the Scottish Ballet programme I saw a couple of years ago in Edinburgh, so I booked to see their new double-bill at Sadler’s Wells. The first piece – Kings 2 Ends – was playful, funny and quirky. Choreographed by Jorma Elo to music by Steve Reich and Mozart, this young company excelled. Kenneth MacMillan’s Song of the Earth to Mahler’s song cycle took a short while to settle but soon became spellbinding. More classical than the first piece, I liked the contrast, though the dancers seemed to find it more of a challenge. I liked soprano Karen Cargill but I’m afraid tenor Richard Berkeley-Steele was nowhere near as pleasing on the ear!

I’m new to Ballet Rambert and this second showing didn’t live up to the first. It was certainly a diverse triple bill. RainForest was a somewhat abstract 40-year old piece by Merce Cunningham with an electronic score, danced in Jasper Johns costumes in an Andy Warhol setting. Seven for a secret, never to be told was Mark Baldwin’s exploration of child behaviour to a Ravel score and Javier de Frutos’ Elysian Fields was a steamy and violent homage to Tennessee Williams and A Streetcar Named Desire in particular, danced to that film’s score with unnecessary and intrusive dialogue. A bit of a mixed bag – I admired the dance / movement but didn’t really find anything entirely satisfactory.

Art

The Royal Academy’s Degas & the Ballet – Picturing Movement should have been subtitled ‘A study in obsession (with a touch of pedophilia)’ It pushed the dancer theme just a bit too far for me. There were some exhibits that I felt were padding (animation and panoramas) and I think it would have been a better 5-room exhibition than it was an 8-room exhibition. That said, the penultimate room of 13 paintings was simply glorious and I wouldn’t have missed it for the world. Also at the RA, Building the Revolution – Soviet Art & Architecture 1915-1935 was a small but fascinating series of pictures and drawings which illustrated the iconic art deco / modernist hybrid that existed there and then. Most of these buildings are now run down (or worse) and I was struck by how many I’d seen on recent trips to the Ukraine & The Caucasus.

The most extraordinary thing about Gerhard Richter’s retrospective at Tate Modern is that it feels like a show by a bunch of artists rather than one. He completely reinvented himself on a regular basis so there is much diversity on show here. It didn’t all work for me, but as a body of work it’s certainly impressive.

Grayson Perry moved from my list of OK-but-overrated-modern-British-artists to the premier league on the strength of his brilliant exhibition at the British Museum. His own work is interspersed with items from the BM collection (few of which I’d ever seen before). It was equal parts learning, fun and beauty and I was bowled over by it.

Another pleasant surprise was the John Martin exhibition at Tate Britain. This early 19th century artist created vast canvases, mostly on dramatic religious themes like Sodom & Gomorrah. They seem to be the precursors of / influence for apocalyptic films like Independence Day and covers for 1970’s progressive rock albums by bands like Yes. In their day they toured the country with sound and light shows to accompany then, seen by millions of people, so it was terrific that they created a modern version for the Judgement Day triptych – a first for an exhibition? How can I have lived this long without ever knowing about this man?! Upstairs, sculptor Barry Flanagan’s early work seemed tame and dull, I’m afraid, but it did mean you get to climb their brilliant and bright newly painted staircase!

I was smitten by the Pipilotti Rist exhibition at the Hayward Gallery last month and almost smitten by George Condo’s Mental States, which is now sharing the venue. His portraits are like a cartoon version of Francis Bacon and his abstracts like Picasso on acid. I’d never heard of him before, so it was good to see such a comprehensive and fascinating collection. Also at the Southbank Centre, the 2011 World Press Photographer exhibition maintains the standards of this superb annual tradition. It’s often hard to look at, but the photography is always outstanding.

Visiting Two Temple Place is a double-dip treat. The former Astor home is a riot of carving, stained glass and OTT decoration and it currently houses a William Morris exhibition with a superb collection of tapestries, fabrics, wallpaper, paintings and drawings. Gorgeous.

Just as gorgeous was the Royal Manuscripts exhibition at the British Library, a stunning collection of richly decorated books from the middle ages. It’s superbly curated and, provided you go at a quiet time, it’s a real treat.

Film

Two excellent British films this month, the first of which was Weekend, about an intense gay relationship which begins and ends in, well, a weekend. Chris New and Tom Cullen were both outstanding and it was beautifully shot. The second, Resistance, is set in Wales after the failure of the D-Day landings resulting in an invasion of German troops, a small group of whom have reached a Welsh valley! It explores the reaction of the locals and their relationships with the invaders. It’s a bit of a slow burn, but eventually draws you in and becomes deeply moving without a touch of sentimentality. There are some lovely performances, most notably from Andrea Risborough.

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CONTEMPORARY MUSIC

I booked to see Elvis Costello in Oxford before his London Meltdown date was announced, so off to Oxford I went 3 days after his appearance here. His choices for this solo show were unpredictable and refreshing and he seemed very relaxed and confident. There was something that prevented it being a classic, but I can’t put my finger on what (though it might have been the man sitting next to me who sang along – albeit quietly – for most of the show!). Still, it was great to see him again, great to see him solo again and just great really!

CLASSICAL MUSIC

The Spitalfields Festival’s concert of Handel’s beautiful oratorio Saul in Christ Church was glorious. You will find more experienced, and no doubt better, singers and players than those of the Royal Academy of Music, but I doubt you’d get a more spirited and thrilling performance. Laurence Cummings conducted with brio and the soloists – Laurence Meikle, Clare Lloyd, Aoife Miskelly, Stuart Jackson and Roderick Morris – all sang with passion. The orchestra & chorus were so uplifting in the lovely Church acoustic.

OPERA

Albert Herring was Britten’s’ only comic opera and, as far as I know, the only British comic opera to enter the international repertoire. I’ve seen it before and liked it but it took the Guildhall School of Music & Drama’s production for me to realise how much of a masterpiece it really is. It’s a simple story of village life, where a May king is crowned as there aren’t any worthy queens, but he too ultimately upsets the moralistic conservative village elders. It’s the way the music (orchestral playing as well as singing) conveys the humour that is so clever. The musical standards were as good as always at GSMD and the production values better than ever. Lucina-Mirikata Deacon turned Lady Billows into a brilliant (and appropriate) Mary Whitehouse clone and her busy bee housekeeper was excellently played and sung by Amy J Payne. The quartet of local worthies – Leonel Pinheiro’s mayor, Matthew Stiff’s policeman, Eva Ganizate’s teacher and Gary Griffiths’ vicar – was all superb. It was a great idea for butcher’s apprentice Sid (a terrific Matthew Sprange) and baker’s assistant Nancy (equally terrific Maire Flavin) to be played as punks! It was hard to believe Sylvie Bedouelle was a student, so believable was she as Albert’s mum. The children were played with gusto by Sophie Junker, Lucy Hall and Ciara O’Connor and Thomas Herford was a perfectly naïve Albert. My only negative would be that a dialect coach should have been employed to help the non-native English speakers – well, if you do it with Italian and German, you should do it with English! Another wonderful night at the Guildhall.

Mozart never finished his early opera Zaide (why?) so Ian Page decided to do so 230 years later (why?)! Instead of writing new music, he requisitioned other Mozart pieces, but with new English sung text from poet Michael Symmons Roberts and spoken text (of which there is too much) from dramaturge Ben Power and director Melly Still. What results in a cohesive finished product which somehow doesn’t come alive. The singing and playing is good rather than great, the acting is significantly better than opera’s norm and the staging is exceptional. A worthy effort, but one has to question whether it was worth all the trouble.

ART

Another catch-up month and a veritable art fe(a)st!

Brazilian artist Ernesto Neto has taken over the upper galleries and all three outdoor rooftop sculpture courts of the Hayward Gallery for a playful installation which includes a ‘nylon’ labyrinth (which you can walk in and behind and view from above) and an outdoor swimming pool you can take a dip in. It was fun (and would be particularly good for kids) but as it’s made of thin fabric and plywood, I’m glad I was there on the first day as I’m not convinced it will survive 11 weeks! On the ground floor, The New Décor is a bizarre interior design exhibition where everyday items are subverted in terms of both appearance and display. I can’t really describe it, can’t say it caught my imagination but wouldn’t say ‘don’t go’. I think that might mean indifference.

The Saatchi Gallery’s new exhibition of contemporary British art isn’t going to make the impact previous ones like Sensation have – I’m not sure there are any Damien Hirst’s or Tracy Emin’s here (that could be interpreted as a relief!). Somehow it all seems a bit tame and derivative.

My friend Amanda’s twin brother Paul Rennie has an exhibition of 20th century posters at Black Dog Gallery to coincide with the publication of his new book. I’ve seen so many 20th century posters (Shell, London Transport, British Rail….) that I was pleasantly surprised to find much that was new to me. Small – just 60 or so prints – but perfectly formed.

The Beauty of Maps exhibition at the British Library is terrific. I loved the way it was curated, grouping by the locations they would have been first seen in – audience rooms, galleries, bedrooms etc. – and there are some wonderful items on view. I am going to have to go back as there’s just so much to see.

A day trip to Oxford provided an unexpected bonus as Modern Art Oxford had a Howard Hodgkin exhibition; he’s one of my favourites, but most of his work is in private collections. It’s a great space that the 25 pictures didn’t really fill, but there were a handful of gorgeous ones I’d never seem before.

Tate Modern has been a bit hit-and-miss of late, but their current pairing provides for an intriguing visit. I’d only seen one work by Belgian artist Francis Alys before (a room full of paintings of the same subject, St. Fabiola, which he picked up in flea markets and junk shops!). This comprehensive retrospective, A Story of Deception,  includes a lot more work, including footage of his walk through Jerusalem with a dripping can of green paint to recreate the 1948 Green Line (through checkpoints without being stopped!) and the re-creation of a gunman walking through Mexico City (until the police arrested him, but after an unnervingly long time!). The other exhibition, Exposed, links photographs from more than 100 years which are voyeuristic, clandestine or surveillance. It sounds tacky, but it wasn’t really (well, most of it!) and the older photos were fascinating – photos of people are much more interesting when they don’t know they’re being taken.

For a lover of the surreal, I was rather underwhelmed by The Surreal House at the Barbican. They’ve gone to a lot of trouble (and expense) to find connections and links to make it hang together as an exhibition that they rather bury some terrific pictures from Dali, Magritte et al…..but I loved the grand piano hanging upside down from the roof which explodes every two minutes and then implodes two minutes later!

I remember coming to London 30 years ago and going to see an exhibition of American artist Andrew Wyeth’s paintings at the Royal Academy. I was compelled to visit it after seeing a couple of images in a newspaper or magazine. It was sensational. I’ve been hunting Wyeth’s ever since, but most are in private collections. I was amazed to find none in public collections in New York, then thrilled when I discovered a gallery devoted to him in Pennsylvania where I also visited his studio and was introduced to the work of his father NC and son Jamie. So, imagine how excited I was when a Wyeth Family exhibition turned up on my doorstep at Dulwich Picture Gallery! Only 10 of the 55 completed pictures are Andrew’s but they are lovely and include a handful from his 80’s, the last decade of his life. There are some terrific pictures by dad NC who illustrated many iconic books including Treasure Island and Rip van Winkle but Jamie’s are not as good as the ones I saw in Brandywine. We’re also introduced to Andrew’s sister Henriette with four nice pictures. I’d have loved more of Andrew’s but there’s more in Dulwich than New York, so it’s hard to complain!

FOOD & WINE

When we arrived at Taste London this year it was obvious that the numbers had gone up and the show had gone down market. There seemed to be fewer Restaurants (which is the point of the show) and more bars and exhibitors. In the end, I did enjoy it but I suspect it’s another of those things you go to regularly and enjoy – until the world finds out, when you leave them to it.

OTHER

Only Connect is a theatre group who work with prisoners, ex-offenders and those at risk of offending and I’ve admired and supported their work for a couple of years, as a result of which I was invited to a workshop of scenes from the first act of a new musical called The Realness at their atmospheric Kings Cross base, a former chapel. The performances were astonishingly good, including a terrific one by male lead Mensah Bedlako, who took over at just 5 days notice! The show itself is very promising and I can’t wait to see the finished work. Support them on www.oclondon.org

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