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Posts Tagged ‘Siobahn Finneran’

Contemporary Music

In recent years, the Proms have been embracing non-classical musical genres, and this year it was the turn of folk music, with five folk acts joining the BBC Concert Orchestra in what was a largely successful crossover. The highlights were favourites The Unthanks and Julie Fowlis, but it was good to be introduced to Welsh group ALAW and to sample the music of Jarlath Henderson and Sam Lee.

You rarely hear a musical score played as well as the John Wilson Orchestra played West Side Story at the Proms; you could hear every nuance, every note, every instrument. It moved you and thrilled you in equal measure. Add to that a fine set of young soloists, a chorus drawn from two drama schools specialising in musical theatre and a rapt full house and you have a very special evening indeed. So good, I even forgave them the ticket & programme price hikes, the unnecessary interval and the failure to televise it!

My second and last Cadogan Hall Chamber Prom combined some rare Bernstein works with pieces by his friends and contemporaries, plus a new commission, and it was a funny, quirky delight with a fine performances by American mezzo Wallis Giunta. It included songs set to recipes, one a world premiere, a UK premiere of an early ballet which contained the seeds of West Side Story and six pieces new to the Proms.

Opera

Grimeborn gave us more treats with an inventive adaptation of Offenbach’s The Tales of Hoffman – A Fantastic Bohemian – which moved between three locations in the building. The quality of singing and playing was stunning, and at such close quarters there’s no hiding place. It was hard to follow, particularly on the same day, and as much I enjoyed my first outing of Donizetti’s Rita and renewing my acquaintance with Ravel’s L’Heure Espagnole, they struggled to live up to the afternoon. Same day double-dips do have their downside, as we found with this and in Chichester two days before, on both occasions the highlight coming first. Six days later it ended (for me) with a revival of Mark Anthony Turnage’s Greek. It’s hard to believe it was premiered thirty years ago; it’s still original, visceral and edgy and in this production was very well sung, with the Kantanti Ensemble on fire. This has been a great Grimeborn, now fully established as an annual event in my diary.

The live cinema relay of Glyndebourne’s production of Vanessa, Samuel Barber’s 60-year-old opera getting its fully-staged UK premiere, was simply extraordinary. The design was superb, the singing stunning and the London Phil sounded sensational. It has the feel of a Hitchcock film, very mysterious and suspenseful. Wonderful stuff, probably better than being there with non-opera lovers and a 90-min interval to destroy the dramatic flow!

Classical Music

My first Cadogan Hall Chamber Prom saw Dame Sarah Connolly give a recital of English song which included four world premieres, including two by Benjamin Britten written 70 years ago! It was lovely, though somewhat melancholic, which made me feel it might be more of an evening programme.

I appear to be picking well this year, as my next Prom was a sometimes challenging, but fascinating and rewarding 20th century Anglo-American programme with the BBC Philharmonic playing Barber, Britten, Copeland and Walton. Two of the five pieces were new to me, and indeed to the Proms, including two arias from Barber’s opera of Anthony & Cleopatra which made me want to see a production.

Film

Apostasy is a quiet but defiant rage against fundamentalism in all its guises, in this case Jehovah’s Witnesses. Siobahn Finneran is stunning, but above all it’s a hugely impressive debut from writer / director Dan Kokotajlo, an ex-witness himself. Harrowing but brilliant.

Art

James Cook; The Voyages at the British Library was one of the best exhibitions of its type I’ve ever visited. Superbly curated and thoroughly objective, it contained journals, specimens, paintings & drawings and testimonials from experts and indigenous peoples. Illuminating.

London 1938: Defending ‘Degenerate’ German Art at the Weiner Gallery was a huge disappointment, consisting as it does of glass cases showing letters, flyers, catalogues and photos, plus copies of pictures. Only one actual painting and a couple of drawings!

Collier Schorr is a new photographer to me, but her exhibition at Modern Art did nothing for me, I’m afraid. All a bit too pretentious in my book.

A theatrical visit to Chichester was extended to visit the lovely Palant House Gallery which had three exhibitions. Virginia Woolf: an exhibition inspired by her writings had some great 20th century works, particularly those by Vanessa Bell and Laura Knight, but though I liked the idea of including contemporary works, there were too many, and the quality was very variable. It was another of those exhibition whose raison d’etre was a bit dubious. Dance: Movement & Modernism was a one room curate’s egg, but again it had some nice works. However, I loved Sussex Days: Photographs by Dorothy Bohm, a little known Lithuanian British photographer who captured people in the county in the 60’s, 70’s and 80’s brilliantly.

It was worth the detour to Tate Britain for Lisa Brice’s one-room exhibition of mostly blue paintings of women. Very striking and very original.

At Proud Central, the photos of the Observer’s late photographer Jane Bown were like a review of people in my lifetime; stunning B&W pictures, some now iconic. Downstairs a multi-photographer selection focused on pop and rock stars; this too was outstanding.

The Frieze Art Fair consisted of thirty or so sculptures placed in a corner of Regent’s Park. It was more miss than hit, but made for a pleasant wander en route to the Open Air Theatre in the same park.

Great British Seaside at the National Maritime Museum brought together the work of four photographers using the seaside as their subject over the last fifty years. I identify the seaside with my youth, so there was something very nostalgic about it, and some terrific pictures too!

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This brilliant new play by Tena Stivicic presents us with 66 years of Croatian history through the lives of one family and one house. From the creation of Yugoslavia to the eve of Croatia’s entry into the EU, through the turmoil of the late 90’s, this has a fascinating and enthralling epic sweep.

In 1945, Yugoslavia is being established as a union of Communist nations. Rose is well-connected and is given part of a large home taken from a wealthy family. She lives there with her husband, child and mother. One of the former occupants, Karolina, has lingered and when they find her they ‘adopt’ her.

In 1990 the union is breaking up and war raging between its nations. Rose’s daughter Masha and her husband Vlado are bringing up their daughters Lucia & Alisa in the house, with her parents and Karolina still living there. Two other families occupy other parts of the building and they are particularly close to neighbour Marko. Masha’s sister Dunya lives in Germany but visits to attend her mother Rose’s funeral.

In 2011 Croatia is contemplating joining another union, the European Union, and the debate rages. Alisa now lives on London, but comes home for Lucia’s wedding, as does Dunya and her husband from Germany. Lucia is marrying someone who has become rich in the new Croatia, where there are few rules and corruption is endemic.

You have to keep your wits about you as it hops from period to period, but you are deeply rewarded by a superb interweaving of political and personal history. The scene changes are themselves captivating, as screens slide and rooms and periods transform whilst projections cover them with period footage. Howard Davies direction and Tim Hatley’s design are masterly.

I’ve seen more of Siobhan Finneran’s TV work than her stage work and now I want to see more of the latter; she’s excellent as Masha. Adrian Rawlings plays her husband Vlado, a complex character, beautifully and Jodie McNee and Sophie Rundle spar brilliantly as the very different daughters who take a very different path, the latter getting a round of applause for a defiant speech towards the end of the play. Lucy Black and Daniel Flynn are well matched as Dunya and Karl, with a violent scene in their bedroom truly shocking. There’s luxury casting in the smaller roles, including Susan Engel and James Laurenson in fine form.

I’ve been interested in this part of the world for a while, have visited all seven former Yugoslav nations in the last nine years, and have been lucky enough to work in Croatia twice (the second time including the day of the EU referendum), but you don’t need to know much to enjoy this terrific play and terrific production (though getting there early enough to read the brief history in the programme would probably help). Only the National could stage this play and they’ve made a great job of it. Go!

 

 

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