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Posts Tagged ‘The Curve Gallery’

Contemporary Music

Camille O’Sullivan really is a one-off. I adore the edginess, anarchy, unpredictability and eccentricity, but above all her unique interpretation of songs; she inhabits them. The Union Chapel was the perfect venue for her and I was captivated.

I was a bit nervous that Show of Hands’ could pull off the challenge of having their 25th Anniversary concert in the vast Royal Albert Hall given that the only other time I’ve seen them was at the tiny candlelit Sam Wannamaker Playhouse, but somehow they turned it into an intimate folk club (with raffle and birthday announcements!). The duo expanded to a trio and then an ensemble of up to eleven with a 26-piece choir, but it all worked brilliantly.

The Unthanks latest ‘Diversions’ project involves the songs and poems of Molly Drake, mother of singer-songwriter Nick Drake and actress Gabrielle Drake, whose recorded voice reads the poems. They are nice songs but 90 minutes of them was maybe a bit too much, though there was enough to enjoy to make the evening at Cambridge Corn Exchange worthwhile, with a Nick Drake song as an encore a terrific bonus.

Classical Music

I’m not familiar with Dvorak’s Requiem so it was good to hear it in the Barbican Hall, and the BBC SO & SC made a great job of it, with three excellent well-matched soloists. I’m a bit puzzled why it isn’t done more often as it’s as good as many others that are.

Global Voices at the Royal Festival Hall was a bit of a punt that turned into a major treat. In the first half, the National Youth Choir of Great Britain did a musical world tour with innovative pieces from or influenced by Italian, Indian, Latvian, Chinese, Swedish, Aboriginal and British music. In the second they were joined by seven other guest youth choirs from the US, Hong Kong, Indonesia, South Africa, Latvia and Israel to form a 350-piece choir accompanied by the Southbank Sinfonia and two excellent young British soloists for Jonathan Dove’s superb oratorio There Was a Child, written to celebrate the life of the son of two musicians who died aged 19. I can’t begin to describe how inspirational, captivating and uplifting it all was.

The big classical event of the month was Sounds Unbound 2017 : Barbican Classical Weekender which was so good, it got its own blog https://garethjames.wordpress.com/2017/05/01/sound-unbound-2017-barbican-clasical-weekender

Dance

I enjoyed the New Adventures 30th anniversary mixed bill at Sadler’s Wells, but it came as a bit of a shock after all those large-scale shows. It was a good reminder of where it all started though, and a charming and funny show.

Film

It’s been a lean period, but I did catch Their Finest which I loved. A fascinating true story with a cast of British actors that reads like a Who’s-Who. Gemma Arterton continues to impress on screen as well as stage – even playing Welsh!

Art

I really enjoyed the Vanessa Bell exhibition at Dulwich Picture Gallery. I didn’t really know a lot about her, hadn’t seen much of her work before and I was very impressed. I do love going to Dulwich, where the exhibitions are always the right size, with brunch in the café to follow!

The David Hockney exhibition at Tate Britain blew me away. Spanning sixty years, with everything from paintings to photo collages to iPad drawings, it was a huge exhibition and a huge treat. From there, via the brilliant new Cerith Wyn Evans light installation in the Duveen Gallery, downstairs to Queer British Art, an odd exhibition in that not everything seemed connected to its theme, but there were some great individual works, including more of the Sussex Modernists I’d seen three and five days before in Dulwich and at Two Temple Place.

The American Dream, the British Museum’s review of Pop Art through prints, was very comprehensive and fascinating. It included the usual suspects like Andy Warhol but had a lot more I’d never heard of. The puzzle was, though, what is it doing in the British Museum?

The Eduardo Paolozzi retrospective at the Whitechapel Gallery was just as comprehensive, and much more diverse than I was expecting. I wouldn’t call myself a fan, but it was good to see the entire career of an important British artist like this.

The Barbican Art Gallery’s exhibitions are often surprising and fascinating and The Japanese House was one of those. It examines domestic architecture in Japan since the Second World War and they’ve recreated ten units of an actual house on the ground floor! Downstairs in the Curve Gallery, Richard MossIncoming projects giant images of refugees and their camps taken with long-distance thermographic cameras normally used in warfare to create something oddly voyeuristic but deeply moving.

Tate Modern has a giant Wolfgang Tillmans photography exhibition. As usual, Tillmans mounts his photographs, sometimes with narrative, to create room installations. It’s a bit hit-and-miss in my view, but worth a mooch.

The annual Wildlife Photography Exhibition at the Natural History Museum now seems to start as soon as the last one finishes; we were even wondering if we were going to one we’d already seen! There’s something new each year – a category or theme perhaps – and it’s always hugely impressive.

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I don’t normally blog classical music, except in my monthly round-ups, but I feel compelled to abandon this policy to tell as many people as possible about this extraordinary event. I only found out about it c.10 days before; despite being a Barbican member, it had somehow passed me by. 60 performances, from 15 to 105 minutes long, by 450 performers in seven venues, plus foyers and lakeside, over two days. You exchanged your day or weekend ticket for a wristband and created your own event by seeing whatever took your fancy. 

Saturday started brilliantly with the BBC Symphony Orchestra giving an excellent Firebird Suite, in front of a specially commissioned film synchronised live on stage by the director. This is one of my favourite pieces of music, so I was on a high as I walked over to the lovely St Giles Cripplegate for a recital by favourite countertenor Iestyn Davies and Lutenist Thomas Dunford, but by the time this beautiful concert, mostly Dowland, was over I was in heaven. Next stop was the Conservatory where you picked up earphones and waited for the four character mini-Carmen to begin their short promenade performance, ending with a strangulation under the greenery, almost at my feet. In The Curve the BBC Singers gave a lovely selection of unaccompanied choral pieces in atmospheric lighting. Moving half-way through was a pointless distraction, though. Back in the Hall, I fell in love with the voice and personality of the beautifully named American soprano Angel Joy Blue whose eclectic set was, well, a joy. In the foyer and at the lakeside I encountered Street Orchestra London, a cross between buskers, pop-up and flash-mob. They were a delight and their sense of fun was infectious. Then there was a short walk up the road to the lovely LSO St Luke’s where the Guildhall School post-graduate wind students thrilled with Richard Strauss rarely heard symphony for winds. I has planned to return home at this point. The final Britten Sinfonia concert featured someone called Chilly Gonzales, whose talents apparently included rap, something I’m not fond of, to put it mildly. I had second thoughts as there was by now a buzz about it, so I thought I’d give it a go, sitting on the end of a row in case I decided not to see out the ninety minutes. 1h 45m later I was leading the standing ovation! He deconstructed the Oasis’ song Champagne Supernova as Britten had a Purcell theme and gave us The Young-ish Person’s Guide to the Orchestra. I have never laughed so much in a concert, though it was as musically brilliant as it was funny. From Chilly virgin to Chilly fan in an evening, going home on another high.

Sunday started just as well, with the LSO playing a selection of the John Williams film music they originally recorded. It sounded thrilling with almost 100 players on stage and the video interview clips with Williams between pieces, putting them in context, was a great idea. I discovered the second LSO Williams concert was not a repeat (as the BBC SO’s had been the day before), so I was tempted to return, but decided to stay with my plan to support a new work by Sven Helbig with the BBC Singers, Helbig’s electronics and an atmospheric accompanying film. I liked it, though it was dark in the hall and the sound soporific, so I struggled to remain conscious! In between these two events there was a quirky visit to The Curve Gallery where the music came from helium filled balloons as they exhaled and descended. ‘Horn Hangout’, an entertaining Q&A with the LSO horn section was followed by a horn flash-mob at the lakeside as they were joined by members of the Coldstream Guards and amateur players. Great fun. Back in The Curve, you walked through a sound installation in darkness whilst people in black made further sounds and illumination waving what seemed to be pliant light sabres! On to the Hall, where The Academy of Ancient Music played a selection from Handel’s Water Music preceded by a lovely trio of Handel arias from countertenor Tim Mead. Up to the Conservatory again, this time for a percussion sextet playing a one-hour piece called Timber on planks of wood. I didn’t think I’d see it through, but it hypnotised me – like Glass, but wood! The final concert in the Hall was another inspired idea, featuring brass and winds with pieces by Bernstein, Miles Davies after Rodrigo (featuring trumpet player Alison Balsom) and Gershwin. A big, brash, loud statement to close the weekend.

It’s intention was to be accessible, informal and friendly and it certainly achieved that. The performers dressed casually, there was illuminating commentary from the stage, live video for close-ups, free seating and sessions in the foyers and at the lakeside. There was quality music from premiere league orchestras, choirs and soloists, plus GSMD students and I particularly liked the fact it featured works for winds, brass and percussion that get less airtime. The quirky additions were great fun. My personal selection was 14 events in 6 venues and another 4 in the foyers / outside. I enjoyed every single one of them.  Something like ten hours of music; an absolute feast. I can’t wait for the next one, when I intend to take a gang with me.

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