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Posts Tagged ‘The Pheasantry’

Contemporary Music

In yet another senior moment, when I booked for it I’d forgotten that Maria Friedman‘s show at The Pheasantry was a repeat of the one just ten months ago at the same venue, but it hardly mattered. These Sondheim & Bernstein songs can be heard over and over again and you hear something new or the interpretation is subtly different or its just like a glorious encore. The venue is intimate and this time I was in the front and able to appreciate every nuance and every note. From the ‘overture’ – Jason Carr‘s ‘ mash-up’ of Sondheim & Bernstein melodies – it was an absolute delight.

The second ‘cabaret’ of the month paired the same Jason Carr with Janie Dee. The former, usually accompanying others or orchestrating shows, mixed his own songs with vintage musicals fare. He’s no great singer so guests Anna Francolini and Melvin Whitfield proved welcome. He does have bags of charm though and was very engaging with his audience…..as was Janie Dee, who hot-footed it over from Putting It Together for a short but perfectly formed if somewhat unpredictable set in which she invested more than a touch of acting. A very original take on the cabaret form, which I loved.

Classical Music

Flicking through those concert hall brochures, in this case St. John’s Smith Square, a series called Composers in Love took my fancy and Beloved Clara if the first of four I booked. It tells the story of the relationship between Robert Schumann and his wife Clara and the relationship of both of them with Brahms. Actors Harriet Walter and Henry Goodman read a selection of their letters and pianist Lucy Parham played appropriate selections. When I booked it, I had no idea it was going to be such a treat. The music was gorgeous and you learn a lot about these people’s lives. I was enthralled and now can’t wait for the other three.

I don’t know the work of John Tavener very well, but everything I’ve heard I’ve liked. When I saw a ‘celebration weekend’ in the St. John’s brochure, it seemed an ideal opportunity to correct that. Four concerts, twenty-one works spanning 43 years, three UK premieres and one world premiere, five hours of music. Between booking and going he died, so it became a posthumous review of his work. There was extraordinary range, from pieces for solo instruments through string quartets, a brass ensemble and the church organ to orchestral suits and choral works, but mostly choral works. Amongst the highlights were The Hidden Treasure for string quartet, cello work The Protecting Veil, Trisagion for brass quintet and new choral work Miroir des Poemes. This was a very good idea!

Opera

During a 24-hour post-work skive in Paris, I made an impulsive first visit to Opera Bastille for Massenet’s Werther for the only opera of the month. Roberto Alagna didn’t turn up and though his cover did his best he wasn’t really up to it. The rest of the singing was good though, the orchestra under Michel Plasson was excellent and the period production imported from Covent Garden was fine. The building didn’t really impress, though the sight-lines and acoustics were good and in egalitarian France those of us at the back were invited to fill the more expensive seats further forward!

Art

Pop Art Design at the Barbican does what it says on the can – looks at how Pop Art influenced design. It’s an interesting idea and the selection is eclectic. There are Warhol works I’ve never seen before and household furniture and other items that seem ever so familiar. This is the sort of show the Barbican does well.

Paul Klee: Making Visible at Tate Modern is a fabulous exhibition. A huge collection of works showcase extraordinary variety and a sublime use of colour. Seeing it on a Saturday evening was a bonus, as the thinner attendance allows you to savour everything close up and from a distance. When I first entered the Mira Schendel exhibition two floors up, I wondered if it was a continuation of Klee, but it went off the boil very quickly as she became ever more conceptual. In fairness, it picked up towards the end with some nice installations, but there was a lot of rubbish in between.

Dulwich Picture Gallery has a huge hit on their hands with An American in London – Whistler and the Thames. Fifteen minutes to get a ticket, 30 minutes to enter the first room and too many people to fully enjoy it. It pulls all its punches in the first room with extraordinary etchings of Thames scenes done in his 20’s; the rest is fine but just doesn’t match these.

Sculptor Bill Woodrow‘s exhibition at the Royal Academy was a hit & miss but mostly miss affair. Clever but neither beautiful nor funny!

The tiny Ben Uri Gallery hosted a show of the London Group which was a who’s who of 20th century British artists and contained a high count of absolute gems amongst just 49 works. Most museums would die to show a collection like this and this is an unfunded gallery that doesn’t charge admission. Magnificent!

Jake & Dinos Chapman’s Come & See at the new Serpentine Sackler Gallery was a lot of the same old stuff – scenes of carnage in glass cases, defaced 19th century pictures etc. – but there was new work like contraptions for brain damage and self-deprecating films with David Thewlis & Rhys Ifans (not new, but I hadn’t seen them before). It was presided over by 37 life-size Klu Klux figures wearing rainbow socks and smiley badges. An odd combination of the macabre and playful.

My 24-hour Paris skive was an art feast with three exhibitions at the Pinacotheque and another at the Centre Georges Pompidou. La Dynastie Brueghel had paintings from 12 painters spanning 6 generations from the early 16th to late 17th centuries. It focused mostly on the elder and younger Jan’s, there was a shortage of Pieter’s and there were too many flower paintings, but it was well worth the visit. Chu Teh-Chun was new to me but I rather took to his brightly coloured abstract pictures, which were a huge contrast to the etchings in Goya et la Modernite which composed most of the third Pinacotheque show. Le Surrealisme et L’Object at the Centre George Pompidou was a collection spanning most of the 20th century featuring all the usual subjects, beautifully curated by theme. As it was no. 4, I probably didn’t do it justice.

Film

I hadn’t seen the first one, so Anchorman 2 was a bit of a punt, partly selected as 3rd choice because it fitted a location and time slot. Though it’s a tad overlong, and not all of the American humour works here, it does have a lot of laughs and ends with an extraordinary number of celebrity cameos. God fun, though far from life changing!

I’m at a loss to understand what all the fuss is about with American Hustle (10 BAFTA nominations!). I liked the period look, it was sometimes funny, but it was overlong and poorly structured and, well, rather dull. Not a patch on the director’s last film – Silver Linings Playbook.

I’m puzzled by the critical indifference to Mandela: Long Road to Freedom. It compresses so much into almost 2.5 hours and does so extremely well. Idris Elba is stunning. The whole thing is captivating and moving. Go!

You would be forgiven for thinking that The Hunger Games: Catching Fire isn’t actually a new film, the second in the series, but a new version of the first one. It just seemed to be more of the same and I was hugely disappointed.

Twelve Years a Slave is a harrowing, uncompromising and unsentimental story of someone kidnapped onto slavery. It may win a BAFTA, but it won’t win an Oscar because the Americans won’t be able to publicly confront something that is only 150 years ago in their short history. I’d love to be proven wrong, though. Not easy to watch, but a stunning film nonetheless.

I love the Coen brothers films, but Inside Llewyn Davies was a huge disappointment. It just didn’t go anywhere and the journey was rather dull, even if the cinematography and performances were good.

The Wolf of Wall Street ended my film-going month and was the fastest three hours I’ve ever spent in the cinema. Funny and chilling in equal measure, it’s a coruscating expose of the sort of excesses of the financial sector we’ve got used to in recent years and it’s a career defining role for Leonardo DiCaprio.

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Contemporary Music

I couldn’t do either of the Richard Thompson London dates, something which became even more frustrating after I’d bought his great new album. Almost by accident, just a couple of weeks in advance, I discovered he was playing St. Albans on my birthday, they had a few tickets left, it was only 20 mins from St. Pancras and nearby friends fancied it. How serendipitous is that? It had to be great, and it was. His new trio makes a superb sound, the song selection was excellent and the guitar playing beyond genius. As he was about to start the third encore, he joked that they fancied themselves as a power trio but were 50 years late, then broke into a stunning version of Cream’s White Room; it was a bit high for his voice and he stumbled on the words, but the playing was magnificent. Combined with some Roman history (theatre, mosaic and museum), the gorgeous cathedral and lovely Lebanese food, it was a proper birthday treat.

I couldn’t make the original one week run of Maria Friedman‘s Sondheim / Bernstein show at The Pheasantry, so I was delighted when she added a couple of nights, one of which I could do. A brilliant selection of songs, superb arrangements and accompaniment from Jason Carr and a quiet, respectful audience made for a sensational evening that was often moving, often funny and always captivating. Her personality really shines and no-one else can interpret a song like she does. Unmissable, and I didn’t!

Opera

I can’t remember the last time I enjoyed an opera as much as Medea at ENO. It’s not particularly great music (not a patch on Handel) but David McVicar’s production, Bunny Christie’s design, Lynne Page’s choreography, conductor Christian Curnyn’s musical direction and above all a set of fine performances made it a real treat, particularly Sarah Connolly’s superb Medea and Roderick Williams’ brilliant Orontes. The story is in some ways different to the play (which I’ve seen a lot!) but it still makes a great tragedy. A treat!

Imeneo is an unusual Handel opera as it isn’t based on some epic historical tale; it’s a simple story of whether Imeneo gets the girl he wants as a reward for freeing her and her friend from pirates  – should duty be above love. There’s just about enough story for a 2-hour opera and it suits this modern setting at a spa hotel by the sea, where fun can be had with treatments and smartphones. There’s some gorgeous music and the cast of five and small chorus of six are excellent, with Laurence Cummings & the London Handel Orchestra making a terrific sound in the pit. Hannah Sandison & Katherine Crompton were outstanding and counter-tenor Tai Oney showcased a fine distinctive voice. Lovely.

Classical Music

My second Britten centenary event was the (Royal) Academy (of Music) Song Circle at Wigmore Hall with a recital of 20 songs in five languages. Many of these are challenging pieces for any singer, let alone young singers, but Sonia Grane, Angharad Lyddon, Simon Furness and Gareth John were all superb, as were accompanists Manon Ablett and Finnigan Downie Dear. Yet again, I am in awe of the musical talent we have here in London. Two down, c.18 to go!

During a visit to Budapest, I went to the lovely State Opera House for a concert performance of Bach’s St. Matthew’s Passion – on Easter Saturday! – and lovely it was too. There was a raised pit for the orchestra, the soloists were on stage behind them, and the chorus were behind a gauze screen on which they projected words and images. It benefited from being sung through without an interval, though this was challenging for the more fidgety audience members.

LSO‘s pairing of the hardly known Stabat Mater by the almost unknown Szymanowski with the ever so well-known Brahms Requiem was inspired. The former turns out to be somewhat Goreckian (though it pre-dates his 3rd Symphony by c.50 years!) and I rather liked hearing it for the first time. Somehow, the Brahms lacked sparkle – certainly not due to the soloists (Sally Matthews and Christopher Maltman) and not really to the playing of the LSO or the singing of the LSC, but lacked sparkle it did. A bit of a puzzle.

Dance

BalletBoyz: The Talent 2013 shows extraordinary growth since their first work four or so years ago. This group of 10 male dancers are unique and the new pieces from Liam Scarlett and Russell Maliphant, though quite different,  both suited them perfectly. Scarlett’s Serpent flowed organically in a hypnotic way whilst Maliphant’s Fallen was edgier and animalistic; I loved them both.

I got the last ticket for Arthur Pita’s dance-theatre piece The Metamorphosis on the day of the performance and it will no doubt be in my highlights of the year when things booked six months before will be forgotten! It’s the first time I’ve seen The Linbury Studio Theatre at Covent Garden in traverse, which meant a better view from my standing position.  Kafka’s tale of a man who turns into an insect is puzzling but mesmerizing and Edward Watson is extraordinary, moving in ways I didn’t think were possible for 80 minutes (8 times in 8 days!). Never has a spontaneous standing ovation been so richly deserved.

Over in Budapest, I saw a lovely production of John Cranko’s ballet of Onegin The music is a mash-up of Tchaikovsky pieces, the design was gorgeous and the dancing beautiful. It was hard to follow the story as they’d run out of programmes (which contained the synopsis in English), so I just let it wash over me – aurally and visually – without really caring what it was all about!

 Art

 An afternoon of two contrasting exhibitions started at the gorgeous (but not very suitable) Two Temple Place for a show called Amongst Heros : the artist in working Cornwall. It’s mostly 19th / 20th century pictures of fishing and fishermen with seascapes and mining scenes and portraits of locals. The highlights were by Charles Napier Hemy (who has popped up all over the place since I first saw his work in Penzance) and Stanhope Forbes, someone new to me whose pictures are wonderful and who will hopefully now also pop up all over the place. At Tate Modern, the Roy Liechtenstein retrospective proves he’s not a one-trick pony in terms of subjects, but is in terms of technique and style. The cartoons are well-known but the landscapes, abstracts etc less so and I enjoyed seeing them, but by the 14th room you’re more than sated.

I thoroughly enjoyed Light Show at the Hayward Gallery – 25 installations that play with light in some way. In addition to the usual suspects like Turrell and Flavin, there were lots of new names (to me). The booking system meant that the numbers were well controlled; great to see a gallery not being too greedy at the expense of visitor enjoyment.

The Bride & The Bachelors at the Barbican Art Gallery brings together the work of ‘artists’ Marcel Duchamp, Robert Rauschenberg & Jasper Johns with the music of John Cage and the dance of Merce Cunningham. For me, it’s well curated bollocks, particularly the work of Duchamp, the key influence on the others. Some of Johns’ work is good as is some of Cage’s, but the rest seems pointless to me.

I have to confess I’d never heard of artist Kurt Schwitters. Some of his Tate Britain exhibition was familiar, though, but I think this may be indicative of his influence rather than previous sightings. His collages date back to the 30’s and seem ahead of their time, but there were an awful lot of them and it got a bit monotonous. I rather liked Simon Starling‘s Duveen Gallery commission – a film of previous commissions (apparently re-staged) made by what looked like a flying camera, and the screen the only object in a giant atmospherically lit space.

George Bellows at the RA is a great exhibition of an artist I’ve never heard of. His late 19th / early 20th century paintings and drawings vary from boxing to cityscapes to landscapes to portraits to seascapes and they are wonderful. How is it possible someone this good can pass you by?

Back at the NPG, there’s a surprisingly good exhibition of George Catlin‘s paintings of native Americans first shown in London in 1840. The blurb accompanying a picture of the Mandan tribe suggested they intermarried with descendants of a 12th century Welsh prince called Madoc; that came as a bit of a shock!

At Somerset House, there’s an eclectic exhibition of photos called Landmark which ranges from landscapes to satellite shots to arty images, but all with the theme of planet Earth and an underlying environmental message. It was very good, but I wish they’d said where each picture was taken as I kept puzzling over locations!

Film

I thoroughly enjoyed Arbitrage, a multi-layered piece about a wealthy New York financier who embarks on both a business and personal cover up. It’s a gripping thriller which takes unexpected turns and Richard Gere is outstanding in the lead role.

I wasn’t sure I wanted to see Side Effects, but I was so glad I did. It lulls you into thinking you know what it’s about then turns a corner and takes you somewhere else. It really did keep you guessing until the end and enthralled throughout.

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