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Posts Tagged ‘The Rape of Lucretia’

The Rest of July

Contemporary Music

My respect for Tom Jones has grown significantly in recent years, largely due to his terrific blues and gospel albums, at a point in his career when he could so easily be banking money from Las Vegas shows, and his open-air concert at Englefield House in Berkshire didn’t disappoint. A lovely evening, brilliantly diverse set list, a great band and excellent audience engagement combined to produce a very satisfying evening indeed.

Opera

The Royal College of Music put together an excellent double-bill of Huw Watkins’ In the Locked Room and Peter Maxwell Davies’ The Lighthouse. The former was interesting but the story too obtuse for me, but the latter was terrific, beautifully sung and played and thrillingly dramatic.

GSMD showcased three short operas by students on their composition course in their Milton Court Studio Theatre, performed by first year students on the opera programme. The first was an incomprehensible fantasy, the last a bit of a puzzle, but the middle a good slice of SciFi. Whatever you think of the material, all were superbly performed, though I’m not sure I liked the idea of including four scenes from three classic operas which spoilt the flow of the new for me.

I don’t go to the Royal Opera much these days, but I was drawn to Falstaff by the casting of Bryn Terfel and it turned out to be a real treat – relocated to the 50’s, brilliantly designed, with a faultless cast, though with their obscene top price of almost £200 I was only prepared to pay for a restricted view seat.

My first Prom was an opera, and it proved a bit of a disappointment. Pelleas & Melisande doesn’t really lend itself to a concert, even semi-staged, so however good Glyndebourne Opera’s singers and orchestra (the LPO) the other-worldliness it needed was something the RAH couldn’t provide, so it was devoid of atmosphere and engagement. In some ways, it might have been better in concert rather than clumsy semi-staging. It reminded me of the days when I avoided opera outside the theatre altogether.

At Opera Holland Park, the UK premiere of a century old Mascagni opera, Isabeau, inspired by the Lady Godiva legend (no, she didn’t!), was a real treat. Great choruses, lush orchestrations and two wonderful young leads.

Opera Rara have dug up some gems over the years, most notably Donizetti’s Les martyrs. L’ange de Nisida isn’t the best, but it’s the world premiere of another Donizetti, ‘lost’ for 180 years, newly reconstructed, and sung and played brilliantly by the Royal Opera chorus and orchestra under Mark Elder, with five fine soloists, at Covent Garden. A treat.

The Arcola’s annual Grimeborn Opera Festival got off to a cracking start with an intimate, intense production of Britten’s The Rape of Lucretia which was so well sung and played, any opera house would be proud to have it. Our five opera ‘passport’ means we see them for £11 each, the best opera bargain ever!

Our second Grimeborn treat was Spectra Ensemble‘s production of the very underrated suffragette Ethyl Smyth’s early 20th Century comic opera The Boatswain’s Mate which was a delight. Great singing, but also great musicianship from a powerhouse trio of piano, violin and cello. Again, the intimacy of the even smaller studio served it well.

Classical Music

Mahler’s 8th, the ‘symphony of a thousand’, belongs in the Royal Albert Hall and the 2018 Proms saw the BBC National Orchestra & Chorus of Wales plus five other choirs and eight soloists succeeded in filling it with joy. From where we sat, the acoustics weren’t the best, and there seemed to be more subtlety in the second half, but thrilling stuff nonetheless.

My third visit to the Proms was a lovely evening of English music from the beginning of the 20th Century, indeed the beginning of modern English classical music, with five works by three people who knew one another – Vaughn Williams, the very underrated Parry and Holst – three of them I’d never heard before. The BBC National Orchestra and Chorus of Wales were again on top form.

My fourth Prom was another treat, with the BBC Scottish Symphony Orchestra pairing two London symphonies 120 years apart – Haydn and Vaughan Williams. The Haydn, in particular, sounded better than any other symphony of his I’ve heard. Great to see a full house for something without ‘stars’.

Film

It was good to see Yellow Submarine again after 50 years in a superbly restored version. The artwork is astonishing, though the story is rather naff!

Mamma Mia: Here we go again was way better than the reviews would have you believe, better than its predecessor in fact. The antidote to the hate that now pervades our lives on a regular basis.

Art

Another of those bumper catch-up months for art.

Aftermath at Tate Britain, an exhibition of post-WWI art from Germany, France & the UK, was more historically fascinating than aesthetically appealing, though there were some great pictures. As if seeing 300 Otto Dix pictures in Chemnitz last month wasn’t enough, there were 18 more here!

I don’t normally like staged and posed photos, but I loved Alex Prager: Silver Lake Drive at the Photographers Gallery, a very cinematic show which included two captivating films.

Howard Hodgkin, who died last year, became a favourite artist of mine after an exhibition at the Hayward Gallery many years ago, so his final paintings at the Gagosian Gallery was essential viewing. It was more of the same, but the same is simplicity and colour.

I caught up with the Royal Academy of Art’s reconfiguration and renovations in a lovely morning feast of art that started with the excellent Grayson Perry curated Summer Exhibition, which can now breathe, with the Sackler Galleries added for the prints. Then there was The Great Spectacle, a terrific exhibition covering the 250 years of the Summer Exhibition which linked the existing John Madejski Fine Rooms with the Weston Rooms in the main space. Then through a newly opened tunnel to the Burlington Gardens building for the Summer Exhibition’s great (free) fun room, after which It ended on a bit of a low with Tacita Dean Landscape, which did marginally more for me than her companion exhibition at the NPG.

Shape of Light at Tate Modern examines the relationship between photography and abstract art over 100 years. Though fascinating, the photos were largely aesthetically unappealing and it all seemed a bit nerdy. Thankfully, the art was great, with the recently visited Bauhaus featuring.

South Korean artist Lee Bul’s exhibition at the Hayward Gallery was full of quirky things, many involving reflections. Some individual works were excellent, but it was the impact of the whole lot that made it worthwhile, a very original riot of brightness. In the project space, Yuan Goang-Ming’s video work was intriguing.

A theatrical day trip enabled me to pay a visit to the Southampton City Art Gallery. In addition to a small but impressive collection of masters, there was the terrific room showcasing the 10-picture The Perseus Story by pre-Raphaelite Edward Burne Jones, exhibitions by living artists George Shaw and Kelly Richardson and Coast, photos of the nearby coastline and seaside by the local Photographic Society. In the University’s new John Hansard Gallery, a Gerard Richter exhibition proved fascinating, though I’m not his biggest fan. It’s a lovely new space.

At the Guildhall Art Gallery, the William de Morgan ceramics exhibition was a delight. It tried to focus on his use of mathematics, but I couldn’t get past the beauty of the pots, plates and tiles! A short walk away, it was the turn of the Barbican Art Gallery to wow with a double-bill of photographic exhibitions – American documentary photographer Dorothea Lange: Politics of Seeing, with photos taken in the Great Depression and of Japanese internment and migration, and British photographer Vanessa Winship: And Time Folds, an extraordinarily diverse range of work in which her travels in the Balkans and countries around the Black Sea captivated me most.

At Newport Street Gallery, True Colours brought together the work of Helen Breard, Sadie Laska and Boo Saville. I loved Beard’s bright and colourful style, but it was rather sex obsessed, all bar one featuring explicit sexual acts. The other two did nothing for me. I’m glad it as a pop-in-while-passing visit!

At the Serpentine Galleries there was one treat and one pointless exhibition. The treat was Tomma Abts’ geometric pictures in the Sackler Gallery, which surprised me by their beauty. In the main gallery, there was an exhibition showcasing the historical outdoor work using barrels of Christo & Jeanne-Claude through drawings and models, mostly of the giant Mastaba they created for the UAE. They created a smaller one for the Serpentine Lake from 1500 barrels which seemed like much ado about nothing to me. Fortunately, this year’s Pavilion is lovely – from the inside. It doesn’t look great until you enter and see that it’s made of roof tiles with a reflective roof and water on part of the floor providing lovely images.

I would never have gone to Michael Jackson On the Wall at the NPG if I wasn’t a member; £18! I certainly wouldn’t call myself a fan, though I liked some of his music, and the messianic behaviour of his late career didn’t sit at all comfortably with me. This exhibition of artworks of and inspired by him was however fascinating, so I was glad I did go!

At the Design Museum, a fascinating exhibition called Hope to Nope: Graphics & Politics 2008-18 about the impact of graphics on politics and protest in the last ten years, including the use of social media and movements like Occupy and #MeToo. A great idea, well executed.

Julie Becker: I must create a Master Piece to pay the Rent at the ICA is one of the worst exhibitions of recent years, and the ICA seems to be in a right old state. I blame you, Time Out. Again.

One of my wanders around Mayfair’s private galleries brought rich pickings. At Hauser & Wirth, August Sander: Men Without Masks showcased the German photographer’s obsessive but brilliant B&W portraits of people of the 20th Century. In their gallery next door, Spiegelgasse (Mirror Alley) was a mixed show of Swiss artists since the 1930’s with some striking individual works by people I’d never heard of. Down the road at LAZinc, Banksy comes in from the streets for Greatest Hits 2002-2008, paintings and sculpture which do prove his worth. Next stop was Spruth Magers where 13 Cindy Sherman staged and posed character self-portraits, some multiples, each in an edition of just six, were valued at over $24m! They were good, but not that good!

Frida Kahlo: Making Herself Up at the V&A had some lovely paintings, a selection of her clothes that showed her unique style and fascinating biographical material, but it was too overcrowded, claustrophobic and poorly curated to really enjoy. We fared better in the more spacious, less crowded and cooler The Future Starts Here which was a fascinating peep into the future through current projects and initiatives.

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….and 1st March!

Opera

Seven operas in nine days, starting with the Guildhall School’s production of Britten’s The Rape of Lucretia, as good as any I’ve seen (and that includes Glyndebourne and Covent Garden). I particularly liked the design in a re-configured Silk Street Theatre, with the audience on three sides, and the singing was terrific.

Chabrier’s L’Etoile is more operetta than opera and has a preposterous plot, but I did enjoy it. The playful production at The Royal Opera House had a few too many cheap gimmicks, but it was fun overall. Vocal honours belonged to Kate Lindsey and Helene Guilmette.

WNO’s themed season of three operas that feature Figaro as a character, in chronological order, was a triumph. I’m not a big fan of Rossini’s The Barber of Seville, but this production was frothy and fun. Mozart’s The Marriage of Figaro was one of the best I’ve ever seen (probably helped by my intentional rest from Mozart operas) and Elena Langer’s new piece, Figaro Gets a Divorce, was one of the best modern operas of the many I’ve experienced. It was great to see veteran design team Ralph Koltai and Sue Blane at the top of their game with beautiful sets and costumes respectively, and the playing and singing in all three (with Rhian Lois a terrific cover for Susanna in the Mozart) was outstanding…..and all of this for less than £100 in the best seats in the house!

Back at the Royal Opera House, it was great to see Puccini’s triple-bill Il Trittico as it was intended. I’d seen this Gianni Schicchi paired with a Ravel opera, but not the others. The diversity proves to be its strength – a revenge tragedy, a spiritual piece and a comedy! – and Richard Jones’ use of three different designers proved a clever way of emphasising their individuality. One of the best evenings at this venue in a while.

Perhaps the best was saved until last (at least, musically) with the English Concert’s concert version of Handel’s Orlando at the Barbican Hall. Five superb, and brilliantly matched, soloists, led by counter-tenor Iestyn Davies, complimented the crisp clean playing of the small orchestra and made the sort of heavenly uplifting sounds that Handel operas can make. A musical feast.

Comedy

Stand-up’s Elis James and John Robbins took a huge risk with their show at Cardiff’s Glee Club. Sitting at a table with microphones and two rows of their chosen beers, the less well-known Robbins read from his self-published autobiography while James listened and commented between chapters, and both got slowly drunk – for almost 2.5 hours. It sounds like an unlikely hoot, but it was very funny indeed!

Art

The Magical Lantern Festival at Chiswick House was a real treat. Lots of colourful tableau along a walking route through the gardens. I think this was a first, but hope it’s a regular feature.

Big Bang Data at Somerset House was an interesting exhibition, but maybe a touch over-ambitious. It tried to cover so much ground, it felt like little of it was in enough depth. Some interesting, thought-provoking facts, though.

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Contemporary Music

I didn’t consider SO Peter Gabriel’s ‘masterpiece’ until this concert. There are better songs on other albums, but somehow this one hangs together best. It was the ‘main course’ of a 140-minute meal which also included two new songs and lots more oldies. The visuals were excellent and the sound was superb. His voice sounds better than it ever did and the band of regulars were as tight as can be. There was a touch of theatricality and more than a touch of idiosyncrasy and I loved it!

I’ve waited 34 years to see Graham Parker with the Rumour again, but the wait was worth it. Always one of the great live bands, they never sounded better than this re-union. Combining songs from the new album with a whole load of oldies and no tuning and chatting time-wasting, this was 23 songs in 110 glorious minutes with his fans creating an extraordinary atmosphere at Shepherds Bush Empire. They even had The Silver Seas’ Daniel Tashian in support (though there was too much talking by otherwise excellent GP fans!)

A week / month for old rockers it seems.

Opera

The focal point of the autumn visit to WNO in Cardiff was ‘The Tudors’; a trilogy of operas by Donizetti in Italian based on British Tudor history – Anna Bolena, Maria Stuarda and Roberto Devereux – in chronological order on consecutive days! In truth, Bel Canto isn’t my favourite operatic sub-genre, but the prospect was enticing nonetheless. The orchestra and chorus were wonderful (sprightly young conductor Daniele Rustioni is a real fine) and there was some good singing but the productions, dressed almost entirely in black, were somewhat disappointing. The highlight turned out to be Tosca, added so that I could take some friends, with lovely singing from American Mary Elizabeth Williams as Tosca and Wales’ own Gwyn Hughes Jones as Cavaradossi.

Fiona Shaw’s production of Britten’s The Rape of Lucretia for Glyndebourne on tour is the darkest I’ve ever seen. The theatre in Woking was a bit big for it, but the singing and playing was uniformly excellent so I’m glad I added it to my centenary collection. It looks like there will be three operas I won’t catch this year – A Midsummer Night’s Dream, Billy Budd & Paul Bunyan, though I will catch up with that in Feb (having missed curtain up by falling asleep with jet-lag in Sept!); shame, that.

Classical Music

The LPO‘s Britten Centenary concert at the RFH put together an intriguing selection of rarely performed works. The lighter first half featured a ballet suite and a folk songs suite, but the second half was more melancholic, with the song cycle Nocturne, brilliantly sung by Mark Padmore, and the Cello Symphony with soloist Truls Mork. The orchestra under Vladimir Jurowski sounded wonderful and it made me regret not booking more of the The Rest is Noise series of 20th Century music, of which this was a part.

Film

I sneaked off for an afternoon to make a dent in my growing film hit list and saw both Sunshine on Leith and Le Weekend back-to-back. Though I enjoyed both, the former probably suited me better. There are too few film musicals these days and I found SoL heart-warming, moving and funny. LW is a great and highly original midlife crisis film and it’s good to see Hanif Kureshi back in the screenplay saddle and Lindsay Duncan back on the big screen.

Filth also lived up to expectations – a thoroughly original and anarchic film that could only be made in Britain. James McAvoy’s range as an actor really is remarkable and here he’s a drink and drug addled copper with a past he can’t shake off.

Another sneaky late afternoon / evening double-bill paired Blue Jasmine and Captain Phillips. The former really is a career high for Woody Allen, who already has a whole load of career high’s. Cate Blanchet is superb, but in getting all the attention, Sally Phillips brilliant performance is being neglected (A Brit & a Kiwi leading a US film – what do we make of that?). I’m not sure I’ve ever seen a film which sustains tension for over two hours, but Captain Phillips certainly does. It’s a stunning achievement for director Paul Gereengrass and again, the attention on Tom Hanks (who is excellent) ignores the superb performances by the Somalian actors playing the pirates.

Art

Elmgreen & Dragset’s six-room installation at the V&A tells the story of a failed architect by letting you view his home, now up for sale. Butlers and maids occasionally engage you in conversation, telling you stories about him and you’re even given a copy of a play called Tomorrow that features him. Outside the building, a hoarding invites you to view the apartment. An extraordinary installation.

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