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Posts Tagged ‘Tom Jones’

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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This is the 50th anniversary of the British premiere of this Broadway show by the team more famous for the longest running musical ever, The Fantasticks (42 years, 17,000 performances, I’ve never seen it!), Harvey Schmidt and Tom Jones (no relation!), with N Richard Nash adapting his own play. I don’t think it’s been seen here since, so another gold star to the Walthamstow team for the opportunity.

Set in the 30’s in South West USA, they’re desperate for rain. The Curry family is at the heart of the piece and they’re desperate for a man for plain Lizzie, in danger of remaining on the shelf. A chancer arrives claiming to be a rainmaker and Pa Curry gives him $100 to make it rain. Lizzie has returned from a trip where she failed to bag a man and her Pa and brothers Noah and Jimmy now set about matchmaking with their eyes on Sheriff File. The rainmaker needs no encouragement and woos Lizzie, which boosts her confidence and makes Fine realise what he’s missing, leaving Lizzie with a choice to make.

In the first half it’s a bit too light and a bit too sweet, but it gets more substantial after the interval, when Lizzie’s predicament is handled more seriously and sensitively, and ends well. Whatever you think of the show, though, it’s another fine production from the Walthamstow team. Joana Dias’ simple but evocative design comprises painted screens and a backdrop, with very good costumes. Randy Smartnick’s staging and Kate McPhee’s choreography use the space very well.

I liked all of the six leads. Christopher Lyne is the father who wants the best for his kids, David West the elder brother who’s a bit of a bully and Julian Quijano is simple Jimmy, who has no problem getting his girl Snookie, a lovely cameo from Rebecca Withers. Daniel Urch as rainmaker Starbuck (!) and Nick Wyschna are excellent as Lizzie’s love interest, but it’s Laurel Dougall’s show, with a pitch perfect Lizzie.

It isn’t a classic, and I can see why it isn’t revived, but there are some nice songs and this production does it proud, with limited resources on a small scale, and I’m very glad I got a chance to see it.

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Well, we’ve already had biographical juke-box musicals about The Four Seasons, Carole King and The Kinks (all good, and all still running in the West End), so here is Wales’ contribution. The story of the early years of the septuagenarian from The Valleys with a 50+ year career and a voice that still sounds great at 75. He comes from a town over the hill in the next valley to me and I saw him perform in a local community centre in my early teens, so how could I resist this?

Actually, it’s not a juke-box musical as it only includes a few of his hits, as the closing number and the mini-concert encore. Though there is a fair bit of music, it feels more like a play with music than a musical, as it tells the story from his mid-teens, fatherhood and marriage at sixteen, through to his appearance on Top of the Pops when It’s Not Unusual (originally written for Sandie Shaw, it seems!) makes No.1.

We move from home at wife Linda’s mums in Trefforest to a variety of venues in the valleys, signing to Gordon Mills (a not so big shot from Tonypandy, it seems) and on to London for a six month struggle that he almost gave up on. Along the way he picks up a band called The Senators who become The Squires before Mills drops them for a different, brassier sound for the first big hit. 

The music is played live by the four actors playing The Senators / Squires – Daniel Lloyd, Tom Connor, John McLarnon and Kieran Bailey – who make a great sound. During the final scene and encore, Phylyip Harries who has been our excellent narrator Jack Lister adds sax, Elin Phillips (lovely as Tom’s wife) adds piano and Nicola Bryan (Tom’s mother) proves a dab hand at the trumpet!  I thought Kit Orton was outstanding as Tom, terrific voice and great at all those trademark moves. Just eleven actor-musicians tell the story and provide the music!

Mike James’ writing is lucid, economical and good humoured storytelling and Geinor Styles stages it very effectively on a simple set, where projections are used to great effect to take you from the Welsh valley locations to London locations. The show exceeded my expectations and proved to be a charming, and for me, nostalgic story.

It’s on a different scale (and budget, no doubt) to those other bio-musicals, but Theatr Na Nog are to be congratulated on producing something that oozes quality in every department and honours a Welsh legend great flair.

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Contemporary Music

I couldn’t resist the two seventy-something Celtic Knights as part of BluesFest. Van the Man and Jones the Voice at the O2 Arena both proved to be at the top of their vocal game. They each played great one-hour sets with their respective bands and seven songs together, three at the end of Van’s set and four at the end of Tom’s. These collaborations were under-rehearsed, rather random and disorganised affairs but they came out charming. The contrast between Tom’s extrovert showmanship and Van’s introverted cool was extraordinary. A real one-off treat we’re unlikely to see again.

Blood & Roses: The Songs of Ewan MacColl at the Barbican was another of those themed compilation shows which proved to be a delightful evening featuring his wife Peggy Seeger, folk royalty like the Carthy’s, Unthanks and Seth Lakeman and a whole load of MacColl’s. I have to confess I knew few of his songs, so much of it was a bit of a revelation, particularly The First Time I Ever Saw Your Face. When his son read out the names of those who’d covered this, you realised the family was probably still living off the royalties!

Billy Bragg’s concert at Union Chapel was by and large a return to the solo electric style of his early years, with much of the material coming from this period, though there was a pedal steel guitarist for part of the show. It was lovely, helped by being in my favourite concert venue and the attentive audience. He included his anti-Sun protest song which made me realise he’s about the only protest songster left!

I’m not sure what I was expecting of Lulu – Murder Ballad at the Linbury Studio, but what I got was a Tiger Lillies concert; a song cycle with superb projections and a dancer, but it didn’t add up to good storytelling and was actually rather dull, so much so that I left at the interval.

Opera

A concert performance of Handel’s opera Tamerlano at the Barbican by new (and young!) kids on the block Il Pomo d’Oro got off to a tentative start but soon found it’s form. Just twenty-five singers and musicians making a beautiful noise.

Morgen und Abend was more of a soundscape than an opera. A very impressionistic piece with an entirely off-white design and an off-the-wall sound. I’m not sure it sustained its 90 minute length and I think I’ll probably forget it fairly quickly, but is was original and something refreshingly less conservative at Covent Garden.

The first act of Opera Rara’s Zaza was a bit of a mess. There was so much going on and the comedy sat uncomfotrably with the love story. The remaining three acts were musically glorious, with a stupendous performance from Albanian soprano Ermonela Jaho in the title role and terrific turns from Riccardo Massi and Stephen Gaertnern as her love interest. An impulsive outing to the Barbican which turned into a treat.

Art

The World Goes Pop at Tate Modern was rather a disappointment. It set out to show Pop Art wasn’t just a US / UK phenomenon. The trouble is, most it was second or third rate stuff and made you feel it probably was a US / UK phenomenon!

The Ai Wei Wei exhibition at the Royal Academy is one of the best contemporary art exhibitions I have ever visited. The combination of imagination, craftsmanship and the political statements being made is simply overwhelming. Wonderful.

Eddie Peake’s The Forever Loop was one of the most pointless and dull installations to grace Barbican’s Curve Gallery. Not even two naked dancers could liven it up!

Film

The transition of Alan Bennett’s The Lady in the Van from stage to screen is a huge success. Maggie Smith is sensational, Alex Jennings is superb as Alan Bennett and it’s great to see almost the entire History Boys cast in supporting roles.

Spectre was generic Bond, though with a return to the tongue-in-cheek humour that has been lost in the last couple. The set pieces were superb and it sustained its 2.5 hour length. It’s also a Who’s Who of great British actors, with Ralph Fiennes, Rory Kinnear and Ben Wishaw in supporting roles.

I was surprised that Steve Jobs only covered 14 years or so, but I learnt so much about what made him tick and I was captivated by it. Michael Fassbender and Kate Winslet were both superb.

Brooklyn was a gorgeous piece of film-making. I loved everything about this tale of Irish emigration to New York set in the year I was born, and I blubbed!

Carol was a beautifully made film, the 50s again looking gorgeous, and the performances superb, though it was a bit slow for me, particularly in the first 30 minutes or so.

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CONTEMPORARY MUSIC

Using the label ‘Folk’ for Seth Lakeman stretches it somewhat. I can live with folk-rock, but the driving rhythm of his sound stretches even that. It works so much better live than on record, though he’s wise to keep his set short and snappy to prevent it becoming relentless; the bass is pushed too high and it’s close to hurting (one of my companions had to move back after the first number). The Open Air Theatre was a terrific venue and it was the most exciting folk-rock set I’ve heard for more than 25 years (it reminded me of Fairport Convention and Alan Stivell when they rocked). There was a sex imbalance in the audience the opposite of what’s usual at ‘folk’ concerts – he’s a good looking guy who has quite a following with the girls! The unannounced support of A John Smith, who’s CD I like a lot, was a bonus – his melancholy on record was lightened live, helped by a charming self-deprecation in between songs.

The Kings Place Festival is an eclectic selection of 100 concerts over 4 days, each costing no more than £4.50. We took in three 45-minute folk concerts in one evening and a contrasting collection they turned out to be. Eliza Carthy showed off her technical expertise at both fiddle playing and acapella singing; her dad Martin Carthy’s set with Dave Swarbrick was more about nostalgia, such is the decline of skill and passion with age; and the best was left to last, with a set of great warmth and charm from Chris Wood. This is turning out to be a great venue.

I have a memory of seeing Tom Jones & The Squires at Penyrheol Community Centre (one mile from my home and three from his) before he had his first hit. When you look at his chronology and mine, this seems a bit implausible but my recollection is vivid! So this is (possibly) my second Tom Jones concert – 150 miles away and 45 years later – in Islington’s Union Chapel in Sept 2010. It was a small-scale showcase for the new gospel blues album Praise & Blame (which I love) and was announced by a ticket agency on Twitter. I thought it might be fun, but wasn’t expecting something so musically perfect; the songs sounded even better live, the band was terrific and his voice simply extraordinary. The venue was so perfect – Jones in front of the pulpit beneath the backlit stained glass rose window singing gospel! A real treat.

OPERA & MUSIC THEATRE

Peri’s opera Euridice, written in 1600, may be the first ever opera. 380 years later prolific composer Stephen Oliver produced a new version with the songs and choruses intact, an English translation and new ‘accompaniment’ and this is what British Youth Opera showcased this month. It’s the classical myth of Orpheus & Eurydice – with a happy ending! – and it was simply staged with costumes but no set. Somehow the lovely early music songs & choruses and modern accompaniment work well together and both the singing and playing from the cast of 18 and tiny 8-piece ensemble (intriguing instrumentation including cowbells, handbells, banjo and tabor!) were excellent. BYO’s name conjures up images of pimply teenagers but these are the next generation of opera singers currently studying at our best music colleges so, like the GSMD operas, the standards are really high.

ENO’s Faust is a lot better than the reviews lead you to believe. It seems to me perfectly legitimate to make Faust an atomic scientist at the time of Horoshima and the production worked for me. Some of Gounod’s music really is lovely and it is particularly well sung by Toby Spence as Faust, Iain Paterson as Mephistopheles and Melody Moore as Marguerite, with excellent support from Benedict Nelson, Anna Grevelius and Pamela Helen Stephens. ENO’s MD Edward Gardner yet again gets the best out of his band, and the chorus are on fine form. Director Des McAnuff is better known for theatre (notably the excellent Tommy and Jersey Boys) but I think his second outing in an opera house tells us he may well produce even better work in this form.

I much admired Pleasures Progress, Will Tuckett’s music theatre staging of William Hogarth sketches at the ROH’s Linbury Studio, though I was exhausted and fed up, so I didn’t get as much out of the evening as I should have. Very bawdy and often gross, it was a clever cocktail of music, dance and theatre which was superbly staged, designed, performed and played.

OTHER

I was hugely impressed by my visit to Denbies Winery in Dorking. I remember buying a bottle of their wine many years ago and thinking it was ghastly! Well, now it’s the largest winery in the UK producing over 250,000 bottles (80% sold from the cellar door) and the whites and rose were very nice indeed. They’ve cleverly expanded the business to include a winery tour (by people mover!) with an excellent 360 degree film & tasting and a tour of the vineyards by ‘train’.

I had 30 minutes to kill between afternoon tea with an Icelandic friend passing through and pre-theatre drinks with visitors from Somerset (as one does!), so I popped into White Cube at Mason’s Yard. Having returned from the Faroe Islands just a month ago, imagine my surprise to fine 10,080 photos – one taken each minute for a week – from that very place. Darren Almond’s exhibition also had some terrific film footage from Siberia with a hugely atmospheric soundtrack. Such is life lived on impulse…..

I thought Open House was going to be a damp squib this year as I’d only booked for one building (the brochure arrived AFTER booking opened – so much for advance ordering! – by which time everywhere I wanted to visit that had to be booked was fully booked). So I took pot luck with non-bookable buildings expecting to find queues, give up and get fed up. Well, it actually turned out to be one of the best ever with 12 visits. I only gave up on one (the BBC’s Bush House) and only really queued once, though I was seated watching videos so it was hardly a chore at all. Saturday started with Carpenter’s Hall, which added to my ‘collection’ of livery companies. The Arts Council (the one I booked) was a clever refurbishment which produced a funky and comfortable work space with great contemporary art in an old terraced building with stunning views of Westminster Abbey, Parliament and the London Eye from the terrace. Channel 4 was a riot of glass and steel, typical Rogers, and I couldn’t understand how I hadn’t walked past it in 15 years. The Ruebens ceiling at the Banqueting Hall was terrific and the place oozed history (I can’t understand why I’ve never been there before). The Foreign Office self-guided tour was really well organised and I loved the state rooms like the Locarno Suite and the Durbar Court. They were unloading Popemobiles outside. I then had to cross the anti-Pope demo in Piccadilly to get to The Royal Society of Chemistry and The Geological Society, neighbours in Burlington House, which had both benefitted from tasteful refurbishment.

On Sunday, the visit to The Royal Ballet Upper School was much more than a walk along the extraordinary ‘Bridge of Aspiration’ (which was terrific) with performance videos while you waited and dancers rehearsing on your tour route. Parliament’s Portcullis House is hideous on the outside but a lot better on the inside, with excellent contemporary art and an exhibition of photos taken during the last election. I loved the simple elegance of the Ismaili Centre; the towers and turrets of the neighbouring South Kensington museums peeping over the walls of the gorgeous roof garden. It was rather surreal walking through Brompton Cemetery while Chelsea fans were using it as a short-cut to the game and druggies were hanging out around the graves. Finally, I visited the art nouveau / art deco former Finsbury Town Hall with wrought iron entrance canopy and stunning Great Hall. This is a once-a-year opportunity which I can safely say I exploited fully this year!

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