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Posts Tagged ‘Vienna Secession’

The sixty years from 1880 to 1940 were the golden age of design, when artists and architects got together to produce integrated work. Movements like Arts & Crafts, Art Nouveau, Art Deco and the Vienna Secession and individuals like Charles Rennie Mackintosh, Antonio Gaudi and Frank Lloyd Wright were all within this period. The Bauhaus was too, but it only survived fourteen years, in three locations, with three directors – pursued, persecuted and finally shut down by the Nazi’s. Given that, its influence is extraordinary.

Here are some photos: https://photos.app.goo.gl/4Zf9QD5n5P2W6oqD7

Our pilgrimage started where Bauhaus started, in Weimar, a city of just 65,000 people which has historically punched above its weight, with Goethe, Schiller, Nietzsche & Liszt amongst its residents, and where the first German democratic constitution, the Weimar Republic, was declared exactly 100 years ago. It’s a charming city, with an eclectic cocktail of buildings, and we started our tour by walking to the place where the movement began, now Bauhaus University, for an excellent guided tour of its two main buildings (by Bauhaus founder and first director Walter Gropius and Henry Van der Velde), by one of its architecture students. Weimar’s other highlight was the Nietzsche Archive – not for the contents, but because it was in a Van der Velde adapted building. Side trips from here took us to the ceramic museum in Burgel, the home of Bauhaus textile weaver Margaretha Reichardt, the cities of Erfurt and Jena and the highlight, Haus Auerbach, a suburban home by Gropius, where we were warmly welcomed by its current owner who has lovingly restored it.

En route to our second base, Chemnitz, two more highlights in Gera – Van der Velde’s beautifully restored Haus Schulenburg and the Museum for Angewandte Kunst, a terrific applied arts collection, most notable for its ceramics and textiles. Our first stop in Chemnitz was the expressionist art at Gunzenhauser Museum, though it turned out to be a 300-work retrospective of one artist, but it was Otto Dix, so the disappointment was somewhat allayed. By the time we got to the vast Chemnitz Public Baths by Fred Otto, we were exhausted, but it took our breathe away. You knew you were in the former East in Chemnitz, which was bigger (250,000 people) and retained a giant statue of the man after whom it was once named, Karl Marx. After saying Hi to Karl and viewing Erich Mendelsohn’s highly original former department store, we headed to the Bauhaus’ second home, Dessau.

Another small city (77,000 people), but more industrial than Weimar, it was the suburbs we headed for, where the Bauhaus impact was huge. From the moment I set eyes on the main building, with it’s iconic vertical name, I was captivated by this mature period in Bauhaus work. In addition to the two school buildings, we visited some ‘masters’ houses’ built for Gropius and his colleagues, his riverside Kornhaus restaurant and the suburban Torten Housing Estate where we could enter three different homes. This was a feast of a day where the the spirit of Bauhaus seemed to join us.

En route to Berlin airport for the flight home, we took in three final buildings – a Gropius Employment Exchange in Dessau with separate doors for each skill / craft (!), his Gaudiesque Einstein Tower on an astrophysics campus high up on a hill overlooking Potsdam and Villa Lemke, a lovely, simple Berlin suburban home by final Bauhaus director Mies van der Rohe, who went on to populate Chicago with much bigger but less pleasing buildings.

They achieved a lot in fourteen years; the Nazi’s put an end to the creativity, but the influence of Bauhaus continues to this day, with people like me immersing myself in their work. My art, design & architecture cup runneth over.

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Opera

A bumper month, with no less than five operas (well, six if you count a double-bill as 2!).

First up, another excellent double-bill at GSMD, this time an unusual pairing of Donizetti’s one-act operatic farce I Pazzi per Progetto, set in a psychiatric institute (!) and a rare and underrated but less manic Malcolm Arnold comic one-acter The Dancing Master. Production and performance standards were, as always, sky high with a stunning performance from Alison Langer and great contributions from Alison Rose, Szymon Wach and Lawrence Thackeray.

Korean composer Unsuk Chin’s opera of Alice in Wonderland was a real treat. Brilliantly staged by Netia jones behind and around the BBC SO on the Barbican Hall stage, with terrific projections, including Ralph Steadman’s caricatures, and excellent costumes, the adaptation darkened and deepened the work and the music was very imaginative and surprisingly accessible (for modern opera!). Rachele Gilmore was a magnificent Alice with outstanding support from Andrew Watts, Marie Arnet and Jane Henschel amongst others.

The Indian Queen is an unfinished semi-opera by Purcell set in pre-colonial and colonial Central America which director Peter Sellers has played with by adding music, dancing and dialogue to make it a rather overlong 3.5 hours. It has its moments (mostly musical) but he pushed it too far, particularly adding five ‘Mayan creation’ dances before it even starts. They’ve programmed eight performances at ENO and judging by the empty seats on the night we went, that’s 3 or 4 too many

Handel’s ‘opera’ Giove in Argo is actually a ‘mash-up’ of stuff from other operas, called a ‘pasticcio’. I didn’t enjoy the first act of the London Handel Festival production at the RCM’s Britten Theatre because the singing seemed tentative and the production dark and dull, but it picked up considerable in the following two acts. Overlong at 3h15m, but with some lovely music and some stunning singing by Galina Averina and Timothy Nelson and a spectacularly good chorus.

The Rise & Fall of the City of Mahagonny at Covent Garden may never have been, or will ever again be, sung and played as well, but somehow Brecht & Weill’s ‘opera’ doesn’t really belong there. The whole enterprise seems at odds with their ethos. It’s a satire that for me didn’t have enough bite in this production, though it’s fair to say that the rest of the audience seemed to be lapping it up. That said, the quality of the singers, chorus and orchestra under Mark Wigglesworth blew me away.

Classical Music

An evening of French music at the Barbican introduced me to two unheard pieces by Debussy and Faure and renewed my acquaintance with Durufle’s beautiful Requiem, which I haven’t heard in ages. Stand-in conductor Dave Hill did a grand job, with the LSO and LSC on fine form.

Contemporary Music

The Unthanks at the Roundhouse was short(ish) but sweet. I liked the line-up, which included string quartet and trumpet. The songs from the new album sounded great, if a bit samey (as they do on record), and a selection of old material responded well to new arrangements. In the end though, it’s the heavenly voices of the sisters which make them so unique. Gorgeous.

Art

Magnificent Obsessions at the Barbican Art Gallery was a fascinating exhibition built around the personal collections of 14 artists. You can see how their collectibles influenced their art, some of which is also showcased. My favourites included Martin Parr’s collection of old postcards and Andy Warhol’s kitsch cookie jars. Fascinating.

I tagged the Paris Pinacotheque Vienna Secession exhibition to a business trip and it was a superb review of the movement, though a bit cramped in their space. Lots of Klimt, but others I was less familiar with. A real treat.

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