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Posts Tagged ‘War Requiem’

Opera

ENO took Britten’s folk opera / operetta Paul Bunyan to Wilton’s Music Hall, where it somehow fitted like a glove. It’s an odd mythical concoction about the American Dream, but its real strength is its lyrical score, which showed off the young singers and chorus brilliantly. It seemed darker than the previous two occasions I’ve seen it, which seemed appropriate given recent events.

My 2018 Proms ended on a high the night before the Last Night with a lovely performance of Handel’s Theodora by Arcangelo and five excellent soloists. Despite being a chamber ensemble and small choir, they filled the RAH. The countdown to Proms 20-19 begins!

My only visit to WNO at the WMC in Cardiff this autumn was for Prokofiev’s epic War & Peace. It’s a flawed opera, with the first half a series of scenes lacking cohesion, and I thought their decision to translate it into English was a mistake as it came over as clunky, but the soloists were terrific and above all the second half showed off both the chorus and orchestra to thrilling effect.

Classical Music

For some reason, I was disappointed in the Berlioz Prom. It wasn’t the musicianship, which was extraordinary, but maybe it was a programme of lesser Berlioz. I just didn’t think it did The Orchestre Revolutionnaire et Romantique, John Elliott Gardiner, favourite Joyce DiDonato and viola player Antoine Tamestit justice. The rest of the audience and the critics appeared to disagree, so maybe it was just an off night for me.

A double-dip of two Proms in one evening proved very rewarding indeed, starting with a superb performance of Britten’s War Requiem from the Royal Scottish National Orchestra & Chorus, probably my favourite choral work, and continuing with 60 mins of 850 years of late night polyphony from the ever wonderful Tallis Scholars; it’s amazing how those 30 or so voices fill the Royal Albert Hall.

The Parry centenary concert at Wigmore Hall was a delightful way to spend an hour on a Sunday afternoon. Songs by him and his friends and contemporaries were beautifully sung by Louise Alder & Nicky Spence accompanied by William Vann and it was all very uplifting. Back in the same venue the following lunchtime, soprano Lucy Crowe and pianist Joseph Middleton gave another lovely recital of English song from Purcell to Ireland, Walton and Michael Head, an early 20th century composer new to me. The folk song encores proved to be the highlight.

Art

As if to compensate for the hugely disappointing exhibition at the Weiner Gallery, Magic Realism: Art in Weimar Germany 1919-33 at Tate Modern was a real treat, with artists new to me as well as those like Otto Dix I’ve seen vast amounts of this summer. Across the Bridge, Artist Rooms: Jenny Holzer was worth popping into, though much of it goes over my head.

A visit to Cornwall meant a second visit to Tate St. Ives, which had a hit-and-miss exhibition of Patrick Heron. I loved some of the colourful abstractions, but much of it left me cold.

Renzo Piano: The Art of Making Buildings at the Royal Academy covered his illustrious career from before the Pompidou Centre to The Shard by focusing on sixteen projects, built and unbuilt (yet). The trouble was it was all very static – each project a table on which there were notes, drawings and models with more drawings and photos on the walls around. The most interesting project was one I’m unlikely to ever see, in New Caledonia, in the Pacific Ocean! For architects and architectural students only, I’d say.

Film

BlacKkKlansman wasn’t an easy watch, but its humour and its chilling ending were enough to make it well worth seeing.

I enjoyed The Children Act, the second film of the summer featuring the consequences of Jehovah’s Witnesses fundamentalism, especially for Emma Thompson’s deeply touching performance.

Crazy Rich Asians was a great advert for the Singapore Tourist Authority, but I rather overdosed on rich Asians, crazy or otherwise. It had its funny moments, but there weren’t enough of them to warrant the reviews that sent me to see it.

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Opera

Verdi’s Les Vepres Siciliennes is rarely performed and after almost four hours standing at the back of the Royal Opera House’s stalls circle it was easy to see why. There’s not a lot of story for four hours and Verdi’s music is nowhere near his usual standard. The singing wasn’t particularly distinguished, but I liked the production (which most don’t seem to!).

The GSMD excelled itself again with an unlikely double-bill of Debussy’s earnest but beautiful L’enfant prodigue and Donizetti’s comic one-acter Francesca di Foix. The Donizetti, in particular, was a little gem and an absolute hoot, given an inspired staging in modern settings (a smart clothing shop and a tennis court) but with period clothes. Beautifully played and sung, Anna Gillingham in the title role and Joshua Owen Mills (Welsh!) as the Duke were terrific.

In the BBC SO‘s semi-staged Albert Herring at the Barbican, this comic opera proved to be a minor masterpiece. Britten’s friend Steuart Bedford led a wonderful small ensemble and a first class cast, led by Andrew Staples as Albert, without a weak link in it. You could hear every nuance of every instrument and every sung word. A real highlight of the centenary.

The Early Opera Company’s concert performance of Handel’s Acis & Galatea at Wigmore Hall was a delight. The 13-piece ensemble under Christain Curnyn played the score beautifully and there were fine performances from Robert Murray and Sophie Bevan in the title roles. Matthew Rose was a stand-in as the giant Polyphemus but his powerful baritone nearly blew the roof off. Minor Handel maybe, but gorgeous nonetheless.

Dance

I’m not very fond of full-length ballets that are excuses for showcasing ‘turns’ by dancers in various combinations rather than telling the story (think The Nutcracker) and I haven’t enjoyed previous productions of Don Quixote that much, but I rather liked Carlos Acosta’s for the Royal Ballet. With handsome designs by Tim Hatley and fresh choreography, it often sparkled. The leading lady was injured during Act One and Marinela Nunez (who originated the role with Acosta as partner) took over and this somehow added even more sparkle. Sadly, Acosta didn’t come on as sub in Act Two or Three!

Another dance contribution to the Britten centenary from the Richard Alston Dance Company at the Barbican, with four short pieces (including two world premieres), each set to a chamber piece, three of them vocal. In Phaedra, the soloist interacted with the dancers, which I loved (and which reminded me of Seven Deadly Sins at Covent Garden a few years back), but Illuminations was the most uplifting. Poor time management meant interval overuns so it took 130 minutes to stage 65 minutes of dance!

Choreographer Sidi Larbi Cherkaoui takes a really fresh look at tango with m!longa at Sadler’s Wells and it comes out as a sexy display of virtuosity, relationships silently played out by intricate movements. The five couples – four kosher tango ones and one contemporary dance duo – were all terrific, and the five-piece band were sensational.

The Stuttgart Ballet‘s Taming of the Shrew to a mash-up of Scarlatti at Sadler’s Wells was a bit of a punt that turned into a major treat. Though over 40 years old, apart from the sets, it felt fresh. I’m not sure I’ve seen a comic ballet before and I have to say, the form was perfect for Shakespeare’s comedy, the dancing was terrific and we laughed aloud a lot. There were beautiful romantic moments too and it all added up to a thoroughly enjoyable surprise.

It’s a while since I had a fix of favourite choreographer Mark Morris, so I went to both programmes at Sadler’s Wells on consecutive nights for a feast of seven works. With one exception, they were accompanied by live music – a small ensemble and three singers – which is key to Morris’ success. The best of the first programme was Socrates, set to music by Erik Satie for tenor and piano, which looked like Greek statues come to life. In the second programme, Festival Dance, to a wonderful piano trio by Hummel (who?!) led by stunning piano from Colin Fowler, was thrilling, and as close to Morris’ undoubted masterpiece Handel’s L’Allegro, Il Penseroso ed il Moderato as he’s got since. The one piece to recorded music was In A Wooden Tree. Only Morris would use the songs of Ivor Cutler and it was a delight; quirky even by Morris standards.

Classical Music

The rarely performed song cycle Our Hunting Fathers, sung by Ian Bostridge, was the centerpiece of The Britten Sinfonia‘s namesake’s centenary concert at the Barbican, but it wasn’t the highlight. It’s possibly the quirkiest song cycle I’ve ever heard, but the orchestration is brilliant. The real treats were the orchestral pieces played by a chamber orchestra that seems to me to be absolutely at the top of its game.

The Royal Albert Hall is the perfect venue for Britten’s War Requiem and Remembrance Sunday the perfect day to hear it in this centenary year. The BBC SO under Semyon Bychkov did it full justice, with the boys choir sounding beautiful up in the gallery and the male soloists, Roderick Williams & Allan Clayton, on fine form. The ‘amen’ was extraordinarily moving, hopeful and uplifting; I felt like my body was rising in my seat.

St Cecilia’s day (the patron saint of music). The 100th birthday of my favourite composer. My favourite music venue. The Sixteen‘s recital of Britten choral works – mostly unaccompanied – at Union Chapel was an absolute joy. The acoustic was perfect, the selection eclectic and the voices beyond wonderful. As you can gather, I liked it!

Film

The big film catch-up continued with One Chance, the story of Britain’s Got Talent winner Paul Potts. Apart from some puzzling accents (parents Welsh, Potts West Country) and a touch of resentment that Welsh characters weren’t played by Welsh actors, I rather enjoyed it. Undemanding, feel-good stuff – a touch too sentimental, but very heart-warming and funny.

The Selfish Giant is one of those gritty British films I thought we’d forgotten how to make; even the master, Ken Loach, seemed to have gone a bit soft. It’s not an easy ride watching hopelessness, but its a superb piece of film-making full of stunning performances from people you usually see on TV in things like Shameless, and the two leading boys are simply extraordinary.

I can’t begin to put into words how good a film Philomena is. I’m glad I hadn’t read the book as it surprised and confounded me. Judi Dench is sensational and Steve Coogan a revelation in a straight role. Perfect in every respect, but tissues necessary. The things that have been done in the name of god!

Gravity reminded me of Duncan Jones’ Moon, though it’s (virtually) two people in space rather than one. The 3D is (mostly) brilliant, for once very realistic, and the story is gripping, but I’m not sure it quite lives up to the hype – I’m glad I went, though. 

Art

My second visit to the George Watts Gallery near Guildford was to see the Frank Holl exhibition. It was a bit small and a bit sad and may not be worth the trip on its own, but with another chance to see Watts’ own pictures and combined with opera in Woking and lunch at the retro Withies Inn in Compton it proved worthwhile!

Daniel Silver’s DIG seems to be an archaeological site in a building site where statues have been uncovered and laid out in various states of restoration for you to view (but most oddly pristine white). I’m not sure what point he’s making, but it was quirkily intriguing.

Masterpieces from China at the V&A had some stunning paintings covering 1200 years. The Tang Dynasty seemed underrepresented and it was a struggle to absorb it all with the necessarily low lighting and difficulty getting up close, so I might well have to go again.

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March was a ‘lull before the storm’ work-wise, so it was action packed otherwise! In addition to 12 theatre outings…….

MUSIC

Performing your classic album live in its entirety has become fashionable with old rockers, so it was no surprise when John Cale decided to do it with Paris 1919, accompanied by an orchestra. It didn’t really take off until the third song, not every song worked well and given that it’s little over 30 minutes that doesn’t make for an entirely satisfying experience on its own. Fortunately, he followed this with four cracking numbers with his terrific three-piece band and another two with the orchestra – and a brilliant encore (which we had to earn!), so the evening (though still not much more than 80 minutes) was redeemed.

There’s a straight line from The Kinks through Squeeze, Madness and Blur to Lily Allen representing a modern soundtrack of London. ‘Songs in the Key of London’ was another one of those compilation shows which sort-of tried to do this (and included songs from all but the latter), put together by Squeeze’ Chris Difford. Unfortunately, it didn’t succeed as well as other shows of its kind, largely because it was under-rehearsed and the sound was inexcusably bad. Other former Squeezers Jools Holland & Glen Tilbrook and Chas and Suggs from Madness took part, together with an eclectic selection of the less well known. It had its moments and the surprise appearance of Elvis Costello at the end to sing Hoover Factory and My Brilliant Parade was a treat, if only to see him on home soil again.

Cara Dillon’s St. Patrick’s Day concert in Canary Wharf was lovely, if a little short and in a somewhat incongruous venue. A guest appearance from Seth Lakeman was a real bonus and whetted my appetite for a long awaited opportunity to see a full set from him (now booked for the Open Air Theatre in September!).

Whilst most young musicians seem to spend their lives repeating the formula that made them successful, a 60-year old called Peter Gabriel who has spent his life reinventing and innovating is still at it! His concert at the O2 showcased the new album of ‘covers’ (re-interpretations, I’d say) with a full orchestra and no band; it worked surprisingly well live in such a big space. The second half was an unpredictable selection of old songs re-arranged for orchestra including great versions of San Jacinto and Solisbury Hill. Old men showing the way; who’d have thought it!

I hadn’t clocked that it was Mothers Day when I booked an afternoon concert of Rogers & Hammerstein songs at the Barbican with two of my favourite musical performers – Maria Friedman and Daniel Evans – so it was a bit cheesy & populist for my taste. Though it was great to hear these songs played by a full orchestra and the singing was good, the song choice was a bit predictable and safe and the amplification (for the second time this week at the Barbican!) was poor.

Showstopper! is an improvised musical put together on the spot, partly from audience suggestion. In fact, it’s the same formula as Impropera (which I saw in December), the Scat Pack’s improv movies and others. They are as good as the inspiration at the time and this wasn’t a classic, but it was worth the trip. We ended up with Blood on the Heather – the story of the Glencoe massacre where the McDonalds and the Campbells fought each other – with songs in the style of Cabaret, Annie, Rent, Abba and Sondheim!

More classically, I went to another mezzo soprano recital of English song at Wigmore Hall, this time Sarah Connelly with a lunchtime programme of Purcell, Howells, Gurney, Warlock, Bridge, Britten and songs by her accompanist Eugene Asti. It was a lovely selection and she sang beautifully.

Purcell’s Dioclesian is a rarely performed ‘semi-opera’ about the Roman emperor of the same name (who I got rather interested when I went to Split in Croatia where the city centre is built within the ruins of his retirement home!). The Royal College of Music paired with an ‘early dance’ group turned it into a delightful evening. It’s not up there with his classics like The Fairy Queen, but it was good to catch it. The amount of musical talent on show in their Baroque Orchestra and Chamber Choir (most of whom also took the solos) was breathtaking. 

Britten’s War Requiem is one of my favourite choral pieces and it got a wonderful outing at the Barbican on the 50th anniversary of the London Concert Choir. The soloists – Janice Watson, Adrian Thompson and Roderick Williams – were fantastic and the Southbank Sinfonia made a terrific sound. It’s the greatest anti-war music ever written and still relevant and moving.

OPERA

Its 17 years since I was last in Wandsworth Prison (!), for Pimlico Opera’s Guys & Dolls. This month I returned for the same company’s Carmen. It worked well almost halved to under 90 minutes (it makes you wonder how many operas would benefit from similar editing!) losing none of the story and none of the best music. The cast of 11 professionals (including four excellent principals) and 13 prisoners gave it their all and though it’s a sad story, it was an uplifting experience. When you look at the faces of the performing prisoners at the curtain call, they tell you everything about the importance of this experience for them; if it changes only one of them forever, it will have been worthwhile…..and as you start the long walk out, the funny comments shouted from the cells remind you how many other lost souls weren’t performing. On this occasion, I was struck by the fact that half of the prisoner cast were recent immigrants to the UK and I’m still puzzled as to why…

The Guildhall School have been on a roll of late, so perhaps it was inevitable that there’d be a blip, and Cherubin doesn’t really live up to recent form. Massenet’s opera picks up where Mozart left off in The Marriage of Figaro and follows the exploits of Cherubin as he enlists. It’s a much neglected piece – it took 89 years to get a UK premiere in 1994, and that was its last outing here! The chorus is very good, but there were fewer outstanding leads (except the gorgeous soprano Elena Sancho-Pereg again!) and the set was rather ugly.

The London Handel Festival puts on a fully stage opera every year (and there are c.45 to choose from!) and this year was the best I’ve seen, in fact one of the best Handel operas I’ve ever seen.  Il Pastor Fido is a ‘pastoral’ (you know…..gods and shepherds, everyone loving someone who doesn’t love them, but it all ends happily!) with a dance-opera prologue and dances to end each act. What made this stand out was the most faultless and beautiful playing and singing, aided by the Britten Theatre’s terrific acoustic. I’m not sure I’ve ever seen eight pitch perfect and perfectly matched performances; it was 190 minutes of gloriously uplifting music and it flew by.

Hungarian composer Peter Eotvos has created an opera from Tony Kushner’s extraordinary epic play Angels in America and very good it is too. It was given a semi-staged performance at the Barbican with the BBCSO and an excellent, mostly American, cast. He’s managed to distil it from over 6 hours to just over two without losing the essence of the play. I really hope it gets a staging here soon, as it has in France, Germany, The Netherlands and the US.

Katya Kabanova at ENO was a musical treat with superb singing and playing. The minimalist set (you know chipboard, no colour, jagged angles and shadows) somehow heightened the drama, but I’m afraid I didn’t engage with it emotionally. Still, it sounded gorgeous.

DANCE

Sutra is an extraordinary multi-cultural collaboration between choreographer Sidi Larbe Cherkaoui, sculptor Anthony Gormley, musician Szymon Brozoska and the Shaolin Monks from China! Its contemporary dance meets martial arts, though less athletic than I was expecting. The use of 21 coffin-like boxes is brilliant and I liked the score, played live by a 5-piece ensemble including the composer. In the end though, I’m not sure it’s the classic the critics have hailed it, though I was glad to have caught it. We smiled at the incongruity of a large group of the monks getting on the bus back to the tube after the show!

FILM

I can’t put my finger on why I’m indifferent about Tim Burton’s Alice in Wonderland. The 3D as quite good, but nothing like Avatar at the IMAX, and there are some lovely characterisations in both acting (Helena Bonham-Carter in particular) and voice (Alan Rickman stands out). It just wasn’t magical and other-worldly enough!

I loved Crazy Heart, a film about a burned out alcoholic Country star for which Jeff Bridges won a well-deserved Oscar. For an American film on a subject like this, it was surprisingly unsentimental and all the better for it. T Bone Burnett’s music was excellent.

I’m not keen on war films – relentlessly depressing – but I felt I should catch The Hurt Locker given all those awards, and was very glad I did. It’s an extremely well-made film which manages to drive home the point that these wars are pointless and impossible to win than any news or documentary I’ve seen. Still relentlessly depressing though!

ART

Though I’m glad I went to see it, the Paul Nash retrospective at Dulwich Gallery doesn’t really satisfy. There are eight great pictures amongst a selection of work which seems to me to show a restless man who kept changing, not in an inventive way, but in an ongoing search for his own style.

You think you’ve never heard of Paul Sandby until you set eyes on the iconic 18th Century watercolours, sketches and maps at his exhibition in the Royal Academy and realise you’ve seen many as prints. It’s a very comprehensive collection and you get a real feel for how a man like this made his living more than 200 years ago. I was particularly taken with a picture of Cardiff with the original west gate and wall; I never knew Cardiff had a wall and it’s 10 miles from where I spent the first 18 years of my life!

Irving Penn’s Portraits is one of two fine exhibitions at the National Portrait Gallery. The originality of his B&W images rests on a complete lack of distracting décor and the fact that he often places his subjects into restricted spaces or limits the portrait to less than the whole of his subject. I liked them a lot more than I thought I’d like Vogue photos! In contrast, the second exhibition of Indian Portraits spans 300 years from the mid-16th century to the mid-18th century and it’s rich with colour and detail and includes fascinating scenes of life.

There’s a really quirky installation at the Barbican’s Curve gallery from eccentric Frenchman Celeste Boursier-Mougenot . After walking through a dark space on decking with projections of guitarists playing but a soundtrack of birdsong, you get to a bright space with islands of sand containing guitars and cymbals being ‘played’ by zebra finches landing on them as they fly around the space. Just when you thought you’d seen it all…..

Until now, the work I’ve seen by Chris Ofili has left with a ‘so what’ feeling. I felt the same at the beginning of his retrospective at Tate Britain – his obsession with elephant dung, afro hairstyles and black women all seem rather childish, though I did like the colours and the titles ( including ‘7 bitches tossing their pussies before the divine dung’, ‘7 brides for 7 bros’ and ‘Albinos and bros with fros’!) made me smile. An extraordinary amount of money has been spent on a housing for his 13-painting series The Upper Room which I’m not sure it deserves. There’s a fun room of rather different series pictures, some a clear homage to Japanese woodcuts, a less successful room of obscure dark blue paintings and a final room of very different new work. In the end, it rather grew on me and walking back through it a couple of times, I stopped thinking and just enjoyed the colourfulness and playfulness of it all.

Tate Modern’s poster for its Arshile Gorky exhibition totally misrepresents it and drags people in under false pretences; if I’d paid, I’d be demanding my money back! The lovely poster picture is one of a handful in one room out of eleven rooms; the rest is shit (and if you change the ‘i’ to ‘o’ in his first name that would seem appropriate!). Their other current exhibition is a bit more interesting (only a bit mind), covering the impact in the 1920’s of magazine / movement De Stijl led by Theo van Doesburg. Painting wise it’s a lot of Mondrianesque red, black, white, blue and yellow boxes; I found the impact on design and graphics more interesting.

Visiting the Ron Arad exhibition at the Barbican was less of a must and more of filler; I was in the building with time to kill! Maybe that’s why I was so bowled over by it. I knew him as a man who designed interesting chairs, which he does, but he’s so much more – a designer-artist-sculptor-architect. The architecture was astonishing and completely new to me, and there were other objects like bookcases, vases and lamps. I loved Lolita the chandelier – you could text a message to her and it appeared as a scroll on Lolita! The exhibition design was terrific (he designed it himself) adding much to the pleasure of the experience.

Finally (anyone still there?) the Horace Walpole / Strawberry Hill exhibition at the V&A was interesting, though rather dull in presentation. A fascinating man with a great eye for art, design and style who ‘collected’ much more than the gothic he is best known for.

Phew; time to go on holiday for a rest……

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