Wednesday, October 22, 2014

AND THEY'RE HERE...





PLEASE WELCOME TO JDCMB OUR NEW ASSISTANTS... 

RICKI AND COSI

Ricki and Cosi are Somali cats. A bit like longhaired Abyssinians. I met some Somali cats about 16 years ago and thought they were the most wonderful animals in all the world. Have harboured a secret longing for a Somali of my own ever since.

They are pedigrees, and consequently highish maintenance. (They even have official Pedigree names: they are "Somantikks Siegfried and Isolde"...don't ask...) When Solti "crossed the rainbow bridge" a few months ago, life without him was so dismal that we knew we'd need someone very, very special in his place...and here they are. They are now three months and one week old. The biggest challenge is getting them to keep still for long enough to have their pictures taken.

Cosi is a "usual silver" girl. Ricki is a "chocolate silver" boy. (I had to have a chocolate cat, didn't I?). Top photo: settling in with the help of a stalwart favourite kitty-toy - scrunched-up foil. Bottom: at mummy-cat's home, me with Ricki.

Nobody guessed their names. They could have been Harnoncat and Dudamiaow, or Darius Mihau and Germaine Tailfur, or many other musical permutations. But the best thing we've done all year is go to Bayreuth, so go figure.

Ricki is a small cat with a loud miaow and a very big personality. Cosi is the larger of the two, shyer but very soft and adorable. Their favourite game so far is chasing each other and they are settling in very quickly. 

I'm not sure how I will ever be able to get any work done again. 

Tuesday, October 21, 2014

Today...

...we are fetching the new kittens. There just had to be a hurricane, didn't there. Please send us some good vibes and with any luck I'll be back later (most likely tomorrow) with the first pictures.

Meanwhile, huge sober thank-yous to my Go Sober for October donators in the past week:
Judith Mellor, my lovely neighbour
Barbara Maria Rathbone, dynamic head of Musica Universalis Collaborative Artists' Management
A kind anonymous donor.

Current amount raised for Macmillan Cancer Support by Team JDCMB: £272. Keep it coming, folks - just 10 days to go. You can donate here for this marvellous charity.

In other news, I very much regret to say that the planned Hungarian Dances concert at the Bishopsgate Institute on Thursday evening is now not happening, due to circumstances beyond our control.

And due to other circumstances beyond our control, the 23 November Alicia's Gift concert for the International Wimbledon Music Festival, originally planned for the Orange Tree Theatre, has been moved to the Rutherford Theatre of Wimbledon High School, Mansel Road, London SW19 4AB. There will now be just one performance, at 2.30pm. Please contact the festival box office for further details, and there are some special offers available. http://www.wimbledonmusicfestival.co.uk/boxoffice.html

Apparently Mercury is in retrograde and there's also an eclipse due on Thursday. I couldn't possibly comment.

Meanwhile, The Death of Klinghoffer got a standing ovation at the Met last night, & nobody more so than its composer. "Uncle Norman" has the full story from someone who was there.

Monday, October 20, 2014

A debate about Klinghoffer - the British way



This is the civilised debate that ENO held about The Death of Klinghoffer and the nature of art before Tom Morris's staging opened here two years ago. The run itself was generally well received and passed without incident.

Parterre has provided an audio streaming of the opera from its world premiere in 1991 and a link to the libretto, so it is perfectly possible to make yourself well informed about the reality of its content if you so wish. http://parterre.com/2014/10/20/hearing-klinghoffer/

Update, 9.40pm: here is my article on Klinghoffer from The Independent in 2012
http://www.independent.co.uk/arts-entertainment/classical/features/fear-and-loathing-in-london-the-death-of-klinghoffer-is-staged-in-the-capital-for-the-first-time-6671388.html?origin=internalSearch

Ten things we should change at gigs

[Warning: you need your Sarcasm radar in working order for this one.]

We've been hearing an awful lot from people desperate to change classical concerts into...well, rock gigs. Places where there are big screens, drinks on tap, you stand all the way through and so forth. Jonny Greenwood of Radiohead is prime, and even the conductor Baldur Brönnimann suggests that tweeting and texting should be OK (believe me, it is bloody distracting if someone next to you is busy tapping on a bright screen while you're trying to listen to The Art of Fugue).

So why don't we hear anything about what's wrong with pop, rock and crossover gigs? In my experience they are intimidating, confusing, cliquey, frustrating things. How could these be changed into pleasanter experiences, more accessible to the over-16s, a demographic that is seriously underrepresented at such events? We have to widen the scope of this audience to make it more inclusive, especially for the fastest-growing part of the population: older people.

1. Have more seating, raked, available for those of us who are vertically challenged and who therefore, in a mosh pit surrounded by tall people, can't see a damn thing. It's nice to get the weight off your toes from time to time, too and it's also nice not to have to worry, in a crowd, about being squished.

2. Hold performances in smaller venues, rather than a stadium or arena, so that we don't have to see the performers only on the big screen or at the size of a pin in the far distance. If you're only experiencing visual and aural amplification, you're not really experiencing the music, are you? It's always a distortion.

3. Why so loud? Why, why, why, why, why? I'd like nothing better than to go and hear some of the more interesting singers live, like Paul Simon, Leonard Cohen or Madonna. But I value my hearing and I just don't see why you have to risk damaging yourself.

4. Address the offputting atmospheres of the venues. Stadiums and arenas are soulless places. The O2, for instance, is like visiting a run-down 1960s swimming pool within an airport, even though it was only built for the millennium. Brighten them up. Give them a little bit of character. Still, the smaller and better ones can also be very intimidating to those of us who are not already intimately connected to this area of culture. All that cool steel, all those trendy young people - how are we supposed to know when to go in, when to applaud, what to wear?

5. Have better food available and don't let people bring it in. Preponderance of burgers, chips, burritos and pizza does little for the odours around you, let alone the slurping noises. And if you have to let people take drinks in, make sure they don't get actually drunk and try to encourage ways that they can be prevented from spilling the lager all over other audience members. Speaking of which, please improve ventilation of indoor venues. Crowds can really smell.

6. At outdoor venues like festivals, some shelter could be a nice idea, and mud should be kept at bay with boardwalks or paving.

7. Tickets for the big names are MUCH too expensive. It's elitist!

8. Don't even get me started on ladies' loos, which seem totally inaccessible with queues of 2km, or might be dominated by dodgy plumbing, and you'll probably find notices telling you not to even think about taking drugs in there - and therefore you suspect you might be observed by CCTV while you're on the bog. (My favourite events, loo-wise, are Wagner operas: the lines are always longer at the men's room.)

9. Let the performers be good. Singers need to be able to hold forth unaided by that pitch-autocorrect trick. Ideally, they should be able to sing without a microphone, should they wish to, and a range of expression in the voice is always a good thing, rather than simply yelling or, in the case of certain "crossover" easy-listening jobs, bleating out a croon, and if they're doing songs everyone knows, with a backing band, they should know when to come in. Needless to say, miming to a recording makes a mockery of the entire exercise.

10. Make sure the transport is working. I was once trying to get back from Richmond on the night of a Beyoncé concert at Twickenham. It was a Sunday. South West Trains was down. The District Line was down. The Overground wasn't working for some reason. It was chaos. Luckily I could walk home, but thousands couldn't, and you didn't want to see the bus queues, let alone wait in one.

In all, why not... just make pop events more like classical concerts? Then we can appreciate the music itself a bit more - rather than only the commercial claptrap around it. Anyway, mwahahaha, that is the music I like so I want everything, but everything, to function exactly the way it does, and I can't possibly accept the idea that anyone else might prefer something else...

Sunday, October 19, 2014

The Boy Who Cried Wolf

To cheer us all up, here is the Muppets' take on The Boy Who Cried Wolf. Warning: you'll need a sense of humour for what follows, so if you don't have one, please surf away now.