La Voix Humaine from washmedia on Vimeo.
1. Combine exploring opera with your passion for the piano. If you're heading to the Institut Francais's big three-day keyboardfest, It's All About Piano - starting today and running through Sunday - catch the screening of Poulenc's one-woman opera La Voix Humaine, filmed with the one and only Felicity Lott - with piano accompaniment, in which version it's been recorded for the first time, delivered by the brilliant Graham Johnson. Sneak preview above. The screening is tonight at 8pm - and if you turn up at 6pm you can hear Nick van Bloss play the Goldberg Variations and a four-hands programme from Lidija and Sanja Bizjak at 7pm.
2. Pop over to CultureKicks for my latest post, which is called "How to get into opera in under six minutes". You'll find a quick guide to Rigoletto, a film of its astonishing quartet 'Bella figlia d'amore' and a short explanation of why it shows to perfection what opera can do that just cannot be done nearly so well in any other art form... (Lovely editor there then said "What about Wagner?" to which the response can only be: "Well, what about Wagner...?" Watch that space.)
3. Listen to Andris Nelsons conducting. I've just been in Birmingham doing some pre-concert talks for the CBSO's Beethoven Cycle, which he, their music director, is doing for the first time. Honest to goodness, guv, this guy is amazing. Not sure I've seen anything so purely energetic and with so much warmth since...well, who? Jansons? Solti? The atmosphere in Symphony Hall - which was sold out - really had to be experienced. Nelsons, who hails from Latvia, cut his musical teeth as an orchestral trumpeter and started off, as so many great maestri do, in the opera house, and he's married to the soprano Kristine Opolais, who's currently wowing ROH crowds in Tosca.
He conducted his first Ring Cycle at the age of 26 and is now a favourite at Bayreuth. Hear his Beethoven and you can tell why. The structures are clear, but the emotion is allowed to blaze: there's enough rhythmic strength to build a castle, but enough flexibility to let in the sunshine. The characters and personalities that shine out of each of Beethoven's symphonies are as distinct as those of any opera. Perhaps, in this conductor's hands, music is inherently operatic?
It was an absolute privilege to have introduced this extraordinary concert. Great turnout for the talks, too, especially for yesterday's matinee, where a door-count estimate suggested we had nearly 500. Thanks for your warm reception, dear friends, and I hope you all enjoyed hearing about the slow movement of Beethoven 7 through the narrative of Rosa Parks and the American civil rights movement.
Last but not least, it was a special treat to run into our old friend Norman Perryman, the musical "kinetic artist", whose beautiful paintings and portraits are part of the Symphony Hall visual brand. Here he is beside his magnificent picture suggested by Elgar, Gerontius, which hangs in the foyer at level 4. Glad to say he was in town to start work on a portrait of Nelsons.