Showing posts with label Proms. Show all posts
Showing posts with label Proms. Show all posts

Tuesday, August 07, 2007

Wanted: one brave director

So there she was: the radiant Renee Fleming, in a light green gown full of sparkles and trailing a shot-silk scarf, took the stage in the Albert Hall, voice floating through the stratospheres like a golden eagle (UPDATE: Intermezzo has a photo of her, in said dress). Her Berg Seven Early Songs (actually eight - an extra one had been orchestrated for her) were ideally expressive, dark-toned, that voice blending with the sympathetic BBC Phil as a strand of its fabric; and the first Korngold aria, from Die Kathrin, was sweet and touching.

But she was saving the best for last. With the first notes of the great aria 'Ich ging zu ihm' from Das Wunder der Heliane, something remarkable happened. Renee didn't only sing Heliane; she became her. The tragedy, the rapture, the transfiguration - it was all there. I think everyone in my group was moved to tears. The Telegraph today speaks of the aria's 'intense, jaw-dropping beauty'.

Most think Heliane can't be staged (bad libretto, pretentious, weird, etc etc) but I'm getting the feeling that this isn't so. Because the role could have been written for Renee. She has to sing the whole thing, in an opera house. Someone simply has to stage it for her. Isn't there a brave theatre out there that will take it on? And a very brave director? We're already looking forward to the UK concert premiere of the complete opera at the RFH on 21 November (Patricia Racette will sing Heliane there). Now, I think, there's hope.

Monday, July 16, 2007

Pillow fight at the Proms




Yesterday's Prom with the English Baroque Soloists & Monteverdi Choir mixing and matching with Buskaid's Soweto Strings Ensemble, and the Compagnie Roussat-Lubek from France with Dance for All from a township near Cape Town, was unlike anything I've seen at a Prom in the (various) decades I've been attending them - or, indeed, anywhere else.

From the most authentic of the schmauthentic in the baroque Franco-Latin pronunciation of Andre Campra's long-forgotten and very beautiful Requiem in the first half, to the reinventing of Rameau as a traditional African miners' gumboot dance at the end of the evening, this concert was a revelation, a marvel and an inspiration - and a statement about how the most apparently disparate of cultures can come together and be united through the shared joy of creating sound and movement...

That's where the pillow fights came into it. It would be so easy for an event like this to become portentous and preachy, but that was never going to happen: the Compagnie Roussat-Lubek, founded by two dancers who trained in mime, circus and acrobatics as well as ballet, offered such quirky imagination, from orange frock coats to pillow fights to a ballerina in a false nose tossing glitter over the tenor, that joyousness remained uppermost for its own sake. Then in came their secret weapon: a cherubic, curly-haired little boy, who we reckoned couldn't be more than 4 years old yet performed with the assurance of all the adult dancers on the stage with him. Imagine the noise in the RAH!

As for the Soweto Strings Ensemble, they sounded every bit as good as the English Baroque Soloists. Their director, Rosemary Nalden, is an EBS alumna and has trained her ensemble with perhaps an even greater unanimity of style; their physical engagement with the music and seriousness of purpose was second to none. Samson Diamond, the leader, currently studying at the Royal Northern College of Music (pictured above right), could just be a young artist to watch out for. And from time to time, a fiddler or two put down his or her instrument and stepped out to join Dance for All.

The energy left me awake most of the night, cherishing the image of some of the finest baroque players and singers in Britain sharing the stage with inspirational youngsters and marvellous dancers, in a musical world where everything, at last, is possible. John Eliot Gardiner picked up the little lad and hugged him as if he were standing to be president. An evening to remember, forever.

A symbol of the future? If so: oh, yes, please.

(Oh - no, JEG, we don't want you to be president, we want you to keep conducting things like this, hope that clarifies it, hugz, jdxxx).

Rameau is/was a complete genius. Never got him before. Get him now.

Read JEG's own account of the story behind the story here.

Hear the concert here.

Friday, July 13, 2007

This thing called The Proms, once again

It's Friday 13th and the Proms open tonight. I've managed to write a substantial piece about the forthcoming programme without grumbling about the Royal Albert Hall's acoustics, sightlines or temperature, and trying very hard to be enthusiastic since there is some great stuff to be heard. The Independent is running daily 'Promcasts', previewing every concert.

A few little updates since blogging has been taking a back seat for the past few weeks. Differences in Demolition sold out and went beautifully; the critics enjoyed it, but mostly missed the point, with the exception of Neil Fisher in The Times. Tristan is in rehearsal for Glyndebourne and Tom is coming home high as a kite after playing Wagner for 6 hours a day, not to mention practising. An interesting experience to undertake remedial, editorial-hawkeye work on book while the Liebestod is going hell for leather in the living room. Alicia's Gift is out and about in paperback and had some nice reviews in various magazines. The Messiaen play is complete and is being translated.

More here as soon as possible.

Friday, April 27, 2007

JDCMB Pick of the Proms

Rightyho, prospectus duly plundered. What follows is just a taste of the interesting (or just really attractive) dates that didn't make the national press yesterday.

15 July: Buskaid and the Soweto String Ensemble meet John Eliot Gardiner and the English Baroque Soloists. Intriguing.

18 July: Kurt Masur celebrates turning 80 by joining together his two orchestras, the Orchestre National de France and our own London Philharmonic.

21 July: A short but lovely French Prom featuring Steven Isserlis in Saint-Saens's Cello Concerto No.2, and also Faure's Cantique de Jean Racine. Thierry Fischer conducts.

23 July lunchtime: recital by seriously hot fiddler James Ehnes and pianist Eduard Laurel.

29 July: Les Musiciens du Louvre-Grenoble/Mark Minkowski with Anne Sofie von Otter; programme includes Berlioz Les nuits de'ete.

30 July: Yefim Bronfman plays Esa-Pekka Salonen's Piano Concerto, with composer conducting.

3 August: Semyon Bychkov conducts Rachmaninov Symphony No.2 with BBCSO.

6 August: Renee Fleming evening, with Korngold arias from Die Kathrin and Das Wunder der Heliane among the goodies.

12 August: Gotterdammerung conducted by Donald Runnicles, Christine Brewer as Brunnhilde.

25 August: Bernard Haitink and the Concertgebouw in Wagner and Debussy.

4 September: Barenboim and the Vienna Phil go Austro-Hungaromanian.

8 September: Last Night stars Anna Netrebko, Andrew Kennedy and Josh Bell. OMG, please tell me Netrebko isn't going to sing 'Rule, Britannia'?!

PS - huge thanks to Alex Ross for picking up on the Tasmin busking story and noticing what the crux of the matter really was...

Thursday, April 26, 2007

Prommms

I had a lot of s*)% to deal with yesterday and everything happened at the time I should have been heading for the Proms launch. By the time the sighs of relief had been breathed, 'Old Nick' would have finished his speech. So for the moment here's the report from today's Independent giving some of the highlights...which include an evening with the mind-boggling Nitin Sawhney, a Brass Day (billed as 'loud'), and a new composition by Rachel Portman about Hurricane Katrina (Portman is best known as an excellent film composer, and a refreshing change from the Anglo-German youngsters trying to be Berg a century too late).

There's also an evening with Michael Ball, of which Nick Kenyon apparently said "We are responding to what audiences want to hear". Cue yells about dumbing down. It's Nick's last season. Maybe he just doesn't care any more?

On the other hand, anyone who saw Michael Ball as Purcell in the Tony Palmer/John Osborne film England, My England, may stop and reflect that it's not such a bad idea. Maybe we ought to listen first and judge afterwards.

I'll pick out some suitably idiosyncratic JDCMB Proms (assuming there are some) once I've plundered the prospectus. Meanwhile, you can see the full listings of what's on.