Gosh, so this is how it's going to be.
A £100m refit for an arts centre is not something to sniff at in this day and age, and the plans for the Southbank Centre Festival Wing redevelopment - the part encompassing all the concrete - are visionary, at least on the outside. The grassy spaces are especially welcome, the glass-pavilion-in-the-sky space is a touch of gorgeous imagination, though hopefully will offer air-conditioning for hot greenhouse rehearsals, and I hope profoundly that we will no longer be able to hear the noise from the very right-on urban skateboard park inside the QEH during piano recitals.
Unless I'm very much mistaken, the word "acoustics" does not seem to appear anywhere in the press release as far as the interior of the existing concert halls is concerned. Look... I love the Southbank and this will be a much-needed, massive improvement to it. But what London really needs is a world-class concert hall. With state-of-the-art acoustics. It doesn't have one. And this isn't going to provide one.The idea remains...well, pie in the sky.
Here's a full run-down from Classical Music Magazine on what will be done, and how, and when.
Wednesday, March 06, 2013
Tuesday, November 27, 2012
"Join us to explore how war, race, sex and politics shaped
the most important music of the 20th century"!
You have to come to London for this. Perhaps such a festival could happen in New York, but in few other cities of the world; what a celebration of creativity, collaboration, artistic quality, storytelling and, hopefully, transformation we can expect. It strikes me - having spent much time this year in Switzerland and Austria - that perhaps one needs an element of financial unease to become truly creative (not too much, mind - just enough...). If the universe has provided excess security, there's no need to do anything half so exciting and you can end up as half asleep as the inhabitants of the hotel in which my jacket caught fire the other day.
If The Rest is Noise can turn around the fortunes of 20th-century music and let people listen to it with fresh ears, with new understanding thanks to the provision of vital context, and cleansed of prejudice, preconception and pernicious agendas, it will have made a major contribution to the transformation of modern-day culture and how it is perceived. As Jude Kelly explained, we need to put classical music at the heart of contemporary thinking about how we reflect our world and our place in it.
At the launch, Vladimir Jurowski spoke of breaking down the "cults" of the past and putting living, breathing music of our time onto the stage. That will be a tall order in Verdi and Wagner year (they can probably get away with it where Britten is concerned), but it's an admirable aim. You have to think big in this business, or you never get off the ground. You'd remain stultified by ancient anniversaries instead. Oh, wait...
Perhaps the most exciting thing of all, though, is that the London Philharmonic Orchestra is devoting its entire RFH concert schedule throughout 2013 to this festival. A little over a year ago, they saw fit to declare, er, that "AT THE LPO, MUSIC AND POLITICS DON'T MIX". I look forward to watching them spend a whole year proving themselves wrong.