Showing posts with label Dame Sarah Connolly. Show all posts
Showing posts with label Dame Sarah Connolly. Show all posts

Friday, December 21, 2018

WELCOME TO THE JDCMB CHOCOLATE SILVER AWARDS 2018



Deck the halls with chocolate silver, 
Falalalalaaaah, meow me-ow...

If you've been reading JDCMB for a while, you'll know that TODAY'S THE DAY. It's the Winter Solstice, which means it's time for our very own virtual awards ceremony, in which we take a lighthearted look back at the year's peaks and plunges, while Ricki (chocolate silver) and Cosi (silver) present our winners with a special prize purr and let them stroke their luxuriant fur.

Please come in. Welcome to the CyperPoshPlace! 

No need to stand on ceremony here. All are welcome. No tickets are checked, no charges made for the cloakroom, and the CyberBubbly, being virtual, is limitless free to all and won't make you drunk. Just the right degree of pleasantly tipsy, if you so wish.

It's been a...well, I can't remember a year quite like this one. It's tense. Everyone is anxious and exhausted and we still don't know what the heck is going to happen to us all, let alone the music business, in three months' time. We, dear world, are the proud owners of a government that currently seems determined to throw us all over a cliff, below which there are food shortages, medicine shortages, island gridlock, troops on the streets, mass unemployment and a violent economic crash, just to prove that 'Brexit' can be done - when actually it can't. It's like trying to take the vodka out of the martini after it's been shaken and stirred. Good countries do occasionally go mad and learn horrific lessons in the worst possible way. We can't be certain that that's not happening to us now.

Message in a bottle: Britain calling. HELP! Please send chocolate. 

[PING. yesterday I went to Brussels on Eurostar. Stopped here en route home.]




Right. Now that that's out of the way, let's PARTAAY like it's 2006!

Have a drink, enjoy our cybercanapes, meet and greet the great and famous of many countries and all centuries who have come to celebrate with us. Here's Ludwig, with Josephine on his arm - at last. Here's Anna Magdalena, pulling a grumbling Johann Sebastian away from his work. Over there Robert Schumann is giving Steven Isserlis a hug, and Fryderyk Chopin, holding a flat parcel about the size of a mazurka manuscript, is asking if anyone's seen Alan Walker arriving, please, because he has a gift for him. I personally am going up to embrace Gabriel Fauré before we do anything else... merci, mon cher Monsieur Gabriel, et grand bisous! The rainbow glitter balls are spinning, gold bit-lets are dropping from the ceiling and Ricki and Cosi are ensconced upon their silken cushions, ready to present the prizes.

Quiet, please! Thank you... First, let's have a huge round of applause for each and every musician who has touched the hearts of his/her audience this year. You're wonderful. You help make life worth living. We love you. Thank you, thank you, thank you for all your inspirational artistry.

👏👏👏👏👏👏💜💜💜🎶🎶🎶🎵🎹🎻🎉🎉🎉🎉🎉


The first prize, though, goes to Ricki himself.



BEST CAT: RICKI

Because of everything that happened this year, the very best was that Ricki survived. In April he came down with a terrible infection: pyothorax, which turned into sepsis. We had to rush him to an animal hospital near Luton Airport and nobody really thought he was going to live. He was in there for a week and a half and we had twice-daily reports - some hopeful, others less so, several times asking if we wanted to grant permission for him to be put down if in the night he took a terrible turn for the worse. It was agony. Ricki is the sweetest-natured cat in the whole world, he's my personal most-special-cat-ever, and he wasn't even four years old. Against all the odds, by some miracle, he pulled through. He's now bouncing happily around doing megapurrs and chasing his own tail when he's not chasing his sister or mellowing out on the armchair in my study while I work.

NB: One person wasn't too happy about this: Cosi, whose nose promised to be thoroughly out of joint. She was furious when he came home and she no longer had Sole Cat status. This prize has involved some serious trade-offs including copious quantities of fish.


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ICON OF THE YEAR

It's got to be Leonard Bernstein. The year's been bookended by super-Bernstein: Wonderful Town and 'The Age of Anxiety' with Simon Rattle and the LSO back in January was the most fun I've ever had without joining in a conga. Wonderful Town went wonderfully to town. Bravi. And the other weekend I adored hearing Candide live again - one of my big favourites, for all its flaws. 

And what an injection of energy this centenary has been: bursting out all over with glorious tunes, snarky, sparkly lyrics, dazzling drama and the musical world's most enormous heart. Here's Lenny himself, with the incomparable Christa Ludwig and castanets, a long way from Rovko-Gubernya - the superbly cutting celebration of internationalism, from Candide.




SINGER OF THE YEAR


Sarah Connolly at the centre of the Brexit protest
Photo: EFE (from Las Provincias.es)

Step forward, please, Dame Sarah Connolly! You have been a searing firebrand of inspiration to us all, throwing your weight into anti-Brexit campaigning, and offering a Fricka in the Covent Garden Ring cycle whose power and magnetism makes the whole story turn upon her intervention. Thank you for your glorious singing.

Here's a mesmerising aria from Handel's Ariodante.



ARTISTIC DIRECTOR OF THE YEAR



Hello and welcome, dear Kathryn Stott! What a privilege it was to be part of your Australian Festival of Chamber Music in Townsville this summer. (OK, it was winter there, but it sure didn't feel like it.) Being up close in an intensely programmed week of musical festivities that run for round about 12 hours every day, one gets to see how things work, and I soon realised there's nothing you can't do. You put together a programme of glorious variety and dazzling diversity, played a phenomenal range of chamber music under extraordinary pressure, kept cheerful and social and even went paddling at the tropical island concert [above]. Saying Brava Bravissima is not enough. I note that Ricki and Cosi are both letting you do their tummy fur, which is very special and not often permitted.

Come on, play us some Fauré. You know you want to. I have him here in person, ready to cheer you on.



INSTRUMENTALIST OF THE YEAR


Boris Giltburg
Photo: Sasha Gusov

This award goes to Boris Giltburg, partly because I'm furious to have missed two of his recitals this year for different reasons. There's a glut of glorious piano playing out there are the moment, but only a handful of musicians to whose recordings I find I have to listen flat out on the floor with the volume right up and sod what the neighbours think. (Actually, that's not fair, because we have wonderful neighbours.)

After I commented on this, thinking that it was more characteristic behaviour for heavy metal fans, Boris sent me a tweet saying he's a bit of a metal-head himself and recommending some tracks for me to try. I tried Metallica. I loved it. (Yes, there's a genre specially for people who seek all-out-intense virtuoso musical experiences and have long curly hair.) Step up to the podium, please, Boris!



YOUTHFUL ARTIST OF THE YEAR


Fatma Said
Photo: from BBC website
Just listen to this Brahms song from the incredible young Egyptian soprano Fatma Said, currently one of the BBC New Generation Artists. What more could I say?! Welcome a thousand times, Fatma!




ARTIST OF THE YEAR


Roxanna Panufnik

Step up, my wonderful composer colleague and collaborator-in-chief, Roxanna Panufnik, who has been flying high this year, which contained her half-century celebrations. What a joy it was to see her bring the houses down at the Proms and Symphony Hall, with music that is growing, deepening, daring more and more. (You can hear our next joint effort in Baltimore in March, by the way, under the batons of Marin Alsop and Valentina Peleggi...)

Here's Roxanna's 'Unending Love', from her latest album Celestial Bird, sung by Ex Cathedra




AND ONE STUFFED TURKEY

An orchestral director who was in favour of Brexit, despite running an orchestra that depends on carnet-free, visa-free touring and includes members from some 22 nationalities, most of them European. He may have changed his mind for all I know, but it's a bit bloody late now. For shame. 


PROUDEST MOMENTS

Sharing a stage with Roderick Williams, Siobhan Stagg and the Goldner String Quartet among other wonderful musicians in Australia, for Being Mrs Bach, is something I'll remember all my life with great joy and slight disbelief that it really happened. But it did, and it was great.

Going to Paris to see the manuscript of the Fauré Requiem was also unforgettable - what a joy to explore its marvels together with Bob Chilcott and the BBC Radio 4 team! I came over quite tearful. The result was on 'Tales from the Stave'.

I've been working on more librettos since Silver Birch and am delighted with the new youth opera that Paul Fincham and I are writing. It is scheduled for Garsington on 2 August 2019 and it's an adaptation and updating of Wilde's The Happy Prince – to The Happy Princess. Paul has been working in the City for a few decades, but after winning an award for his first film score, he's ditched the day job to get back to his first vocation. In his Cambridge days he was music director of the Footlights, working with the likes of Emma Thompson and Hugh Laurie, and I can promise a few very persistent ear-worms are finding their way into the new piece.

More pieces with Roxanna are also in the pipeline, and so is one with another well-established composer whom I greatly admire, but we can't announce it just yet.

I can say, though, that writing librettos is my favourite thing in the whole world and if I'd realised this 20 years ago I'd just have done that to the exclusion of as much as possible else. It's a task that is creative and collaborative - there's nothing lonely about it. It blends words and music to the ultimate degree. And it culminates in a live musical experience so you see people actually responding and you feel the vibration in the theatre. I love love love love love it.

Last but by no means least, Odette made target in June and the next few months were devoted to getting it ready for publication. It's out now, and flying. The blog tour this past week has produced some reviews that collectively show that the book does what I wanted it to do, and after 26 years, it's wonderful to see people enjoying it.


WEIRDEST MOMENTS

There are always a few, and 2018 was no exception. 

There was the time my husband challenged Norman Lebrecht to a duel after the celebrated Slipped Disc blogger took issue with some of the decisions made during the Radio 4 Women's Hour Power List. Glad to say the cats prevented piss-takes at dawn.

There was the other night. For some reason we thought it would be clever to go to Iceland in the dead of winter to see the Northern Lights. We reckoned without the fact that other sightseeing has to be done in the few scant existing daylight hours, and that late-night excursions looking for the Aurora involve standing around for hours in sub-zero temperatures, and we both got sick. We did see the Northern Lights, though - sort of. A kind of grey misty effect on the horizon, with some sparky, starry things jumping about within it. Here's my photo of it.



Otherwise...the whole year's been a bit weird, and I fear the next will be more so. 

Good luck, everyone, and solidarity. Let's pull together and try to stop this disaster while we still can. And don't forget the chocolate.







Wednesday, November 14, 2018

Why we stand to lose our leading place on the world stage

Today, as Theresa May unveils her Brexit deal at cabinet and rumours of a likely no-confidence vote are running rife, Dame Sarah Connolly, the great British mezzo-soprano - the Fricka to end all Frickas in the Royal Opera's Ring cycle this autumn - has sent me her powerful thoughts about Brexit, the UK's pitiful government and the implications for the music business and, in particular, music education in this country. She puts forward persuasive and, to me, indubitable reasons for a new People's Vote to save us from Brexit. I personally consider Brexit the single biggest act of mendacious folly perpetrated by a state against its own people in a European nation since the building of the Berlin Wall, so I am absolutely delighted to run this important piece.

It's strong stuff. Get yourself a stiff brandy and read every wise, furious word.
JD



Why we stand to lose our leading place on the world stage

Guest post by Dame Sarah Connolly


Dame Sarah Connolly
Photo © Christopher Pledger

“Fuck Business” he said. Presumably Boris Johnson meant all business, including the one I’m in? The one that brings in £4.4 billion in music revenues. The one that is being devalued by the government’s education department by dismissing all arts subjects from EBACC. The one where Russell Group universities claim Arts A levels are not facilitating subjects for general application to university. The one that earns the UK many of the greatest acting, singing, dancing, artistic accolades in the world.  

We desperately need a People’s Vote with remaining in the EU an option on the ballot paper and No Deal not an option, as we stand to lose our leading place on the world stage. The next generation here in the UK is in real danger of being excluded from working, living and studying abroad. While many of us train in the UK at our world class conservatoires, many thousands of American and foreign students are no longer coming to study here which will have a severe impact on the institutions. https://www.bbc.co.uk/news/education-45398634 

It doesn’t take a genius therefore to see that with our dwindling arts education and lack of uptake of foreign students, the work opportunities for musicians within the UK will be much lower than it is already. So we need work in Europe and have done happily for decades, until now. 

The business of freelancing is complex and is indeed being shafted by those with little interest in, or knowledge of how this process in Europe actually happens. Our world class orchestras also look to European touring for income stream and profile raising, with the added benefit that they are brilliant ambassadors for Britain. Visa restrictions and complex paperwork will endanger this business stream. The idea of a monetised artists’ visa based on income is hugely discriminatory. We are regressing instead of progressing as I believe working visas put up physical, financial and psychological barriers which would skew the great European collaboration in the arts where our contribution is very significant. 


GF Handel: as international as it gets.
Born in Germany, settled in England,
composer of Italian operas and French overtures.
Picture by Benedikt Kobel
We singers are a slightly different breed as our instruments are inside us (!) but we depend upon consistently good vocal, physical and mental health. We spend a lot of time standing on chilly train station platforms at all hours and in air-conditioned airports so we often fall prey to colds and coughs. Eleventh hour stand-ins are very common in many industries including classical music, especially within Europe. The vast majority of musicians are freelancers, used to packing their instruments and heading off, sometimes at very short notice to all corners of the world. 

A few years ago, I stood in at a moment’s notice for Mahler’s Second Symphony in Leipzig for the opening of the famous Gewandhaus orchestra’s Mahler festival. My agent phoned me to say that the great maestro Riccardo Chailly had asked for me to come immediately to Leipzig and replace the ailing singer. It was a really big honour which had me checking flights within a minute, but if paperwork and visa issues had been a problem then like many American singers, I wouldn’t even have been considered, because visas cover specific jobs that need prior notification. At least they do when we work in America. In hindsight, to have missed out on this opportunity would have been a great loss to my career. I have returned many times and it has helped build my reputation in Germany and everywhere else in Europe since this concert was globally live-streamed and recorded for DVD. 

Boris’s irresponsible callous insult made me very afraid as well as mortified. The business of the arts is already under siege here in the UK with arts education being axed and local authorities unable to ring fence money for Music Hubs. In Europe, my musical colleagues cannot understand the monumental self-harm we are inflicting upon ourselves. British homegrown art and artists are hugely appreciated in Europe, and I notice that knowledge and arts education in general is in a healthier state in Europe by comparison.  

You, dear reader may not care for music or any form of the arts in particular and may struggle to find empathy for us given that one in five people live in poverty in the UK, according to the Joseph Rowntree Foundation. Indeed the Musician’s Union says only 13% of full-time musicians can expect to earn more than £16k, yet this government expects artists to earn possibly double that before earning the right to acquire an EU visa. 

The vile experience of queueing at 8am on the pavement in all weathers outside the American Embassy for a work permit every time I get a contract in the US (every application costs me and the arts organisation hiring me hundreds of pounds) is not something anyone would choose to do, in order to work in Europe. I also have to hand over my passport for at least two weeks while it is processed. Can you imagine the logistical nightmare of this happening to a busy orchestra, a theatre or dance troupe, a choir, a film crew, etc? I remember the time before we had rights to work in Europe when often the complications resulted in lost opportunities. What about the EHIC? If you haven’t used one, or don’t even know about it like David Davis, https://jonworth.eu/brexit-european-health-insurance-card-ehic-known-unknowns/ and are pro Brexit, why are you slicing away vital privileges? 

So the whole of the pipeline of all our business in Europe is challenged existentially by Brexit, but the people making decisions/deals will not see the consequences immediately. It will take a generation to fix it if they do not ameliorate the situation by placing appropriate priority on Arts Education in early and middle years...seeing and believing in the holistic impacts and benefits it has on our future generations and business prospects. And by the way, not just practising artists, but also the talent coming up for Arts Administration will be compromised. 


Dame Sarah Connolly as Fricka in Die Walküre
© Royal Opera House, photo by Clive Barda
What about related businesses that will suffer? 
-- Computer Gaming (all the music for that and creativity which is huge at present in the UK)
-- Advertising (jingles and creatives)
-- Marketing
-- Film Music (Huge...we will be outpriced)

As I mentioned earlier, our future British talent is massively at risk by this government’s short-sighted lack of investment in arts education and creating barriers. I’m worried that arts organisations in Europe will not bother hiring young inexperienced singers due to the extra paperwork and cost and vice versa. 


My years as a fledgling singer with Philippe Herreweghe, arguably the greatest conductor of Bach’s music, in Belgium and Holland and with William Christie, the much celebrated Baroque Opera harpsichordist and conductor, in Paris has underpinned all that I now bring to Baroque opera performance. Would their managers have taken a chance with an unknown Brit like me if such obstacles stood in their way? Most orchestras are barely making a profit, so can we all afford to pay for visas each time we have contracts abroad? But what about musicians and artists joining UK based international arts festivals like WOMAD or in Edinburgh or Glyndebourne? Those who bring to our shores “unique ways of looking at things” (Daniel Barenboim, music director of the Berlin State Opera and Berlin Staatskapelle).

Our integration with European language and culture is integral to who we are as musicians and singers, and as British Europeans. The same can be said for anyone whose work is closely allied to European countries. The speech given at the 2017 BBC Proms by  Daniel Barenboim was visionary and extremely important. Here are several quotes. “There is not enough education about whom we are, what is a human being, and how is he to relate to others of the same kind. The musical profession is the only one that is not national. No German musician will tell you he will only play Brahms, Schumann and Beethoven. This isolation and nationalism in its narrowest sense is something very dangerous. Europe is a place for diverse culture, for different cultures, different ways of looking at things and can only be done with education.” https://www.youtube.com/watch?v=PmBDKk6YlF0&t=3s   



Shared culture through education: Daniel Barenboim
Photo: Paul Schirnhofer / DG
To counter some of the hideous xenophobia currently being given free rein of expression, my own experience of cultural diversity from visiting musicians is this: they enrich our lives, expand our musical horizons, appeal to the heart and inspire the soul to seek more of the same, and by doing so, we accept and know each other more willingly, almost by stealth. This is what Daniel Barenboim is getting at: understanding through education and enriching shared culture. 

Jacob Rees Mogg was rightly lambasted by Sir Nicholas Hytner for misunderstanding how the German composer Georg Friedrich Händel was permitted to work in England claiming he didn’t need a passport to come here, (they didn’t exist) but he omitted to mention that an Act of Parliament was passed in 1727 allowing Händel to earn a salary as a composer for George I. Was this ignorance or malicious omission? Either is depressing but both are practiced by Brexiter politicians with alarming regularity. https://www.theguardian.com/culture/2018/oct/12/brexit-is-black-cloud-for-uk-arts-says-nicholas-hytner-national-theatre Händel was one of the first true Europeans: born in Germany, worked in Italy and London, wrote Italian operas and French overtures. (see illustration. The drawing is by Benedikt Kobel.)  

Remaining a member of the EU means that we will continue to grow as a nation, offering the next generation easier and free exchange of ideas for the next generation of performers, scientists, managers, writers, parents, teachers and all those who benefit our economy and respect in the world.  It’s time to think again. We need a People’s Vote with remaining in the EU an option on the ballot paper and No Deal not an option, in order to stop a gross act of self harm on the cultural and economic pulse of this nation.



Dame Sarah Connolly CBE, Doc.h.c Nottingham Trent University, FRSA, FRCM, is a mezzo-soprano was made a Dame in 2017 for services to music. 
 
sarah-connolly.co.uk 
© Dame Sarah Connolly