Yesterday's bombshell about ENO arrived wrapped in rose-scented words just in time for Valentine's Day. Some people even fell for the good news story: £30m over two years from ACE, woo-hoo!
Oh dear. It turns out that this money is "special measures" (it's the original core funding that was in place anyway. plus £7m in transition funds, as we understand it). If the company doesn't shape up in a way that the Arts Council England approves, it could then lose all its government funding. And that, you could say, would probably mean tickets. The wrong sort of tickets.
The prospect of ENO vanishing from the planet is devastating for music lovers in London. Thinking of the finest operatic performances I've seen in the last few years, I'd have to point to many things that simply would not have taken place at Covent Garden. John Adams, Vaughan Williams, Terry Gilliam's Berliozes, Rosenkavalier staged by McVicar with Amanda Roocroft, Sarah Connolly, Sophie Bevan and Sir John Tomlinson, and that extraordinary, desperately underrated and undersold Martinu opera Julietta. Calixto Bieito. Peter Sellars. The list could go on. Not so much English National Opera, perhaps, as British International Opera. There have also been a few very big, very expensive mistakes - yet without a willingness to take risks, opera as an art form really would die. And London without all that adventure would be like...well, New York, without New York City Opera.
Which, of course, has gone. Operatic Manhattan now has only the Met. Comparisons are being drawn, even ones predicated as if this is not a bad thing. But it is a very bad thing. NYCO's closure appears to have been the result, as far as one can tell from here, of a gigantic f***-up and could conceivably have been avoided had things been handled differently earlier in the process.
Earlier in the process, as it happens, the ACE's chairman, Peter Bazalgette, was formerly the chairman of ENO. Since his move to the ACE, ENO has been targeted for bigger funding cuts than any other organisation still in the organisation's national 'portfolio'. According to the Guardian Bazalgette has reportedly not been participating in the ACE's discussions this week.
One hopes profoundly that in the two years' grace it's been so, er, kindly granted, the company can pull together and find means to survive. That what might look like cynical attempts to kill it off are not in fact that. That whatever's going on at the micro-level behind the scenes can be put to one side in favour of the macro-level bigger picture. That artistic vision can be respected on the one hand and financial prudence accepted on the other.
Since the resignation of the executive director, Henriette Götz, two weeks ago Anthony Whitworth-Jones, formerly of Glyndebourne and then Garsington, has been brought in to help. It is interesting to reflect that Glyndebourne and Garsington are both privately funded. JDCMB is a passionate believer in the principle of public funding for the arts, but if ENO has to be privatised, it would still be better than losing it altogether. Reduce it to middle-of-the-road potboiler productions - as some would like to - and there's really not much point having it at all; the good news is that neither Glyndebourne nor Garsington has ever resorted to that.
This looks to me like something one step from Shock Doctrine-style brinksmanship - it is certainly quacking like that particular duck - but let's keep fundamental ideas strong. This is a company with a big vision, a big theatre, an expensive art form and not a big budget under those circumstances. The ACE has got them over a barrel and something may have to give. Sacrifice real estate if necessary; find other pricing models and fundraising opportunities, by all means; but whatever happens, whoever leaves, don't jettison the principle of artistic vision that has kept ENO a truly international force. Let's keep ENO BIO.
Friday, February 13, 2015
Thursday, February 12, 2015
Rattle: "European orchestral conditions are like the wildest edges of science fiction in our country"
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| Sir Simon Rattle: only on his terms Photo: c Sheila Rock/EMI Classics |
Following a spectacular opening for his London Residency with the Berliner Philharmoniker, Sir Simon has been speaking to BBC TV News. Yesterday, in an interview with the BBC's Will Gompertz, he declared:
"I think it's clear that London and Munich are the two great cities in the world that don't have proper concert halls. The music lovers of London and of the country would deserve to have something where also the orchestras can flourish.
"You have no idea how wonderful an orchestra like the London Symphony Orchestra can sound in a great concert hall. The Barbican is serviceable. But it's like when I've seen so many young violinists finally be handed a great violin - it's a whole other world."
He also drew a pertinent comparison between the general conditions and the generous rehearsal time he has with the Berliner Philharmoniker and the LSO's relentless schedule of performing and touring.
"The kind of conditions a European orchestra has, which any orchestra would take for granted in Europe, are on the wildest edges of science fiction in our country, particularly in London. It's hard to explain to people just how hard and brutally these London orchestras work."
Will Gompertz asked him whether he was saying that if he can alter the conditions towards something a little closer to that of Berlin, then he would accept the LSO music director post, and if not, he wouldn't?
"I think the conditions for the players are incredibly important," said Sir Simon, "because it's a matter of what actually people can achieve."
Gompertz concluded that Rattle would come back to Britain - but only on his own terms. Which is pretty much what we thought.
The sound of the Berlin orchestra in Sibelius's first two symphonies was so overwhelming, by the way, that I scarcely slept a wink that night. My review should be up at the Independent website soon.
Wednesday, February 11, 2015
LAKATOS TO PLAY AT AMATI EXHIBITION
Quite a thrill from Amati today: the phenomenal Roby Lakatos, no less, is to give an exclusive performance in an intimate cabaret setting during the next Amati Exhibition, to be held at the Langham Hotel, on 29 March. Tickets are £24 and include a glass of bubbly. Please book SOON because numbers are strictly limited.
Please come over to The Amati Magazine for full details of how to book. See you there!
Please come over to The Amati Magazine for full details of how to book. See you there!
Sunday, February 08, 2015
Taking Polunin to church
Sergei Polunin, "Take Me to Church" by Hozier, Directed by David LaChapelle from David LaChapelle Studio on Vimeo.
It seems not so long since I went into a Royal Opera House interview room to meet a 21-year-old Russian soloist who'd been described to me, memorably, as a "sweet boy". Er, right...next thing I knew he was talking about hankering to be part of a gang, and showing me his tiger-scratch tattoos. His name was Sergei Polunin.
He had itchy feet, and not only to dance. Sure enough, a few months later he walked out on the company and went back to Russia. Since then he's rarely in the news without controversy attached. He's ambitious, hungry, eats up experience, eats up life and its dark side - and here, in this astonishing solo, he feeds on our souls as he shows us, perhaps, his own. His classical technique is impeccable, but it's the raw emotional power with which he invests this piece that makes this perhaps the essence of 21st-century ballet and marks him out as a dance artist whose journey has perhaps only just begun.
'Take me to Church' is a song by Hozier and the fabulous filming is by David La Chapelle. Many thanks to Graham Spicer, 'Gramilano', for posting a link to it on Twitter.
It seems not so long since I went into a Royal Opera House interview room to meet a 21-year-old Russian soloist who'd been described to me, memorably, as a "sweet boy". Er, right...next thing I knew he was talking about hankering to be part of a gang, and showing me his tiger-scratch tattoos. His name was Sergei Polunin.
He had itchy feet, and not only to dance. Sure enough, a few months later he walked out on the company and went back to Russia. Since then he's rarely in the news without controversy attached. He's ambitious, hungry, eats up experience, eats up life and its dark side - and here, in this astonishing solo, he feeds on our souls as he shows us, perhaps, his own. His classical technique is impeccable, but it's the raw emotional power with which he invests this piece that makes this perhaps the essence of 21st-century ballet and marks him out as a dance artist whose journey has perhaps only just begun.
'Take me to Church' is a song by Hozier and the fabulous filming is by David La Chapelle. Many thanks to Graham Spicer, 'Gramilano', for posting a link to it on Twitter.
Saturday, February 07, 2015
Making a splash with Der fliegende Holländer
Royal Opera House, 5 February 2015. ****
(This is my review for The Independent, now online here.)
(This is my review for The Independent, now online here.)
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| Adrianne Pieczonka as Senta, with the chorus of ghost sailors Photo: Clive Barda |
Before the opening night of Der fliegende
Holländer some of the Royal Opera House Orchestra had already taken a soaking; apparently
the patch of on-stage sea for act III found its way into the pit at the dress
rehearsal. But Tim Albery’s Olivier Award-nominated staging, first seen in
2009, is an immersive and immersing experience, pulling you into its depths
even if you don’t get splashed en route.
Like many of the most interesting Wagner
productions, it is not overloaded with activity, but homes in on human
interaction, within elemental shapes; the basic concave shell could be a sail,
a wave, a ship’s belly, or the slope of the shore’s hillside. Dark, stark and
strong, it is impressively lit by David Finn, with intriguing angles, sometimes
harsh, sometimes beautiful, usually symbolic. There seems no need to interpret
to excess. Senta’s obsession with the Dutchman comes across not as psychosis,
but a genuine love; at the end, instead of throwing herself into the sea, the
poor girl seems to die of grief. The mini model ship, though, sometimes feels
like a prop too far.
There are two ways, very broadly speaking,
to treat this opera. It can emphasise the influence of its musical roots,
including Italian bel canto, Weber and Marschner (his Der Vampyr); or it can
look forward to the composer’s mature masterpieces. It can be gothic horror
with high emotion and great tunes; or a dusky foreshadowing of the
philosophical drives that Wagner brought to bear on the Ring cycle and its
companions. This account is the latter in no uncertain terms: Albery’s atmospheric
staging and Andris Nelsons’s spacious conducting combine into a seriously grown-up
angle.
Bryn Terfel’s Dutchman is so strongly characterised
that the doomed seaman’s entire history seems visible at his first entrance,
weary and burdened, dragging the ship’s rope around his shoulders; vocally he
paces himself finely, saving the strongest for last as the dramatic tension
peaks. As Senta, Adrianne Pieczonka is simply magnificent, with a warm and
radiant voice that melts in its lower register and cuts higher up, and the
ability to inhabit the role to heartbreaking effect. The central pair are more
than superbly supported by Peter Rose as Senta’s father, Daland; tenor Michael
König is a lyrical Erik; and in smaller roles the contributions of Ed Lyon as
the Steersman and Catherine Wyn-Rogers as Mary were outstanding. One of the
night’s biggest plaudits, though, goes to the chorus: the terrifying clash of
the locals and the ghost ship’s crew in act III packs a massive punch.
Some elements perhaps still need to settle
a little; on this opening night it was hard not to wonder whether Nelsons’
drawn-out tempi challenged sustaining power too much. The overture dragged
surprisingly – not aided by the hypnotic waves of grey curtain rolling from
left to right – but Nelsons’ skill as an accompanist with forensic control of
line and texture allows the singers to shine without shouting, to be supported
without ever being drowned.
Friday, February 06, 2015
On beauty...
'Stars' by VOCES8 from VOCES8 on Vimeo.
There's such a thing as beauty in music. Actually there are many different things such as beauty in music. You can find it in the darkest, most terrifying concepts from Wagner and Mahler, in the electronic eleventh dimensions of Boulez, in the ambivalent, sexy purity of Fauré - and in the music of the young Latvian composer Eriks Esenvalds, an increasingly sought-after voice in the spheres of contemporary choral music. He is writing a big choral piece to feature in his fellow countryman Andris Nelsons's farewell concerts with the CBSO in Symphony Hall, Birmingham, in June, and we want to be there.
In the meantime, a gorgeous piece of his called 'Stars' features in a new album from the ace vocal ensemble Voces8, entitled Lux. They have made a rather exquisite snowy dancer video to go with it. The closing word of the piece is 'Majesty' and the film apparently aims to evoke the sense of this word through the celebration of the human form. It's above. Enjoy.
There's such a thing as beauty in music. Actually there are many different things such as beauty in music. You can find it in the darkest, most terrifying concepts from Wagner and Mahler, in the electronic eleventh dimensions of Boulez, in the ambivalent, sexy purity of Fauré - and in the music of the young Latvian composer Eriks Esenvalds, an increasingly sought-after voice in the spheres of contemporary choral music. He is writing a big choral piece to feature in his fellow countryman Andris Nelsons's farewell concerts with the CBSO in Symphony Hall, Birmingham, in June, and we want to be there.
In the meantime, a gorgeous piece of his called 'Stars' features in a new album from the ace vocal ensemble Voces8, entitled Lux. They have made a rather exquisite snowy dancer video to go with it. The closing word of the piece is 'Majesty' and the film apparently aims to evoke the sense of this word through the celebration of the human form. It's above. Enjoy.
Thursday, February 05, 2015
Bryn Plus
I had a wonderful interview with Bryn Terfel last week and it is in today's Independent, here. Bryn sings the lead in Der fliegende Holländer at Covent Garden, opening tonight.
Here are a few bonus bits of the interview.
Bryn on...Andris Nelsons (who conducts the Wagner tonight):
"The first time I met him was in Birmingham - and then I heard the Boston Symphony Orchestra had snapped him up. He’s married to Kristine Opolais,of course, which will only make him an even better conductor of singers – but he can sing! Goodness gracious, you should hear his voice. He's a stunning bass-baritone and he loves to sing from the pit- and he laughs and winks at you. From what I hear, the orchestra loves him as well. Isn’t that a great formula already? Who knows where he’ll go?"
Bryn on...his foundation to help student musicians:
"Whatever I do concertwise now, the money I
get for that goes to the foundation. I need to work a little bit harder, maybe, on getting people to invest some of their money into the youth of my
chosen career, so I’ve given some nmoney to young Welsh singers, I’ve given
some mopney to a young accordionist who's doing really well at the moment,
Ksenija Sidorova, I gave her a little foundation money – I’m sure that any
student coming out of college would like some help. So that’s something for the
future. In the next 10 years I’m going to home in on my foundation. I started it because I heard from students that they were coming out of
university with debts and that made me think that maybe they need the money
now, while they’re still in college. So the money I’ve given to students, they’re in
college now, spending it. And there’s no stipulation about what they can spend
it on – they can buy shoes, a car, a dress – and these are things you need as a
performer. I’ll never forget Sir Geraint Evans telling me: 'Buy a new suit.' And
he was right. Because that generation, thety’d come to rehearsal in a
three-piece suit! I’ll never forget who I got money from. Capital Radio gave me
£500 once. The Kathleen Ferrier Scholarship I won was £5000 and that was really important for extra coaching and extra language coaching."
Bryn on...the great pianists:
"I’ll never forget going to hear Martha Argerich
play with the young Verbier Symphony, full of kids under 25 years old. I
sat there with Peter Gelb and he said 'It’ll be brilliant tonight.' I can guess a pianist will be brilliant by the names, but to hear
piano music being played I need to study a little more, I think, on the
difference between brilliant and mediocre, because I think they’re all fantastic.
And Peter said that at the end of Horowitz’s career he was his agent and filmed
him playing in Moscow for the last time. He said they didn’t want to film him from the front of the audience, so he had
the camera on Horowitz from behind - and looking through into the audience, all
these Russian people were sobbing. But he said Horowitz had said to him: 'Only one
pianist will take over what I’ve started, and it’s Argerich'. So I was about
to listen to this woman – I listen to a lot of Horowitz anyway on Youtube - his
White House soirées with presidents are recorded on video. So that
was one of the most exciting evenings I’d ever had, having heard that story."
Wednesday, February 04, 2015
Gardiner auctions Hogwood's legacy
The late Christopher Hogwood's collection included 26 beautiful historic keyboard instruments, all of which are to go under the auctioneer's hammer in Bath at the Gardiner Houlgate Auction Rooms on 12 March. We can't help loving the verbal idea of Gardiner auctioning off Hogwood's stuff, but are not sure whether they are indeed related to that Gardiner.
The collection features early instruments from harpsichords to fortepianos to dummy keyboards and an organ or two, and stretches all the way from 1650 to 1952. One of the star items is this Joseph Johann Brodmann fortepiano from Vienna of 1815 - prime Beethoven territory - thought to have belonged to Weber and once in the collection of the soprano Emmy Destinn. It is estimated at £22-28,000.
One of the priciest instruments is a clavichord by Johann Adolph Hass from Hamburg, 1761. On this instrument Hogwood recorded five albums including works by the Bach family, Handel and Mozart. Likely price is thought to be around £30-40000. There are also several clavichords made in the early 20th century by Arnold Dolmetsch.
You can explore the catalogue online here. Viewings by appointment.
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| Brodmann grand piano, 1815 |
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| Hass clavichord, 1761 |
You can explore the catalogue online here. Viewings by appointment.
Aw shuks...
I'm rather touched and appear to be in excellent company. I don't like asking people to vote for me, really, because it seems deeply immodest...but if you do happen to fancy having a look and placing your vote, you can do so here: http://www.fortenotation.com/en/2015/02/best-classical-music-website/.
Monday, February 02, 2015
Amati: In which I treat a great cellist to lunch
The Amati Magazine, redesigned and under new editorship, kicks off in earnest today with my first Editor's Lunch: a series in which I treat hand-picked luminaries to lunch. Britain's greatest living cellist seemed like a good person for the first one... and I'm pleased to say that the man with the curls and the gut strings accepted my invitation to dine at Baltic. Here is the feature. Enjoy!
Friday, January 30, 2015
Amo, Amas. Amati
I have a little news. As from Monday, I am taking over the editorship of The Amati Magazine, the online magazine of the stringed instrument auction site Amati.com. We are hatching exciting plans to build it up into a valuable resource for music-lovers, musicians amateur and professional, and everyone with an interest in any aspect of the the stringed instrument world - and we will be kicking off with a major star interview over a little fine food. Watch this space: I'll put up a link on Monday. You can also "like" The Amati Magazine's Facebook page, for regular updates. And we will no doubt be tweeting a lot. I'll be carrying on with everything else I usually do, meanwhile.
Those of you who've read Hungarian Dances will know that an Amati violin is a vital character in the novel. This is complete coincidence, but a nice one. Amo, amas, Amati...
Wednesday, January 28, 2015
Rattle and the appointment headache
Appointing a music director is probably the hardest job an orchestra ever has to do, and appointing the right music director is the most important one. I have a few thoughts in today's Independent about why it's so tricky and why Sir Simon Rattle would be a Good Thing here...and why it's taking so long. http://www.independent.co.uk/arts-entertainment/classical/features/will-simon-rattle-take-over-at-the-lso-10006409.html
Cheers to another British conductor, Jonathan Nott, incidentally: he's won a ballot by a rare unanimous vote, we're told, to become music director of the Suisse Romande Orchestra.
Now I'm off to Birmingham to talk about Korngold tonight at Symphony Hall, where the CBSO and conductor Michael Seal are doing the Symphony in F sharp, the composer's most important orchestral work. I've never heard it live before, having missed the Prom last year, and as Seal is fast becoming one of today's prominent Korngoldians I suspect we're in for a treat. Do come if you're in Brum. Talk is 6.15pm, concert at 7.30pm. http://cbso.co.uk/?page=concerts/viewConcert.html&cid=2971&m=01&y=2015
Tuesday, January 27, 2015
WAM. Wunderlich.
It's Mozart's birthday. I'm on a bit of a Mozart high at present - doing a talk about him last night at the Wigmore Hall has left me a bit tearful and giddy and lovestruck, even though this is music I've known for more than four decades. It's so easy to take him for granted. We shouldn't. He's a miracle. And for those of you who were at the Wigmore last night - the more I think about it, the more I really believe that he was indeed the first Romantic.
Here's the great tenor aria from Die Zauberflöte, sung in 1965 with piano accompaniment by Fritz Wunderlich.
Friday, January 23, 2015
Next few days...
Tomorrow (24th) I am at the Richmondshire Subscription Concerts in North Yorkshire for a welcome reunion with Bradley Creswick (violin) and Margaret Fingerhut (piano) in Hungarian Dances, the Concert of the Novel. Do come along for Gypsy-style virtuoso thrills, gorgeous repertoire and a roller-coaster narrative from the book. Here's the link: http://rsconcerts.org.
On Monday evening (26th) I'm doing a pre-concert talk at the Wigmore Hall at 6.15pm about MOZART. The Hagen Quartet are continuing their Mozart Odysseyand Monday's concert features the second three of his "Haydn" Quartets. Talking about Mozart quartets at the Wigmore is a kind of a scary thing to do, so please join us in the Bechstein Room and smile - it will help. http://www.wigmore-hall.org.uk/whats-on/productions/pre-concert-talk-jessica-duchen-37085
On Wednesday evening (28th) I'm in Birmingham to introduce Korngold's Symphony in F sharp at Symphony Hall. The CBSO will be playing it in the second half of the concert, conducted by that Korngold aficionado par excellence, Michael Seal. http://cbso.co.uk/?page=concerts/viewConcert.html&cid=2971&m=01&y=2015
Busy. Backson.
On Monday evening (26th) I'm doing a pre-concert talk at the Wigmore Hall at 6.15pm about MOZART. The Hagen Quartet are continuing their Mozart Odysseyand Monday's concert features the second three of his "Haydn" Quartets. Talking about Mozart quartets at the Wigmore is a kind of a scary thing to do, so please join us in the Bechstein Room and smile - it will help. http://www.wigmore-hall.org.uk/whats-on/productions/pre-concert-talk-jessica-duchen-37085
On Wednesday evening (28th) I'm in Birmingham to introduce Korngold's Symphony in F sharp at Symphony Hall. The CBSO will be playing it in the second half of the concert, conducted by that Korngold aficionado par excellence, Michael Seal. http://cbso.co.uk/?page=concerts/viewConcert.html&cid=2971&m=01&y=2015
Busy. Backson.
Wednesday, January 21, 2015
Urgent: Birmingham Music Library under imminent threat
It's been drawn to my attention that the scandal of the Library of Birmingham - a fabulous new building which the city has opened, only to find it cannot now afford to keep it open more than 40 hours a week - extends to the likely imminent closure of the Birmingham Music Library, a major, award-winning, invaluable resource for professionals, students and community alike. Please read the communication below, which I reproduce as received, and take whatever action you are able.
You may have seen the recent announcements in the Press concerning severe cuts at the new Library of Birmingham. (See list of links below)
About 100 of the Library’'s 188 staff will go as opening hours are cut from 73 to 40 hours per week and other services for the public are stopped.
The Director of the Library has resigned, and if these proposed changes go ahead, business, learning, music and archive services will cease - there will no longer be a Music Library in Birmingham, run by specialist staff with relevant subject knowledge.
The Music Library was a previous recipient of IAML’s Excellence Award where its citation read:
‘Birmingham Music Library is a regional centre of excellence with MLA designated status for its extensive and rich special collections which include Bantock, the Birmingham Triennial Music Festival and Handel libretti collections. It offers a comprehensive service for the local community and is developing its client base for the future. The Library has an active policy of local engagement, providing advertising for local concerts and a programme encouraging local musicians to donate their CDs. Birmingham has also pioneered developments in support for people with severe learning disabilities. For the range of services and the sheer scale of operation it is among the best public music libraries in the country, giving constant attention both to the traditional services of lending and reference and to the breadth of its other activities.’
Besides the millions of individuals who use the library for their own purposes, there are many hundreds of choirs, orchestras, amateur and professional groups who cannot operate without the services of the Music Library to supply the scores and parts which are essential for their public performances. The impact on performers and the public will be severe. Some groups will not survive.
The news of the cuts was announced on the day Malala Yousafzai was awarded the Nobel Peace prize, the Pakistani teenager who led the Library of Birmingham’s opening ceremony, announcing ‘Pens and books are weapons against terrorism’ and that a ‘city without a library is a graveyard’.
The short-sightedness of these cuts, and the irrevocable damage it will do, needs to be fought urgently. On the national as well as local stage.
Can I urge you if you agree with me, to sign the petition here? https://www.change.org/p/birmingham-city-council-reverse-the-cuts-to-the-library-of-birmingham
If you would like to do more, can you spread these details as far as you can? We need letters to MPs, and especially to the National press spelling out how these cuts will impact on our quality of life…
The "official" route for comments is to complete the survey at
You can also:
§ Email budget.views@birmingham.gov.uk
§ Text ‘Budget’ followed by a space and your message to 07786 200 403
§ Write to Budget Views, Room 221, Council House, Victoria Square, Birmingham B1 1BB
But I think the more national media cover the better...where is the Secretary of State for Libraries in all of this?
I hope you will feel able to help.
http://www.birminghampost.co.uk/news/regional-affairs/library-birmingham-parks-care-services-8264332
Essex man: Benjamin Grosvenor does the 10 Questions
More info and links to book for the various concerts are at Grosvenor's website, here.
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