To Lenny from Solti

A note from David K Israel alerts me to Mentalfloss.com, where he's joined the blogging team. David was Leonard Bernstein's editor and is a fellow novelist, but most significantly he nearly named his cat Solti, then chose Lenny instead. In case you missed my intentionally-very-silly two-part story for Classical Music Magazine around Xmas & New Year, it's called LENNY: THE CAT THAT SHOOK AN ORCHESTRA and you can read part 1 here and part 2 here. As for transatlantic Lenny and my resident Sir Georg 'Ginger Stripes' Solti, they send each other colleagial greetings and compare the mice they've recently killed with their built-in batons.

We named Solti Solti because in a former life he was Tom's favourite conductor. Most orchestral musicians jump out of their skins when we tell them this - one cellist who used to live nearby famously threatened to run our cat over every time he came round - but Tom, being from one of those indomitable central-European pre-War families, is used to larger-than-life personalities and knows how to stand up to them. In one legendary LPO rehearsal, Solti turned to the first fiddles and said "You must play this better, I pay you money if you play this better!" Tom put up his hand and demanded "How much?" Solti exclaimed: "Ah, we discuss it later..."

ALICIA'S GIFT has arrived!

It's here: the first copy of my new book! As you can see, it's about a little girl with a precocious talent for the piano... Aged three, Alicia sits down at her dad's battered old upright and begins to play by ear, and in the right key, a piece she'd heard at nursery. Her Derbyshire-dwelling parents, Kate and Guy, have to decide what on earth to do with her. Kate wants her to develop her talent to the maximum, but she also wants her to be at home. Guy wants her to be a normal kid. Alicia just wants to play her piano and walk her dog on the moors. Alicia's motorbike-fixated brother, Adrian, sees through them all. As Alicia grows up and her fame spreads, everyone wants a piece of the Peak District prodigy. But life, naturally, has ideas of its own...

ALICIA'S GIFT is available for preordering at Amazon.co.uk here: beautiful quality, limited edition hardback! Release date is 8 March. The paperback will be out later in the year.

PAULINE VIARDOT: ESSENTIAL LISTENING

If you haven't yet sampled the enchanting songs of Pauline Viardot - or even if you have - just try these gems from Cecilia Bartoli, accompanied by Jean-Yves Thibaudet. Nuff said.

'HAI LULI'



'HAVANAISE'

Finding Trovatore...?

I never quite 'got' it before. Il trovatore was way over my head. Too difficult. What's going on? Blood and guts, sure - but why? Am I too stupid to understand? Last night we went to see it at Covent Garden, to catch Marcelo Alvarez [above - photo by Catherine Ashmore] doing that high C. Finally, I got it. The blood and guts are for the sake of it. Oh. Right.

Someone once said that all you need to perform Trovatore successfully is the four greatest voices on earth. Covent Garden has at least one who's seriously impressive: Stephanie Blythe as Azucena. Blimey, guv'nor, no wonder Manrico is dominated by his madre! (I read that the Covent Garden premiere in 1855 starred Pauline Viardot: that must have been an experience of a lifetime...) As for Alvarez, he has plenty of brawn and went for it molto con belto, which I guess is which he's meant to do. Orchestra under Nicolo Luisotti was jolly impressive - sensitive, careful, singer-oriented accompanying (which was more than could be said for Pappano in Carmen).

And somewhere there lurk the ghosts of the Marx Brothers. They couldn't have chosen a better piece to take off in A Night at the Opera.




I still expected Groucho to swing from the rafters, Harpo to materialise under Azucena's headscarf or the orchestra to burst into 'Take me out to the ball game'. They didn't. But it's still a rip-roaring good night, once all disbelief has been set to 'off' for three hours.

Here's a quick Trovatore quiz. No prizes.

As a piece of music theatre, is Il trovatore, compared to Evita,
a) better
b) worse
c) about the same?

In portraying their characters, are the stars of this opera in 2006
a) identifying profoundly with them
b) thinking 'what a load of b*****s'
c) thinking 'heck, let's get those top notes, then go eat'?

In its portrayal of Gypsies, is Il trovatore
a) remarkably sympathetic for its time
b) using colourful ethnic exoticism as raw material for its finest chorus
c) desperately racist?

Is Leonora
a) a strong, powerful, modern woman
b) a victim of circumstance
c) totally stupid, throwing herself away on a man who loves his mother better than he loves her?

Is Manrico
a) a thrilling, heroic revolutionary
b) a male chauvinist pig
c) a typical musician?

Last but by no means least, this is how to make the opera convincing:

Weekend

The first copy of ALICIA'S GIFT is due in tomorrow, I've met my deadlines, Tom earned brownie points in a beautiful charity concert last night and I have time, for once, to tidy my study. So here, to celebrate, is a picture of Solti the cat. 'Sir Georg' at his fuzziest. Have a look at his blog too sometime.