Friday, May 18, 2007
New section
I've added a new section to the sidebar entitled MUSIC INSPIRATIONS, linking to the websites of organisations that enable music to change lives. I've started with three, but there will be others in due course. Please explore!
Thursday, May 17, 2007
OMG. She's back
The sensational Rinat Shaham returns to Glyndebourne to sing Dorabella in Cosi fan tutte, opening next Tuesday, 22 May. I fear I shall have to put an electronic tag on Tom for every single performance.
Here's 'Rini' as Carmen...need I say more?
But hey. I can get my revenge: Rini has a brother, Hagai Shaham, who's a fabulous violinist (=prerequisite), and looks my kinda guy. Here he is with his answer to the Gypsy:
Cold showers all round.
Here's 'Rini' as Carmen...need I say more?
But hey. I can get my revenge: Rini has a brother, Hagai Shaham, who's a fabulous violinist (=prerequisite), and looks my kinda guy. Here he is with his answer to the Gypsy:
Cold showers all round.
Wednesday, May 16, 2007
Giuseppe MacVerdi
It's going to be a hot summer. Whenever the first Glyndebourne dress rehearsal is cold & wet, the weather for the rest of the season is glorious. Yesterday, we pinicked in the car with a thermos flask of soup.
Suitably atmospheric, of course, for the Scotland of Verdi's Macbeth. Hmm. Last year I thought that Betrothal in a Monastery was about to become the hottest ticket in town, but it wasn't, so I won't risk my luck this time. Suffice it to say that IMHO Richard Jones's production is startling, fresh, original, clever and a treat for anyone who likes hairy knees. And I'll never be able to look at a cardboard box in the same way again. Vladimir Jurowski's conducting is red-hot, seat-of-the-pants stuff and the singing - Andrzej Dobber as Macbeth and Sylvie Valayre as his blonde-beehived Lady Macbeth - is top-notch.
Debate will probably rage over whether Macbeth is this full of irony and black humour, and no doubt many will think not...but, weirdly enough, the production suits Verdi's remarkably effervescent score and I found the second half both powerful and moving.
Suitably atmospheric, of course, for the Scotland of Verdi's Macbeth. Hmm. Last year I thought that Betrothal in a Monastery was about to become the hottest ticket in town, but it wasn't, so I won't risk my luck this time. Suffice it to say that IMHO Richard Jones's production is startling, fresh, original, clever and a treat for anyone who likes hairy knees. And I'll never be able to look at a cardboard box in the same way again. Vladimir Jurowski's conducting is red-hot, seat-of-the-pants stuff and the singing - Andrzej Dobber as Macbeth and Sylvie Valayre as his blonde-beehived Lady Macbeth - is top-notch.
Debate will probably rage over whether Macbeth is this full of irony and black humour, and no doubt many will think not...but, weirdly enough, the production suits Verdi's remarkably effervescent score and I found the second half both powerful and moving.
Tuesday, May 15, 2007
An heroic family
Do have a look at this extremely touching short film from yesterday's BBC Newsnight in which presenter Gavin Esler and his daughter Charlotte discuss the impact on their family of Charlotte's diagnosis with Hodgkins Lymphoma last year, when she was 14.
My sister died of ovarian cancer aged 45 in March 2000. Today would have been her birthday.
My sister died of ovarian cancer aged 45 in March 2000. Today would have been her birthday.
The miracle of Melisande
Well, the miracle of Debussy. I've started to feel that Pelleas et Melisande is the most rewarding of all operas: every performance I've attended has been like hearing it for the first time because there's something special to notice on each occasion. The Royal Opera's co-production with Salzburg does leave a thing or two to be desired - notably, costume designs that don't induce the good punters of Covent Garden to titter audibly at every character's first entry - but with Simon Rattle in the pit, Angelika Kirchschlager, Simon Keenlyside, Gerald Finlay, Robert Lloyd and Catherine Wyn-Rogers on stage, and as Yniold a young boy named George Longworth so musical that he almost stole the whole show, it didn't really matter.
Angelika looks fabulous in her now famous Red Dress, but the others, in huge, white, padded, puffed and pointed clown suits (without red noses) seem to have walked straight out of a cross between Star Trek and Dallas, and the way that stagehands push the foldaway sets round and round in circles during the first half's interludes, with associated squeaks, could have been usefully cut back. There wasn't much wrong with the actual direction - the characters emerged as well-drawn and believable - but the design...oh well.
Rattle controlled the dramatic pace marvellously and the orchestra sounded super - detailed, transparent and balanced extremely well with the singers. Hard to believe it was the same band that played that mismanaged, lumpen Mayerling the other week (conducted by, oh dear, um, one Mr Wordsworth).
Pelleas remains a conundrum of an opera because - well, what do you do with it? Nothing kills it stone-cold dead as much as naturalism. It's a Symbolist work, a conceptual piece where nothing can be taken at face value. So it begs a conceptual rendition. At least, one would think so. The music is what really counts, though; starship outfits or none, I still went home floating.
Angelika looks fabulous in her now famous Red Dress, but the others, in huge, white, padded, puffed and pointed clown suits (without red noses) seem to have walked straight out of a cross between Star Trek and Dallas, and the way that stagehands push the foldaway sets round and round in circles during the first half's interludes, with associated squeaks, could have been usefully cut back. There wasn't much wrong with the actual direction - the characters emerged as well-drawn and believable - but the design...oh well.
Rattle controlled the dramatic pace marvellously and the orchestra sounded super - detailed, transparent and balanced extremely well with the singers. Hard to believe it was the same band that played that mismanaged, lumpen Mayerling the other week (conducted by, oh dear, um, one Mr Wordsworth).
Pelleas remains a conundrum of an opera because - well, what do you do with it? Nothing kills it stone-cold dead as much as naturalism. It's a Symbolist work, a conceptual piece where nothing can be taken at face value. So it begs a conceptual rendition. At least, one would think so. The music is what really counts, though; starship outfits or none, I still went home floating.
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