Book signing this week

ALICIA'S GIFT is out in paperback on Thursday 12 July and that day I'll be at Waterstone's in Richmond, Surrey, to sign copies at 12 noon. All welcome!

Noye's flooooood

Apologies to anyone who read my blithely confident post about weather-forecasting via the first Glyndebourne dress rehearsal. The theory was that if said day was cold and wet, the rest of the season would be hot and sunny. I'm forced to revise this: if that day is so cold and wet that you have to picnic with a flask of soup in the car, the rest of the season will be soggy and frightful. Last year we had a hosepipe ban. This year, nobody's needed a hosepipe since April.

I'm reminded of a song about Noah's Ark that we used to sing at school: "It rained and poured for forty daysywaysy, everyone was going crazywaysy" (or similar). Solti is already wondering which local cat to invite to keep him company when we build the boat - suspect he has his eye on Scarlett, the pretty long-haired tabby from No.10.

Misha in Manchester

Talk of the town this weekend is Russian pianist Mikhail Rudy's stage version of The Pianist, which opens for a two-week run at the stunning Manchester International Festival today. Misha has written a piece in The Guardian's arts blog about how/why he's doing this, and there is an excellent feature in The Sunday Times too.

The show has already had tremendous success in France, capturing the public imagination in a very positive, encouraging way (it's not all Kismet out there, thank God). Combining music and words is far more difficult that it looks, and Misha and his team appear to have hit the nail right on the head.

Mess o'potamia

Back. Have been in Denmark, eating fish...more of that when I've copied the photos properly.

So, where were we? Well, a big thank-you to everyone who wrote in support of the Kismet feature! The Times has its own take on the thing today (my dear readers will recognise the quoted critic, which could perhaps have been attributed more precisely), and they've interviewed Luther Davis (90), the surviving member of the original team. Ho-hum, here's what he says about the Baghdad problem:

“There’s a line in the song Not Since Nineveh in which Lalume sings ‘Don’t underestimate Baghdad!’ Now we were discussing how to deal with this in the current situation. Should we get rid of it, or downplay it? No, my suggestion was to lean on it heavily, to really belt it out. In a way it reminds you that Baghdad isn’t just a war zone, it’s a place that’s been full of real human beings for millennia.”

Er, right...Read the whole thing here. The headline is good.

UPDATE, 9pm: OOOH, the fur is flying backstage!!! This is what happened while we were away...and the first preview has been put back a night...

A few essentials

I'm rather 'under the snow' at the moment, hence lack of posting, but wanted to present a few essentials while I can:

The Nigel Osborne opera I went to see in Mostar, Differences in Demolition, is absolutely wonderful: a work full of heart and soul, with hardline modernism set beside glorious lyrical melody in a way that feels entirely natural. Goran Simic's libretto - the first work he has undertaken in English - is so full of wonderful poetry that I'm thinking of framing the copy that I now have. The production is poetic too, and the singing and playing superb - amazing how many different sounds can emerge from an accordion. The work as a whole seemed to have grown out of the soil of Bosnia itself. It will be at Wilton's Music Hall, near Tower Bridge, on 10, 11 and 12 July, as part of the City of London Festival, performed by Opera Circus. Do yourself a favour: go and see it.

The Pavarotti Centre in Mostar, however, is in financial difficulty. It opened its doors in 1997 and still offers the only clinical programme of its type in the world specialising in treating war-traumatised children and PTSD. But as things stand, the entire music therapy programme may have to close due to lack of funding. As Nigel Osborne explained during our trip, this treatment is very cheap and very effective and does a huge amount of good, but it doesn't 'fit into any boxes' and bureaucratic purse-string holders simply don't understand it - even though the methods pioneered there are being applied now in many other countries. They need support, both moral and financial.

Finally, my current snowdrift involves rewriting a play - with three months to go till the premiere - and a novel in one month flat. See you soon, I hope...

Now, have a look at the sensational young Chinese bass Shen Yang, who has just scooped the Cardiff Singer of the World prize.

And gluttons for punishment can read in today's Independent what I really think about English National Opera doing Kismet.