A marvel in Manchester

The final evening of the Manchester International Concerto Competition for Young Pianists last Friday was quite an event. With two categories - the 16 and Under and the 22 and Under - the competition had already reached a climax the night before, with four superb youngsters strutting their stuff in Bach and Mozart; but, perhaps ironically, the 22 and Under's strongest impression was left by someone who was also under 16: Jan Lisiecki from Calgary in Canada, who played Chopin's Second Concerto. He's only 12.

Jan took joint second prize with the excellent 18-year-old Jamie Bergin, a student at Chetham's, but much of the buzz focused on him, with grown professional musicians drifting about the cathedral afterwards making remarks like 'touched by God...'. Jan already has a considerable track record, having played 12 times with orchestras including the National Arts Centre Orchestra in Ottawa, and having performed in a gala concert with Yo-Yo Ma, Manny Ax and Pinchas Zukerman.

Still, first prize went to the right winner: Anja German from Slovenia, who played Beethoven 3 just beautifully. She is 22 and ready for anything. She's studying at the Mozarteum in Salzburg and has also won prizes in the National Competition in Slovenia and the EPTA International Competition for Young Pianists. She wins a series of excellent high-profile engagements around the UK, including London, and the chance to make a CD on the Dunelm label. Child prodigies may be prodigies but they are also children; young Jan deserves time to study and grow up before being plunged into the concert circuit, as he probably will be.

Plaudits too to third prizewinner, 17-year-old Walid El-Yafi, also studying at Chet's, who gave a strong and musical account of Saint-Saens' Third. Bravo to the Manchester Camerata, conducted by Chetham's head of music Stephen Threlfall, navigating four very difficult and exposed works with what must have been limited rehearsal time.

Competition founder Murray McLachlan, head of piano at Chethams', ensured another twist that seems valuable: the jury consisted entirely of concert pianists, an inspiration, he said, from the old days in the 'golden age' of pianism when musicians, rather than pedagogues, critics and others hunting power, were the norm on such panels. Murray wrote an interesting article for Classical Music's 'Soapbox' column a few months back, taking a fresh look at piano competitions, which is reproduced on the competition's website.

The competition has a good roster of backers and media partners and looks set to continue in fine style - and it has steered a clever course that doesn't bring it into headlong collision with the mighty Leeds, serving a different and complementary role in its young contestants' rites of passage. It attracted an extremely international crowd: around us in the packed cathedral we heard Chinese, Russian, Polish, Korean, French, Japanese and more. Hand in hand with the stunning new-look Manchester International Festival, which wants to rival Edinburgh (and may succeed), and the general transformation of Manchester from grimy, industrial, depressing lump to buzzing, happening, modern metropolis, the competition is part of an inspiring north-western renaissance.

Read more about the competition in the Manchester Evening News, here.

When is opera not opera?

When it's comparable to cycling and prostitution, as this article in today's Observer claims, through an interview with the tenor Endrik Wottrich.

Endrik Wottrich, a popular fixture at the annual Bayreuth festival in Germany, has revealed opera singers are turning to drugs and other stimulants to cope with the pressure from the increasing commercial demands on them. 'No one talks about it, but doping has long been the norm in the music world,' he said in an interview with music critic Axel Bruggemann in the Frankfurter Allgemeine Zeitung. 'Soloists are taking betablockers in an attempt to control their angst, some tenors take cortisone to ensure their voices reach a high pitch, and alcohol is standard practice.'

There is more, lots more, in the article, which says that Villazon is suffering from depression, that claques are often extortionists and that greedy promoters may be responsible for wrecking their stars' voices with undue pressure...

Saddest of all is that this is news - most people close to the action have taken this beastly stuff for granted for years. And most dare not talk about it.

Igor blimey

Biopic fans are going to have some fun with this: an interview with actress Marina Hands in today's Times (re her new film of Lady Chatterley in French) reveals that she'll be starring in a film about Stravinsky and Coco Chanel:

Having taken a small part in Julian Schnabel’s forthcoming The Diving Bell and the Butterfly, Hands is now readying herself to play Coco Chanel in a film that concerns the French fashion icon’s relationship with the composer Igor Stravinsky. “She supported him financially and they had a fascination for each other,” says Hands. Called Coco & Igor, bizarrely it is to be directed by The Exorcist’s William Friedkin, though this is just one of the talking points that has set the French media buzzing. “They all have a point of view [on her] and no one agrees,” she sighs. “I might go to Rome to rehearse, so I don’t feel the pressure!”

Presumably this is the film of the book by Chris Greenhalgh? Come on, Timesy, credit the author when credit is due. Stories don't get there all by themselves.

Last night...

...there was a screw-up which would take too long to explain, but means that anyone trying to listen to the interview wouldn't have been able to...

More about the piano competition very soon, though.

'Thorn in the flesh' dies at 94

The Russian composer Tikkhon Khrennikov has died at the age of 94, decades after the geniuses he helped to persecute. The Independent's obituary is rather kind to him.

UPDATE: Allan Kozinn in the New York Times is a little less kind.