Busybusy

Tonight I'm on BBC Radio 3's Piano Keys with Sara Mohr-Pietsch and Richard Sisson, answering listeners' questions about anything to do with the piano. Part of the Piano Season on the BBC. 8.15pm

Tomorrow Angela Hewitt is giving a recital at the Royal Festival Hall consisting of transcriptions of Bach, Beethoven's Sonata Op.101 and the first ten "Contrapuncti" of Bach's The Art of Fugue. I will be interviewing her in the pre-concert event on stage, 6pm.

On Friday, English Touring Opera's new production of Viktor Ullmann's The Emperor of Atlantis, composed in Terezin and the opera for which the composer paid the ultimate price, opens at the Linbury Studio of the Royal Opera House. Anita Lasker-Wallfisch, who survived Auschwitz largely thanks to playing her cello in the women's orchestra, will be answering my questions on stage before the performance. The various pre-opera events begin at 7.15pm.

Come along and say hello.

It's Solti's centenary

Somewhere in the house I still have a little lapel button bearing the words BRAVO SOLTI. It's a treasured souvenir from the great conductor's 80th birthday party, hosted by Decca at a Knightsbridge hotel in 1992, at which the company that had hosted his whole recording career presented him with the gift of a mountain bike. It was the only time I ever met him, and then only for the briefest of handshakes. More enduring is the memory of his music-making, notably the greatest Mahler 5 I've ever heard.

A couple of months ago I went up to St John's Wood to see Lady Solti and interviewed her in her husband's studio, surrounded by Grammys, Hungarian souvenirs and an array of memorabilia from his many decades at the top of the musical tree.

Here's the first part of the results: a major article in this week's JC, offering a taste of the celebratory events that are currently swinging into action and also, I hope, giving an intimate portrait of Sir Georg, his motivation and the way his philosophy of life was underpinned by his sense of his Hungarian Jewish identity. Read the whole thing here.

Solti was principal conductor of my OH's orchestra for several years and was received by its players with widely varying degrees of devotion, of lack of it. OH, being from a whole family of outsize central European personalities, adored him - Solti reminded him of his grandmother. Others didn't know how to cope with him. Some players nicknamed him "the screaming skull". And years later, one cellist persistently threatened to run over our cat (who, as you know, is named in Sir Georg's honour).

In the article Charles Kaye, Solti's right-hand man for around 20 years, talks about how Solti would wake up every morning wanting to be better at what he did and how he could inspire an entire orchestra to follow suit. OH encountered this in one form or another many times. During one rehearsal, he says, Solti turned on the first violins and shook the nearest music stand at them. "You must play this better!" he shouted, in that famous Hungarian accent. "I pay you money if you play it better!" OH put up his hand and said: "How much?" Solti was joking, of course - but it turned out that he liked being joked at in return.

UPDATE: And by special request, here is a personal tribute:

Oh joy - it's Gluck!

Much looking forward to hearing the OAE's first "Queens, Heroines and Ladykillers" concert this evening: it stars the incomparable Anna Caterina Antonacci (right) singing Gluck, Cherubini and Berlioz, with Sir Roger Norrington conducting (Royal Festival Hall, kick-off at 7pm). It got me wondering why, when Christoph Willibald von Gluck's music had such a long-range influence, we rarely hear much of it today. So I did some swotting and dropped Sir Roger a line...

Gluck’s surname means ‘Joy’ – and so does his music. Or some of it. Hear Kathleen Ferrier’s recording of the aria ‘Che faro senza Euridice’ (‘What is life to me without thee’) from Orfeo ed Euridice and the directness and depth of the music is unmistakeable: it’s pure aural gold. 

Gluck was a pivotal figure in opera’s development, switching its emphasis away from the virtuosity of its singers to the core of the drama they were supposed to express. His works prepared the ground not only for the operas of Mozart, but also – many decades later – Berlioz and Wagner, who revered him. His biography was written by Alfred Einstein. Strange, then, that it is rare to hear much of his work today, beyond a few “greatest hits”. 

Without Gluck (who was born in the Upper Palatinate in 1714 and died in Vienna in 1787) the history of opera would have been unrecognisable. Berlioz summed him up, writing: “He innovated in almost every field... he was gifted with an extraordinary feeling for expression and a rare understanding of the human heart, and his sole aim was to give passions a true, profound and powerful language.” 

Gluck developed an antipathy to traditional baroque Italian opera seria – perhaps because he was not especially good at writing them. He enjoyed some early successes in the genre, but an attempt to establish himself in London came to a rapid and ignominious end, drawing harsh words from Handel, who famously declared that Gluck “knows no more counterpoint than my cook”. 

Counterpoint was not what interested Gluck. Literature inspired him, poetry, drama and character; when an opera libretto was underpowered, so, arguably, were his results. But at his finest, Gluck reached the cutting edge of Enlightenment composition well ahead of anybody else. 

Einstein made an intriguing accusation, however, suggesting that just after the success of Orfeo ed Euridice in 1762, Gluck reverted to the old opera seria style he disliked for an opera entitled Ezio – possibly for the sake of a good fee. Perhaps he did. But perhaps it didn’t matter: according to Sir Roger Norrington, Gluck’s significance is deeper than just his attempts at musical revolution. 

“Gluck’s influence arose from his melodic genius as much as from his reforming zeal,” he comments. “The touching honesty of his arias gives them tremendous power. I admire the way Gluck risks great simplicity in his musical methods, at a time when elaboration and show were taken to such lengths – Gluck is basically a very serious composer, but he touches the heart with the strength of his feeling.” 

Gluck reached the zenith of fame via a tremendous controversy, stirred up as only Parisian high society knew how. He was the favourite composer of Marie Antoinette, who had once been his pupil in Vienna. With her help, he secured some operatic commissions in Paris in the 1770s and moved to live there. Madame du Barry, mistress of King Louis XV and no friend to his grandson’s queen-to-be, set up a direct opponent, championing a leading Italian composer of opera seria, Niccolo Piccini, and having him summoned to the French capital. Amid these musical dangerous liaisons, the city divided into passionate Gluckists and Piccini-ists, their fans even fighting duels to establish the superiority of their favourite. 

Ultimately the composers fought a musical duel, both writing operas on the same subject, Iphigénie en Tauride. The result? Gluck’s quality shone through for all to hear. 

Now it has a chance to do so again.

The OAE, Royal Festival Hall, 30 September, 7pm. Box office: 0844 875 0073

Triumph of the Spirit

Viktor Ullmann's opera The Emperor of Atlantis, written in 1943 in Terezin, is a centrepiece of English Touring Opera's new season and opens at the ROH Linbury Studio on Friday. Here's a slightly longer version of the piece I've written about it for today's Independent. Before the first performance some early evening events will include a short interview that I will give with Anita Lasker Wallfisch, cellist and survivor of Auschwitz, where Ullmann, his librettist and most others involved with the creation of this opera met their deaths.

Also, do see ETO's video about the opera:

In 1944 the Nazis released a propaganda film entitled The Führer Gives the Jews a City. Terezin, in north-west Bohemia, was the place in question: it had been turned into, supposedly, a show-camp, a smokescreen to blind the world to what was really going on in the other concentration camps. The film – an elaborate hoax – showed artistic individuals within Terezin engaging in creative activities, giving concerts and even putting on their own operas. It did not disclose the grimmer reality that more than 50,000 people were crammed into living quarters designed for 7000, where thousands were dying from starvation and disease. 

Much of Prague’s Jewish population was deported to Terezin, including a number of brilliant musicians and intellectuals; and, perhaps in a terrible irony, they were indeed able to pursue their creativity with what facilities were available. But after their deaths – many of them in the gas chambers of Auschwitz – the musical achievements of Terezin’s inmates, including the composers Viktor Ullmann, Gideon Klein, Pavel Haas and Hans Krasa, lay forgotten for decades, until in the 1970s efforts began to be made to rediscover them. 

This autumn English Touring Opera is taking up the cause of one of the most substantial works forged in these extraordinary circumstances: Ullmann’s hour-long opera Der Kaiser von Atlantis (The Emperor of Atlantis). In a new production by ETO’s artistic director and chief executive James Conway, and paired unusually with a staged Bach cantata, Christ lag in Todesbanden, it will be seen at the Royal Opera House for the first time (in the Linbury Studio), and will then enjoy its first-ever UK nationwide tour. 

Over the past 15-20 years the composers of Terezin have started to be widely recognised, though usually their works appear in programmes themed around Terezin itself. Now Ullmann’s opera will be required to stand as a mainstream work in its own right.

The libretto is by a gifted young poet Peter Kien, who was also imprisoned in Terezin. It is a black comedy poking fun at a dictator who faces a predicament when Death goes on strike (the original title was Death Abdicates). No prizes for guessing which dictator it satirised. That makes it all the more remarkable that the work reached its dress rehearsal in 1943 before the authorities spotted the nature of its content. Once they did, the performance was cancelled, the opera was banned and those involved were put on the next transport to Auschwitz. Ullmann and Kien met their deaths there in 1944.

Before Ullmann was forced into his last train journey, he gave the opera’s manuscript to a friend, a former philosophy professor, for safekeeping. Its survival seems miraculous. Yet it was only in 1975 that it was performed for the first time, in Amsterdam. The first British production was at Morley College in 1981.  

Ullmann more than deserves wider recognition. Born in 1898 in Teschen, Silesia, he was from a family of Jewish background that had converted to Catholicism; both he and his father served in World War I, and the young composer’s experiences in the conflict between Austria and Italy fed into The Emperor of Atlantis. 

He became a composition student of Arnold Schoenberg in Vienna and later of Alexander von Zemlinsky in Prague; his repute as a conductor soon grew as well, though he was dismissed from his post at a theatre in Aussig an der Elbe for selecting repertoire that was too adventurous. Fleeing Nazi Germany in 1933, he established himself in Prague as writer, critic, teacher and lecturer until he was deported to Terezin in 1942. His output includes many excellent art songs and chamber music, as well as an earlier opera, Fall of the Antichrist. 

James Conway of ETO first directed The Emperor of Atlantis some years ago in Ireland; he felt it produced a powerful impact. “Ullmann was a fantastic composer,” he declares, “and I think Peter Kien was a beautiful and poetic writer. The opportunities to perform operas that have a truly poetic script are few – usually in opera, the words have to serve music and narrative. Here narrative is less important, while a visionary quality is more significant, involving political, social and spiritual discussion about life and death. It’s a brilliant depiction – perhaps of aspects of Terezin, but, even more, of a state of being.”

The music is a fragmented and eclectic mix of cutting-edge contemporary style, jazz influence and pastiche: “It literally goes from Schoenberg to vaudeville in the space of two bars,” says the conductor Peter Selwyn, who is at the helm for the tour. “It has moments of extraordinary lyrical beauty. And suddenly the drums come in and you’re whisked away into a showpiece number.”

The Bach Cantata, Christ lag in Todesbanden, has been specially orchestrated for almost the same forces that the Ullmann employs – including the saxophone, but minus the banjo – to unify the two soundworlds. “The Ullmann finishes with a chorale, so the evening will end with a mirror of the way it began,” Selwyn points out. “The Bach cantata concerns the triumph of the spirit and of humanity in the face of death and despair. And the triumph of life over death is the message of the chorale at the end of the Ullmann. That’s the message that we would like the Ullmann to have, bearing in mind the circumstances of its creation.”

“I want the evening to have a consonance about it,” says Conway. “There’s something about dying that declares the richness and integrity of life, and that declares we do not go nameless to death. That effort to take away names and histories we will resist. This opera is a beautiful testimony to the artistic lives of people at Terezin. Even though I insist that the piece has a life independent of the Terezin context, one can’t ignore it. And at the end of the piece I wish there could be applause for Ullmann, Kien and the performers who were taken and murdered before there could be a premiere.”

The Emperor of Atlantis, English Touring Opera, Royal Opera House Linbury Studio, from 5 October 2012, then on national tour until 17 November. Full tour details at http://englishtouringopera.org.uk/tour-dates/autumn-2012

Gramophone needles

Quite a feast at the Dorchester yesterday for the Gramophone Awards.

First of all, it was Benjamin's big day [left]. Since the BBC has moved many of its TV operations, including the Breakfast news programme, to Salford - about 200 miles away from most of the action, eg. the government, a daft decision if ever there was one - he was up north at crack of dawn to appear there. Then whisked all the way back to London just in time to be catapulted onto live Radio 4, for which The World at One was able to cover the awards since the news of them was out early. Next, into the ballroom to accept two prizes, make a couple of speeches and play two party pieces [below], and receive the goodwill of the music industry, which was his by by bucketload.

The indefatigable James Jolly more than lived up to his name as he presented the prizes, aided and abetted by Eric Whitacre and "Sopranielle" de Niese, as someone managed to dub her. Danni treated us to a performance of Lehar's 'Meine Lippen, sie küssen so heiß', over which our host quipped "I bet they do"... Live music too from the mesmerising violinist Patricia Kopatchinskaya, playing the Bartok Romanian Dances in authentic Romanian Gypsy style; and Granados from Leif Ove Andsnes, who was in town to play at the RFH and came in to collect the chamber music prize, awarded to him and Christian and Tanya Tetzlaff for their glorious  recording of Schumann trios. [Above, he collects his award from Danni.]

There were touching moments aplenty. Think of the filmed interview with Murray Perahia, who scooped the new Piano Prize, proving yet again why genuine musicianship cannot be trumped by anything, ever; or the turbo-charged voice of Joseph Calleja, scooping Artist of the Year. Most moving of all, though, Vaclav Talich's granddaughter came in to accept the historical recording award on his behalf: his Smetana Ma Vlast, given in concert in 1939 two months after the Wehrmacht marched into Prague and featuring a moment in which the audience spontaneously broke into singing the national anthem. There's no other moment like it on disc, said Rob Cowan.

Priceless, too, was the announcement of Record of the Year, which went to the Baroque Vocal category for Schütz's Musikalische Exequien - from the Belgian choir Vox Luminis and its director Lionel Meunier. A towering figure (literally) with a blend of charm and modesty that captured everyone's hearts as he stood, overwhelmed, by the microphone [left], Lionel explained that the whole recording was organised in his kitchen and he could hardly believe he was going to go back to his choir the next day and say "We f***ing got Record of the Year!" 

Plenty of time for chat, gossip and networking in between, natch: a chance to clink glasses with some and say "Better times ahead?" and others to say "Bravi", and others still to reflect on the growing parallels between two of our greatest tenors now, Calleja and Kaufmann (who pre-recorded a thank-you speech for the Fidelio recording with Abbado and Nina Stemme that took the opera prize) and, respectively, force-of-nature Pavarotti and deep-thinking, dark-toned Domingo. 

Among my most interesting encounters was a discussion with a critic who'd come in from the pop culture world to see what it was all about. He was furious. Why? Because, he says, there's all this incredible music, yet it's somehow been sectioned off and the world at large never gets to hear it! The decision-makers in the British media don't include it as part of culture in general, and they should. It's been ghettoised. And not through any fault of its own - millions of people love it when they have the chance. Why keep it out of the mainstream with some cack-handed inverted snobbery that says the general public isn't capable of appreciating it?

One more Gramophone needle: here's the line-up of winners for the final group photo.

That's right, they're all blokes. 

Violinist Isabelle Faust won the concerto category, to be fair-ish; Tanya Tetzlaff features in the chamber music, and Nina Stemme in Fidelio, but the latter scarcely got a mention while everyone was drooling over Jonas's speech and adulating Claudio Abbado who won the Lifetime Achievement award. The two women who collected awards did so on others' behalf: Talich's granddaughter and Perahia's wife. 

Of course, there's a strong feeling that these awards are for musical achievement alone and gender balance shouldn't matter. In an ideal world, yes, fine. But this isn't one. Given the number of world-class female musicians on the circuit at present, how is it possible that only one-and-two-bits were among the winners of so many major awards? 

I still have the feeling that to be fully recognised as a woman musician, you must work five times as hard as the men and look perfect as well. There's an unfortunate double-bind in the music industry: those charged with selling the artists via image doll up the women as sex symbols, only for a fair number of critics to succumb at once, consciously or otherwise, to the prejudice that "they're being sold on their looks, so they can't be any good". This isn't the way it ought to be. 

I begrudge none of these marvellous male musicians their prizes: each and every one was fully deserved. Yet is it now time to introduce an alternative industry award, like the erstwhile-Orange Prize for Fiction, to boost the wider recognition of female classical musicians on the strength of their artistry, not their looks? Sad to say, but the answer is yes.