Friday Historical: Vladimir Horowitz out-takes

"Listen, you wanted Moszkowski, maybe?..."

Just stumbled on this little selection of out-takes from Vladimir Horowitz - The Last Romantic. Wow.

New Year Fireworks!

HAPPY NEW YEAR!

As a disembodied voice said over the firework display by the Thames, "London 2012: we did it right". Wonder if we can keep that up in 2013? 

Here are a few handy points for starting the year with best foot forward.

1. Feel free to enjoy the New Year's Day Concert from Vienna. Whatever those self-righteous moaners say about the Vienna Philharmonic, I love it and New Year's Day would feel all wrong without it...
UPDATE, 11.55am: woops. This year's, conducted by Franz Welser-Most, really is "frankly worse than most" and I have SWITCHED IT OFF for the first time in living memory. There's no point grumbling about the number of women in the orchestra if there is an elephant on the podium.

Solution? Make Your Own New Year's Day Concert. Here's Willi Boskowsky, leading a Csardas with violin, smile and real pizzazz in 1967. This, dear friends, is more like it...



2. Make some fun resolutions. Yesterday the Royal Opera House asked us on Twitter for our best operatic ones. Mine include recognising that gold rings are overrated, especially when sourced in the Rhine - stick to platinum in future. And do not write unsolicited love-letters to handsome visitors, even if they can sing in Russian.

3. Then there are non-operatic resolutions, such as practising the piano, going back to ballet class, finishing the new novel, and other things that are probably doomed if you have to make a resolution about doing them.

4. Invest in some good carpet shampoo. Handy for cleaning up others' mess. (I think Solti must have overindulged at the cat party last night.)

5. Ring out the old, ring in the new. What's past is past.

6. Speaking of the Ring, this year there will be so much Verdi, Wagner and Britten around that it's tempting to board up the windows and say GONE SOMEWHERE SUNNY, SEE YOU IN 2014. Which of the three birthday boys will you still want to hear in 366 days' time?

7. While V, W and B are carpet-bombing us (or should that be BWV? is it all a plot by Bach?), please don't forget Lutoslawski. Luckily the Philharmonia is celebrating his centenary. Krystian Zimerman is performing the Piano Concerto that Lutoslawski wrote for him - RFH, 30 January.

8. I have a new concert-of-the-novel in the works, this time based on Alicia's Gift, with the lovely pianist Viv McLean. The story of a child prodigy trying to grow up, it includes piano music by Chopin, Ravel, Granados and others. I read, Viv plays and we'll launch it in the autumn. Ideal as a coffee-concert with a difference. Book us!

9. The Hungarian Dances concert and A Walk through the End of Time are expecting more airings - watch this space. I'm also looking forward to some seriously exciting interviews and various things that are currently queuing up in the ether, waiting to be written and performed.

10. It's tough out there. We'll all have to be positive and ingenious to navigate through '13. But if we have music, love and laughter in our hearts, we can do that. We need to invent, communicate, inspire and do good things. And you know something? We intend to. Please join us.

Lesley Garrett to play the spy who sang to Hitler

We interrupt the seasonal festivities to bring you news of a film in production based upon the extraordinary story of Margery Booth. An opera singer from Wigan, Booth became a spy during World War II and apparently sang to Hitler while state secrets were hidden in her knickers. Imperial Film Productions is developing the project with screenwriter Ralph Harvey, director Xavier Koller and, in the leading role, the one and only Lesley Garrett. The cast is also to include Udo Kier as Hitler.

More information about Margery Booth: The Spy in the Eagle's Nest can be found at www.margerybooth.com. Interested co-producers are urged to get in touch via the website to share the bringing of this fascinating story to the screen.

Ralph Harvey writes:

Margery Booth – The Opera Singer who spied on Hitler
It was her beautiful mezzo-soprano singing that melted the heart of one of the most evil men in history.  From humble beginnings in Wigan, Margery Booth, by sheer determination and armed with the magical gift of a magnificent singing voice, rose to be one of the top opera stars of Europe.
Courted by Ernst Ströhm, a wealthy business man and heir to a brewery fortune, Margery succumbed and eventually married him.  Although the union was initially successful, it ultimately proved to be a disaster and after the war in Europe ended Margery eventually divorced him.
Through her husband’s contacts in high society in Germany she rose to the top, and her highly acclaimed performances drew the attention of none other than the Führer himself, Adolf Hitler, who on one occasion personally delivered 200 red roses wrapped in a swastika flag and, totally enamoured of her, continued to ogle her throughout her performances from his private box.
Margery had, however, been recruited by MI6 whilst MI9 had also recruited John Brown, a former but now disillusioned member of Mosley’s infamous Fascist Blackshirts, and through the SOE arranged for him to be captured on the Normandy beaches so that he could work as a spy in a PoW camp.
As a guest in Hitler’s Wolf’s Lair, Margery rubbed shoulders with the top ranking Nazi hierarchy and, now totally trusted by Hitler, she was allowed to visit PoW camps where she not only sang but was able to contact John Brown and collect secrets for passing on.
Margery was suspected at one stage by the SS who moved in to search her, but John thrust some secret plans down her dress when they weren’t looking.  They escaped their search unscathed, but henceforth she was forever known as Margery the “Knicker Spy”.
In the closing days of the war she was arrested again but escaped during an Allied bombing raid just as she was about to be tortured, eventually reaching the American lines.  Then nearly shot, but fortunately it was her accent which miraculously saved her as an American soldier recognised it, having had been in Lancashire before the war.
Margery Booth’s story is one of the most amazing – and until now untold – stories of the war, and I have been privileged to research and write it for Imperial Film Productions and now on IMDb as Margery Booth: The Spy in the Eagle’s Nest.
This then is her story. 

Ralph Harvey – screenwriter.

JDCMB GINGER STRIPE AWARDS 2012

Welcome back to the Cyberposhplace for the JDCMB Ginger Stripe Awards 2012!

The doors are wide open, the candles are lit - but protected from all contact with clothing, black lace and otherwise - and there are sparkles absolutely everywhere. Gretel, the Good Fairy of the South West, has been busy with the virtualfairydust and as you walk through the gold and silver portals you may find your brow annointed with glitter.

It's the Winter Solstice and traditionally this is the day we gather for our VirtualAwardsCeremony to celebrate the highs of the musical year. For the sake of decorum, we are drinking cyberprosecco rather than cyberchampers this time, and the virtualcelebritychef is aided and abetted in the kitchen by Gretel, who's brought her famous themed canapes. But nothing (within reason) is off-limits in the cyberposhplace, which is everything you want your best cyberposhplace to be. We enjoyed our little trip to Denmark last year, ahem, but it is good to be back.

As we congregate under the chandelier to toast our musicians, the air fills with warmth, golden light and the scent of orange blosson - and some silk chiffon unfurls to welcome our celebrity guest, Fritz Delius. Yes, Fritz, because he's about 23: handsome, vigorous, sexy, rebellious and filled with lust for life. He is as yet unblighted by the disease that turned him into Song of Summer, and he hasn't got round to changing his name to Frederick. Dear Fritz, neither have you yet written your opera A Village Romeo and Juliet. But I've heard it even if you haven't, and it is one of the most beautiful creations in all of music. It moved me to tears. I can't bear the thought that something so wonderful goes unappreciated in this crazy, negation-of-the-negation world. Thank you, Wexford Opera Festival. Please, someone, can we have the complete Koanga next? Fritz, come on in. Someone get that man a drink!

Now, let’s have a round of applause for every musician who has touched the hearts of his or her audience during the past 12 months.

All right, all right...quiet, please. Would the following winners please approach the podium where Solti, ensconced upon his silken cushion, will let you stroke the ginger stripes and will give you your very own prize purr.

Icon of the year: It's been a difficult year, full of farewells: many great people have passed from this world to the next, and thence into the realms of legend. But one man will be missed perhaps most of all: the extraordinary composer Elliott Carter, who made it to 103. Most of us had decided he was probably immortal. Now he is. We miss his fearless complexity, his twinkling humour and his great humanity. "The greatest American composer who ever lived," says John Tavener. Thank you for your lifetime of music-making.

Pianist of the year: Given the quality of the piano performances I've heard in the past 12 months, this should be more difficult than it is. But it's not. Andras Schiff's sublime Beethoven blew everyone else clean out of the water. Dearest Maestro, please accept a dusting of sparkle, heartfelt thanks and plenty of purrs.

Violinist of the year: Actually it's the violin and piano duo of the year: Bradley Creswick and Margaret Fingerhut. Performing the Hungarian Dances concert-of-the-novel with them at the Buxton Festival was simply glorious. Bradley, leader of the Northern Sinfonia, plays the living daylights out of that Gypsy repertoire.

Singer of the year: Please step forward, Sarah Connolly. Her performances as Oktavian for ENO and as Fricka in Covent Garden's Die Walkure blazed brilliant with ruby-red tone, transformative characterisation and zap-strong psychological insight. Amid already fine casts, her artistry was the central oak and in the Wagner her portrayal of Fricka's anguish made sense of the story of the entire Ring Cycle. Brava and thank you!

Opera company of the year: Wexford was wonderful, and Salzburg was impressive. Covent Garden has had its moments. But my happiest evenings at the opera this year have been at ENO. A seat-of-the-pants Flying Dutchman, conducted by Ed Gardner. A Rosenkavalier that left us all gibbering wrecks of wonderment, starring Amanda Roocroft, Sarah Connolly, Sophie Bevan and Sir John Tomlinson, conducted by, oh, Ed Gardner. The Death of Klinghoffer, which it was great to see at long last. The Magic Flute, my favourite opera of all. And Vaughan Williams's The Pilgrim's Progress, which was almost as beautiful as that Delius. The list could continue.

Artist of the year: Angela Hewitt, who gets at least three annointings with glitter. First, for her performance of the first part of The Art of Fugue at the RFH, because I don't know how anyone does that at all, let alone making it so beautiful, so fascinating, so riveting. Second, for her inspired and daring recording of the Schumann Piano Concerto, with conductor Hannu Lintu (left). Third, for kindly recommending a naturopath, thanks to whom I am feeling well again after a hellish year. The cyberbanquet tonight is consequently gluten-free.
 

Youthful artist of the year: Joint winners, both young pianists whose gifts restore my faith in life and music. Benjamin Grosvenor, 20, and Daniil Trifonov, 21: boys whose deep-seated musicianship lights up every piece they touch. It is wonderful to see the art of great pianism alive and well and living in the 21st century. Come and get your glitter and your purrs, lads. We look forward to loving your playing for years and years and years.

Conductor of the year: Sir Roger Norrington, it is you. Oh yes, it is. Listening to your overwhelmingly gorgeous, funny, adorable, detailed, genius Haydn with the OAE a few months ago, I realise that I remember every one of your concerts that I've ever attended. I've loved or loathed them, I admit - one or the other, every time, with nothing much in between - but either way I've never forgotten any of them. Thank you. Sorry if I've sometimes been a pig about your vibrato thing. Please accept some glitter - after all, it's already shining in your music-making.

Interviewee of the year: Pierre Boulez. What a privilege to meet and interview such an extraordinary man. Boulez not only has an intelligence that slices to the core of any issue with the surety of a neurosurgeon's hand, but he also has the wisdom to see the bigger picture, the heart to smile about it and the ceaseless creativity to keep devising ways to change things. If something is wrong, he says, you can't just sit there and do nothing.

Musical sports personality of the year: A new category for the year of the London 2012 Olympic Games. Step forward, please, Anthony Hewitt, the Bradley Wiggins of the piano. Tony spent three weeks in the spring cycling from Land's End to John O'Groats as "The Olympianist". Every day he covered 70-90km and gave at least one recital at his destination, raising money for musical and sporting charities for children. Even beyond that project, he's still the only pianist I can think of who prepares for a recital by going on a 100km cycle ride. Here is some well-deserved glitter...


 It's a good year for Hewitts here at the Ginger Stripe Awards, but please note: to the best of our knowledge the two A. Hewitt pianists, Anthony and Angela, are neither related nor married. I'm not sure they've even met. Maybe we need to get a good piano genealogist on to them.

Ballet of the year: A new category, because ballet is at last part and parcel of my professional life. The best new ballet I've seen this year I actually didn't write about at the time, but it is Faster, choreographed by David Bintley for his Birmingham Royal Ballet. It's Olympic-themed, exploring the topic in ways you never dreamed ballet could: a duet for an athlete and a figure representing her injury and her relationship with it, for example; a remarkable pas de trois based on slow motion pole-vaulting; and a finale all about running that plays with time, space, speed and perspective with the bedazzlement of a kaleidoscope. A magnificent company piece showing off extraordinary corps de ballet work and apparently endless stamina, it's set to a terrific post-minimalist score by Matthew Hindson. And if you think synchronised swimming can't be put into a ballet, think again. Fabulous.


Stuffed Turkey: That Meyerbeer at the ROH. Fascinating to write about; excruciating thereafter.

Lifetime Achievement Award: This goes en masse to our composers. I've been fortunate to encounter some wonderful ones this year. Pierre Boulez, of course, but also the much-loved John Adams; and Judith Weir and Errollyn Wallen, whose respective operas, performed last winter at Covent Garden, absolutely did not deserve the panning they got from much of the press. Then Roxanna Panufnik's colourful and atmospheric violin concerto Four World Seasons for Tasmin Little and the London Mozart Players received a wonderful premiere in March and Roxanna's new CD Love Abide is out at any moment. And Michel van der Aa has won the Grawemeyer Award.

Anybody who writes good new music in the classical vein in these ridiculous times deserves much more than a Lifetime Achievement Award - because it has to be new music that makes the entire art form alive and vibrant and necessary. Keep on keeping on, then. It's the only way.

Take a bow, everybody...Thank you. Thank you for your moving, uplifting, inspiring, life-enhancing music-making. You’re wonderful. We love you.

And a few personal highlights...

Proudest moment: The performances of my play A Walk through the End of Time at the Orange Tree Theatre, Richmond, starring Harriet Walter and Henry Goodman, formed a day that I will remember with joy, love and a certain incredulity for the rest of my life. Thank you, International Wimbledon Music Festival!

Weirdest moment: "Getting" modernism. I've undergone a revolution in musical taste this year - perhaps the result of other upheavals in life that can't leave you unchanged. Listening to Barenboim conducting Boulez at the Proms and thinking "this is totally bloody incredible". Attending two works by Bernd Alois Zimmermann, including Die Soldaten at Salzburg, which left me speechless. Discovering that I am really looking forward to hearing some Birtwistle in the new year when Covent Garden revives The Minotaur. We embrace and applaud their courage, their energy, their lack of compromise.

Quote of the year: At a wedding the other week I was amazed to meet the man who utters my favourite line in all cinema. But I was embarrassed because initially, though I knew I knew him, it took me a moment to place him. "Don't worry about it," said his wife. "It was a long time ago, and he was wearing a dress."

(He is, of course, Terry Jones, and the line is: "He's not the Messiah! He's a very naughty boy!")

Biggest sigh of relief: Return of the OH from six months abroad, following the most hideous episode I've ever encountered during a quarter century in the already ugly music business. Shame on all the people who perpetrated it, stirred it, exploited it and got away with it. No cyberprosecco for them!

Special Guest Award: Dedicated to Gretel, the Good Fairy of the South West, and her magic circle of courageous spirits, bohemian freethinkers and passionate, great-hearted music-lovers - for rallying round, keeping me sane and bringing the fairydust.

Feline of the year: Solti has no competition. He's been as much of a brick this year as any cat can be. Some special fish for you, Soltikitty, once you've finished your presentations today.

Wonderful Webmaster of the Year: The award always goes to Horst Kolo, who designs and maintains www.jessicaduchen.co.uk with a patience that few others could muster, now or ever.

Thank you, everyone. And now, to entertain us, taking us back in time, here is....CYBERABBA! Think about it: we should be so lucky as to have music, love and laughter in our lives, the company of friends, the good fortune to share our passions with joy. Let's live a little. Let's celebrate. Let's dance.

The trouble with sparkles

T'other day I was out shopping when the girl behind the counter, returning my credit card, handed me a gift of a Christmas cracker covered in sparkles. I think our neighbours must have got one too, because they put through our door a cracker joke that runs: "Which players can't you trust in an orchestra? The fiddlers."

The trouble with the sparkles is that they're fairy dust and they fall off. Next thing you know, they're on the kitchen floor, in the cat food, under the piano, on the train and, by now, probably all over the Royal Festival Hall.

And they've got into JDCMB. We all sometimes need to get our sparkle back, so here are five favourite bits of musical glitter and winter snow to light the long evenings, aided and abetted by some great dancing. And they're not all Russian. Don't forget that this Friday it's the Winter Solstice and time for the JDCMB Ginger Stripe Awards!

Prokofiev: The Winter Fairy, from Cinderella - Frederick Ashton's choreography, with Zenaida Yanowsky



Schubert: Der Winterabend, sung by Werner Gura with pianist Christoph Berner. The gentler sparkle of moonlight on snowy stillness...




Tchaikovsky: The Silver Fairy variation from Act III of The Sleeping Beauty (look! No Nutcracker!). Danced by the Royal Ballet's Laura Morera.



Brahms: Es tönt ein voller Harfenklang. (Yes, there are sparkles in Brahms. Just listen to this...) Abbado conducts members of the Berlin Phil and the Swedish Radio Choir.



Rachmaninov: Suite No.2 for two pianos, second movement - Waltz. Alexander Goldenweiser and Grigory Ginzburg don't play it as fast as Argerich and Freire, but there's time to wallow in the glitter.