Monday, May 27, 2013

New Perryman portrait for Symphony Hall...


This is Norman Perryman's brand-new watercolour portrait of Bryn Terfel as The Flying Dutchman. It is due to join the substantial gallery of this unique music-focused artist's work at Symphony Hall in his native Birmingham, where it will be unveiled on 7 June.

Norman writes on his blog:
"This painting is inspired by fragments of the Dutchman’s role that Bryn sang to me in our portrait “sitting” (actually standing) in a Milan apartment. He chose parts of the famous monologue “Die Frist ist um” (“The term is up…once more”) when the Dutch captain is pleading with the angel in heaven and wrestling with his fate. The mariner is condemned to roam the seas, allowed to go ashore after every seven years. But if he can find someone who will be faithful to him unto death, he will be released from his curse. Since then, I’ve been playing this opera continuously in my studio (and every other recording Bryn has made!). My paintings are always driven by the music and I delved deep into the intense emotions of the plot, from depression to disappointment, ecstasy and tragedy. It gets quite exhausting!

"Rejecting idiosyncratic images from various opera productions, I put together my own impressions of Bryn as the Dutchman, with a seaman’s hands, tanned complexion, long hair and leather long-coat and with a somewhat ambiguous expression, somewhere between desperation and a glimpse of hope. The background and brushwork suggest not only the stormy atmosphere, but the emotional drama of the surging music. Bryn’s phenomenally expressive voice and his dramatic stage presence made the creation of this painting a very intense experience." ...
Read the rest of his post about the painting here.

Friday, May 24, 2013

The lives of other birds? Gabriel Yared talks about writing for Ravel Girl

My interview with Gabriel Yared, composer of the new mingled orchestral and electronic score for Raven Girl, is up now on the Royal Opera House's website. Raven Girl's world premiere is tonight (I'm going to see it next week) and dance fans are on tenterhooks.

More on Raven Girl here:
http://jessicamusic.blogspot.co.uk/2013/05/raven-ous-at-ballet.html
Booking here.

Yared has scored such movies as Betty Blue, The English Patient and The Lives of Others, to name but three. Here's the interview: http://www.roh.org.uk/news/raven-girl-composer-gabriel-yared-on-scoring-for-the-stage-rather-than-the-screen

Wagner Friday Historical, sort of



It's not easy to choose a Friday Historical for Wagner Woche, and this extract dates from 1976, which in the grand scheme of things is not terribly historical. Nevertheless, there's a distinct sensation of "they don't make 'em like this any more" about Gwyneth Jones's Brunnhilde and Donald McIntyre's Wotan. This is the final scene of Die Walküre in Patrice Chéreau's tremendously human and humane staging from Bayreuth, conducted by the peerless Pierre Boulez.



In case you missed my love letter to Big Richard on his birthday the other day, here's the link.

Thursday, May 23, 2013

Raven-ous at the ballet

Here's my preview from The Independent of the new ballet Raven Girl, created by Wayne McGregor in collaboration with writer and artist Audrey Niffenegger. (Hover about for more, too.)
Audrey Niffenegger, author of the bestselling The Time-Traveler's Wife, has never felt that she was cut out for ballet. "I'm five foot nine, I'm not the most athletic person by any stretch of the imagination and I've always had a poor sense of balance," she remarks. "Watching someone go up on pointe, it's like, 'How does she do it?'. I didn't even learn to ride a bike until I was nine – I kept falling over. I felt like another species!" ... 
 Read the whole thing here: http://www.independent.co.uk/arts-entertainment/theatre-dance/features/how-to-follow-the-time-travellers-wife--a-ballet-8626051.html

And a video from rehearsals...



Opens tomorrow night at the ROH.

Adieu, Dutilleux



Adieu, Henri Dutilleux (1916-2013) - who was my favourite living composer, an artist with all the sensibility of the great French tradition to which he'd been heir, but the originality to move that soundworld to new territories that were all his own. I never met him, despite wishing to do so very much. Here is his obituary from his publisher, Schott.
http://www.schott-music.com/news/archive/show,8929.html

A poem from Baudelaire's Fleurs du mal, on another of which Dutilleux's cello concerto Tout un monde lointain (extract above) is based - perhaps an appropriate farewell...

La Fin de la Journée
Sous une lumière blafarde
Court, danse et se tord sans raison
La Vie, impudente et crarde.
Aussi, sitôt qu'à l'horizon
La nuit voluptueuse monte,
Apaisant tout, même la faim,
Effaçant tout, même la honte,
Le Poëte se dit: "Enfin!
Mon esprit, comme me vertèbres,
Invoque ardemment le repos;
Le coeur plein de songes funèbres,
Je vais me coucher sur le dos
Et me rouler dans vos rideaux,
O rafraîchissantes ténèbres!"