In my Amati.com Soapbox this week I've tackled a particular bugbear of mine: please can we have less curating and more artistic directing in these parts?
http://www.amati.com/articles/1046-please-return-our-artistic-directors.html
And yes, that is me as the Statue of Whatever's Left of Liberty.
Tuesday, December 03, 2013
Sunday, December 01, 2013
Benjamin Britten: "My Fairy-Tale Uncle"
My Yorkshire sister-in-law has drawn my attention to this wonderful memoir from a member of the Sheffield Philharmonic Chorus, which is performing the Britten War Requiem tonight at Sheffield City Hall with the CBSO under Michael Seal.
Steve Terry is supporting the performance through the Friends of Sheffield Philharmonic Chorus Scheme "in celebration of my late wife and of Benjamin Britten's genius". He knew Britten well as a youngster and has written about their friendship on the website. He remembers BB as "a fairy-tale uncle, living in a beautiful house full of treasures (Constable paintings, Rodin and Henry Moore sculptures, a gorgeous parrot) and creating the most remarkable music, which I found both accessible and intellectually and emotionally challenging." Read it all here.
Steve Terry is supporting the performance through the Friends of Sheffield Philharmonic Chorus Scheme "in celebration of my late wife and of Benjamin Britten's genius". He knew Britten well as a youngster and has written about their friendship on the website. He remembers BB as "a fairy-tale uncle, living in a beautiful house full of treasures (Constable paintings, Rodin and Henry Moore sculptures, a gorgeous parrot) and creating the most remarkable music, which I found both accessible and intellectually and emotionally challenging." Read it all here.
Saturday, November 30, 2013
Stephen Langridge talks about Parsifal
The Royal Opera House's new production of Parsifal opens in three-quarters of an hour. I'm not going until 11th, but can't wait...it will be my 4th Parsifal
of this year. I simply couldn't stand the thing when I first heard it.
Yet now the piece has got under my skin the way no opera has since Die Zauberflote.
So it was intriguing to be presented with the chance to ask its
director, Stephen Langridge, a few big questions in an e-chat...(This is a long version of a short piece for the Indy.)
JD: What does it mean to you personally to be directing Parsifal?
SL: I first saw Parsifal in the Hans Jürgen Syberberg film version as a teenager, and loved it… but in my twenties I really fell out with the piece (loathed it), and only in the last few years have I returned to it. But even when I hated it I was always aware of its enormity and importance. Now I find myself moved by its simple humanity and complex almost desperate scrabble for spiritual meaning in life.
JD: Please tell us something about what you're doing with it in this new production?
SL: There are a couple of clear developments the piece which emerge from a close consideration of the story’s background and when you take the characters seriously as people rather than symbolic representations of an idea. One is the effort to effect a paradigm shift – to move from a world ofschadenfreude, cruel mocking laughter at another’s suffering, to one of mitleid, compassion. The other is from a hierarchical, closed and exclusive spiritual community, to an uncovered Grail, where each person must make their own connection with the numinous. These ideas are on one level, simple, but Wagner is not simplistic, and he forces us to experience very dark twists and turns on the journey. Our attempt is to tell a clear story, but to allow the piece to keep its mystery: to find recognizable humanity in the characters, but also to keep the magic of the myth.
JD: Many opera-lovers (myself included) feel that Parsifal is itself a kind of Holy Grail... What are its biggest challenges, excitements and dangers for you as director? Do you see it as in any way a story for our times?
SL: Parsifal is like the Holy Grail if you are ever tempted to think that there is a perfect way to do it, which will be forever relevant. Its philosophy and even its narrative are slippery, contradictory, intangible. It is a huge piece - not just in terms of length - through which there are probably as many journeys available as there are people to engage with it. As a director I suppose the main thing is not to be overwhelmed by its performance history, but to listen openly as if for the first time, to focus on the human moments that resonate and move us. Is it a story for our own times? Yes – but perhaps this could be a definition of any masterpiece, when a piece’s multifaceted complexity reveals itself anew to each generation.
JD: Wagner has become desperately associated with the Nazis and anti-Semitism. How can we best deal with this today?
SL: Wagner was anti-Semitic, and he wrote and said poisonous things. But I think he composed beyond his bigotry, plunging instinctively into deep myth structure. I don’t think that we need to present his operas to comment on his horrible views. If I felt that was all that was going on in Parsifal, I wouldn’t direct it. It’s right to continue to examine and expose Wagner’s views and behavior, and to wonder at this same man being able to compose such sublime music, and to dedicate his last work to the idea of human compassion. In the stark contradiction sits flawed humanity.
JD: What does it mean to you personally to be directing Parsifal?
SL: I first saw Parsifal in the Hans Jürgen Syberberg film version as a teenager, and loved it… but in my twenties I really fell out with the piece (loathed it), and only in the last few years have I returned to it. But even when I hated it I was always aware of its enormity and importance. Now I find myself moved by its simple humanity and complex almost desperate scrabble for spiritual meaning in life.
JD: Please tell us something about what you're doing with it in this new production?
SL: There are a couple of clear developments the piece which emerge from a close consideration of the story’s background and when you take the characters seriously as people rather than symbolic representations of an idea. One is the effort to effect a paradigm shift – to move from a world ofschadenfreude, cruel mocking laughter at another’s suffering, to one of mitleid, compassion. The other is from a hierarchical, closed and exclusive spiritual community, to an uncovered Grail, where each person must make their own connection with the numinous. These ideas are on one level, simple, but Wagner is not simplistic, and he forces us to experience very dark twists and turns on the journey. Our attempt is to tell a clear story, but to allow the piece to keep its mystery: to find recognizable humanity in the characters, but also to keep the magic of the myth.
JD: Many opera-lovers (myself included) feel that Parsifal is itself a kind of Holy Grail... What are its biggest challenges, excitements and dangers for you as director? Do you see it as in any way a story for our times?
SL: Parsifal is like the Holy Grail if you are ever tempted to think that there is a perfect way to do it, which will be forever relevant. Its philosophy and even its narrative are slippery, contradictory, intangible. It is a huge piece - not just in terms of length - through which there are probably as many journeys available as there are people to engage with it. As a director I suppose the main thing is not to be overwhelmed by its performance history, but to listen openly as if for the first time, to focus on the human moments that resonate and move us. Is it a story for our own times? Yes – but perhaps this could be a definition of any masterpiece, when a piece’s multifaceted complexity reveals itself anew to each generation.
JD: Wagner has become desperately associated with the Nazis and anti-Semitism. How can we best deal with this today?
SL: Wagner was anti-Semitic, and he wrote and said poisonous things. But I think he composed beyond his bigotry, plunging instinctively into deep myth structure. I don’t think that we need to present his operas to comment on his horrible views. If I felt that was all that was going on in Parsifal, I wouldn’t direct it. It’s right to continue to examine and expose Wagner’s views and behavior, and to wonder at this same man being able to compose such sublime music, and to dedicate his last work to the idea of human compassion. In the stark contradiction sits flawed humanity.
Parsifal, Royal Opera House, from 2
December. Box office: 020 7304 4000
And here is a video preview in which Gerald Finley talks about singing the role of Amfortas.
My R3 Chopin Ballades podcast
If you missed my Building a Library today, comparing recordings of Chopin's 4 Ballades on BBC Radio 3's CD Review, you can download it as a podcast here:
http://www.bbc.co.uk/podcasts/series/bal
Enjoy!
http://www.bbc.co.uk/podcasts/series/bal
Enjoy!
Friday, November 29, 2013
Tomorrow on Radio 3...
Tomorrow morning my Building a Library on the Chopin 4 Ballades is on BBC Radio 3 at about 9.30am. I may live-tweet it. Or I may hide. Haven't decided yet.
After the Wagner play last Sunday, another Alicia's Gift two nights ago, getting an iPhone yesterday and trying to learn how it works (a decision that has taken, um, 5 years) and generally trying to stay on top of everything, I'm knackered. So...time for some wonderful ballet.
I've often wondered why the Chopin Ballades haven't been choreographed more often - apart from the obvious challenges for the pianist in residence, they would seem a gift to the world's great dance dramatists, wouldn't they? Until now I'd only found Jerome Robbins's The Concert with its marvellous Butterfly dance for the Third Ballade....but John Neumeier has created La Dame aux Camélias to Chopin, and here are Sylvie Guillem and Nicholas Le Riche working absolute wonders with a pas de deux to the great G minor Ballade No.1 - sexy, doomed and devastating. (Ne tirer pas sur le pianiste...)
After the Wagner play last Sunday, another Alicia's Gift two nights ago, getting an iPhone yesterday and trying to learn how it works (a decision that has taken, um, 5 years) and generally trying to stay on top of everything, I'm knackered. So...time for some wonderful ballet.
I've often wondered why the Chopin Ballades haven't been choreographed more often - apart from the obvious challenges for the pianist in residence, they would seem a gift to the world's great dance dramatists, wouldn't they? Until now I'd only found Jerome Robbins's The Concert with its marvellous Butterfly dance for the Third Ballade....but John Neumeier has created La Dame aux Camélias to Chopin, and here are Sylvie Guillem and Nicholas Le Riche working absolute wonders with a pas de deux to the great G minor Ballade No.1 - sexy, doomed and devastating. (Ne tirer pas sur le pianiste...)
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