Pianist lands a dream job

Piers Lane. Photo: (c) Keith Saunders

And the dream job lands a great guy. The Australian pianist Piers Lane has been announced as the new artistic director of the Sydney International Piano Competition. 

It's a fine and respected event in one of the contest world's most gorgeous cities, inaugurated in 1977 by its founder Claire Dan, founder of the Cladan Cultural Exchange Institute. The finals take place in the concert hall of the Sydney Opera House.

Lane won the prize for Best Australian Pianist at its inaugural competition and was on the jury in 2004; besides being an ever-popular presence on the concert platform he is artistic director of the Australian Festival of Chamber Music in Townsville and has spearheaded in London the annual Myra Hess Day at the National Gallery.

He is a sought-after adjudicator, a tireless treasure-trove raider in the rare repertoire department, and a recording artist whose discs for Hyperion are a constant delight. He's also a thoroughly lovely bloke and a man of integrity. The world of music competitions needs such people.

Maybe Leeds has missed a trick by letting him slip through the net to the other side of the world.

Update - here's an interview Piers gave to the ABC re his appointment.

JD meets...Louis de Bernières

I took a writer whose books I adore to lunch at Claridge's a few weeks back. My Editor's Lunch with Louis de Bernières has just gone live at The Amati Magazine and in it the author tells me about the lavish role that music plays in his life and work. And we hear about the new book that's coming out in July - his biggest in a decade. Read the interview here...

Watching Matthew Bourne in rehearsal...

Zizi Strallen rehearsing as Lana. Photo: (c) Micha Theiner

I trekked off to Three Mills Studios the other week to watch Matthew Bourne's company rehearsing the long-awaited revival of The Car Man and depict him in action... the resulting piece is in The Independent today, here.

By the way, part of the score for this roller-coaster Carmen adaptation are based on the Russian composer Rodion Shchedrin’s reworking for strings and percussion of highlights from the original, augmented with further arrangements by Terry Davies. Shchedrin made his version originally for his wife, Maya Plisetskaya, at the Bolshoi in the sixties; she was keen to dance the role of Carmen. Apparently she asked Shostakovich first, but the great Dmitri demurred. And Bourne says that he asked Shchedrin if he'd be interested in expanding the original. "He said something like 'Couldn't you play it backwards?', so I guess he wasn't," he remarks. Expanding the score was his first project with Terry Davies, he adds, and happily they have been working together ever since.

Shchedrin might well feel that he has had quite enough of Carmen: so quirky, fresh, convincing and useful is this suite that it has been taken up by ballet companies the world over. Carlos Acosta is planning a new version too. 

Last year was all about Manon; this year it's Carmen. I've just written an article about a fascinating play sparked by the idea of a singer who seems doomed to play Carmen over and over and over and over again. Should be out soon. 

Farewell, Dennis Marks (1948 - 2015)

Dennis Marks in Budapest, 2000 (Photo: BBC)

The music business is in shock at the news that Dennis Marks, former head of BBC Music and one-time general director of English National Opera, has died of leukaemia at the age of 66. Dennis was a dear friend and deeply supportive in times of trouble, besides being a true polymath with a massive inner library of cultural knowledge and apparently endless spheres of interest. Having not seen him around his usual haunts in some time, I had blithely assumed he was busy writing a book or some radio scripts. Alas, this can't have been the case. All our thoughts and love go to his widow, Sally Groves.

One of my favourite memories of Dennis dates from my launch bash for Songs of Triumphant Love in 2009. After a drinks party in Daunt Books, Marylebone High Street, a bunch of us sloped off for an Italian meal nearby. It was August and Glyndebourne was in full swing; there my husband had made friends with Adriana Kucerova and Jennifer Holloway, who were starring in a spot of Humperdinck, and they turned up to the do and joined us for dinner. At the long table, Dennis chose us all some tasty Sicilian red wine, then phoned home and declared: "I'm in Strada with Hansel and Gretel."

Here is a fine obituary from the Telegraph. 

Swanhunter rides again

Wonderful talk the other week with Jonathan Dove about Swanhunter, which Opera North is currently doing at the ROH Linbury and is touring until 3 May. I love Jonathan's music, which manages to be engaging, original, interesting, compelling and atmospheric rolled into one, and it's always a joy to talk to him about his work. Not everything has gone into the paper, so here is the director's cut.

Being a contemporary classical composer can be an insecure business for some. But, it seems, not for Jonathan Dove, whom I catch for a chat just before he heads off to Hawaii, where one of his numerous operas is being staged. “I’m having rather an annus mirabilis,” he declares, mildly incredulous. Closer to home, his one-act chamber opera Swanhunter is coming to London for the first time: Opera North, which commissioned it, brings a new co-production with the theatre company The Wrong Crowd to the Royal Opera House’s Linbury Studio on 2 April. And this is just the beginning. 

“I like to feel useful,” Dove explains as we ponder the secret of his success. “And opera is something I like to share.” This at least partly accounts for his quantity of stage works for schools, families and community participation; they have included The Adventures of Pinocchio, The Enchanted Pig, and Tobias and the Angel, to name just a few, many of them received by audiences and critics alike with near rapture. Dove’s style is lyrical, fresh and, above all, genuine; he says he finds the matter of introducing young audiences to opera an inspiring challenge. “But whatever you do in that respect, Benjamin Britten always got there first,” he acknowledges, nodding to the prevailing influence of such works as Britten’s Noye’s Fludde and The Little Sweep.

After studying composition with Robin Holloway, Dove (now 55) learned the processes of opera from the inside, working as repetiteur, arranger and outreach animateur. “I first started to get excited about opera in my twenties, when I was playing the piano for rehearsals,” he says, “and before I started writing my own pieces I used to reorchestrate great operas like Wagner’s Ring cycle and Rossini’s La Cenerentola for what was then Birmingham Touring Opera. The idea was to take opera on the road. There’d be a bunch of us in a van, going around the country playing Rossini operas in sports centres. Opera can have a whole existence outside the opera house – you don’t have to have a proscenium arch and a full symphony orchestra, though it’s very exciting when you do.”

He wrote Swanhunter for Opera North in 2009: “The brief was to create something based on an idea of the north,” he says, “something for young people – the target audience is ages eight to 12 – and therefore not too long; and something that could be easily toured.” His regular collaborator, the librettist Alasdair Middleton, began the process by researching Nordic myths and homing in on the ancient Finnish folk-epic of the Kalevala.

Its hero, Lemminkäinen, must accomplish a set of apparently impossible tasks in order to win a beautiful bride: he must hunt the Devil’s elk and shoot the swan that swims around Tuonela, the isle of the dead. But he is killed and his body dismembered and thrown into the river. His mother fishes out the pieces, reassembles them and sings him back to life.

“It was that idea – that a mother might sing her son back to life – which stuck in my mind and wouldn’t go away,” says Dove. “It seemed an extraordinary and wonderful theme for an opera, especially one that might introduce the artform to some of the audience. It’s a story that celebrates the power of song as something magical, something that can heal and revivify.” 

This is the same story that inspired Sibelius’s Lemminkainnen Suite, its best-known extract being ‘The Swan of Tuonela’. But when Dove turns to the Swan, far from Sibelius’s dark-hued cor anglais solo, he begins its song “stratospherically high,” as he says, “descending in a cascade of harp ripples. Once I saw a child put his hands over his ears! It’s unearthly, and for people who are mainly used to hearing the human voice singing through amplification it can be interesting to see people producing these sounds without any mechanical assistance. As this will be some young people’s introduction to opera I want them to hear some of the extraordinary things the human voice can do.” 

Dove’s busy year intensifies in summer, when his enormously successful opera Flight, created in 1998 for Glyndebourne, comes to Holland Park Opera in the latest of its numerous incarnations; it has travelled the world from the US to Germany to Australia. “It was a life-changing piece for me to write,” Dove remarks. “I did what I’ve always tried to do, which is to write the piece I wanted to see. But I didn’t know whether anybody else would want to see it. It’s incredibly gratifying that it turned out they did.”  

And just as gratifying is the prospect of Sir Simon Rattle conducting the London Symphony Orchestra in Dove’s brand-new opera for children, The Monster in the Maze, in July. If this isn’t an annis mirabilis, I don’t know what is.

Swanhunter, ROH Linbury Studio Theatre, from 2 April, then touring until 3 May. Box office: 020 7304 4000