Così, cosà...

...it's a wonderful word, tra-la-la-la [=> Marx Brothers]. Meanwhile, the ambiguity of the great Così fan tutte is laid on with the proverbial trowel at Covent Garden. I've reviewed it here for the Critics' Circle reviews site. And found it...a bit così-cosà.

Just to add, though: it has had a lingering aftertaste. The music has stayed with me in a way that it rarely has before - the sheer sublimity of it. And whenever I run into to someone else who also saw and heard it that night, they say more or less the same thing. They come out thinking, as I did, "My God, I love Mozart so much..." - which means that someone is doing something very much right, and probably on the conductor's podium. Thank you , Semyon Bychkov!

Taster: 

The music of Così is so sublime it’s a difficult show to ruin. However often a production flies in scenery during the most beautiful passages – I could have lived without the brightly-lit cinema frame descending from the heavens in the middle of ‘Soave sia il vento’ – Mozart transcends everything. In this new production, the Royal Opera House debut of the German director Jan Philipp Gloger, that’s just as well. 

Two young couples arrive at the front of the stalls as the cast of an 18^th-century opera (Così fan tutte?) take their curtain calls during the overture. One of that cast, our Don Alfonso, whisks the two boys up to the stage and makes a bet with them that he can prove their beloveds – selfie-snapping and hard-drinking girls – are unfaithful. Don Alfonso transforms into a movie director and the young people act, and act some more while scenes morph around them: a wartime farewell under a station clock, a bar in which the cynical Despina, devoid of morals and goodwill, shakes the cocktails, and a Garden of Eden with green plastic snake (aha: temptation! No, really?)...

Read the rest here.

A new piano festival for London!

Meet Katya Apekisheva and Charles Owen: two glorious pianists who have been working together for many happy years. An established duo of this kind, celebrated as an entity in itself, is still relatively rare. And now the pair have added another string to their bow: they have founded three days of pianistic feasting under the simple yet splendid heading London Piano Festival. Highlights include a lecture on Liszt by Alfred Brendel with Dénes Várjon at the piano, Kathryn Stott in French repertoire, jazz from Julian Joseph, Charles and Katya in a two-piano recital culminating in Rachmaninoff's Suite No.1, and much more besides.

But why aren't there more piano festivals around anyway? When the Institut Français founded its own It's All About Piano a few years back, I couldn't help wondering why it was the first such event in the UK's piano-filled capital. Now we have that one in South Kensington for spring and this one at Kings Place coming up fast for 7-9 October, with exciting plans for future years too. I asked Charles and Katya to tell us more about it... (All photos: Sim Canetty-Clarke.)

JD: How and why did you conceive the idea of starting a piano festival? 

KA: Charles and I had an idea of starting a piano festival a few years back after a wonderfully positive visit to the New Ross Piano Festival in Ireland. There are so many chamber music festivals in the world, but piano festivals are relatively rare. London has many exciting piano events to offer, but none of its major concert halls presents a single intensely focused festival devoted exclusively to the piano, at least not until now! The idea came from our friendship and love of the instrument. The possibilities of repertoire are endless, and of course the piano is versatile like no other instrument – it can imitate the human voice, various instruments and even the full orchestra.

 JD: How did you decide on who and what to programme? And why at Kings Place?

CO: For this first festival, we decided to focus on artists, all of whom we admire and know personally, people we could pick up the phone to or email directly. Both Kathryn Stott and Noriko Ogawa took part in the New Ross festival where the four of us became a bit of a gang. They are both irrepressible musicians and wonderful personalities! Ashley Wass is an artist we both value highly and the same can be said for our fellow Guildhall professors Lucy Parham, Ronan O’Hora and Martin Roscoe. We are both fortunate to have received inspiration through coaching sessions with Stephen Kovacevich and of course Alfred Brendel remains the ultimate iconic figure in today’s piano world, now sharing his insights through the spoken word.

When it came to deciding upon repertoire, each pianist was encouraged to choose the repertoire with which they feel a special connection. For example, Kathryn Stott will play a signature all-French programme linked by the luminous tonality of F sharp. The epic Two Piano Gala has been deliberately created to avoid the most famous duo works to give audiences a new encounter on many unexpected 20th-century treasures.

As for the choice of Kings Place, we both love their two vibrant concert halls and super contemporary feel, set in the most buzzing and regenerated area imaginable. We’ve played there as a duo and in solo recitals since the venue first opened in 2008. The two resident Steinway pianos are both stunners and as North Londoners, the halls are walking distance from our respective homes!

JD: You're both busy performers, together and separately! How have you dealt with all the organising?

KA: Starting a new festival is a great and exciting idea, but the reality is you never really know the challenges that are waiting for you until you start the work. Charles and I had to learn some totally new skills as organizers and it has been difficult and demanding at times - we are still learning! But also rewarding when you see the results. It's really great to have each other as we try to divide the work. Often one of us might be away or really busy with concerts and that's when friendship and understanding come in handy!

JD: Have you had to fundraise to deal with the cost? What has that been like?

CO: Indeed, we have organized fundraising events and been generously supported by a number of companies, and individuals. Approaching people for funds is my least favourite part of the festival process, but it is a necessary evil that anyone involved in the Arts and many other walks of life has to accept.

JD: What are you most looking forward to?

KA: Of course we look forward to every single event at our festival as each was carefully created with various themes in mind. But perhaps the one we most look forward to is the Two Piano Gala on Saturday 8 October. It has an unusual format, not the usual two halves concert, but a three-part event.

Seven fantastic pianists are taking part and the repertoire is all 20th century music. The programme will start with a serious Busoni work and continues on with Debussy and Rachmaninov culminating with a selection of fun, exciting pieces by Milhaud, Piazzolla and Grainger. There is also a newly commissioned work by Nico Muhly, Fast Patterns, which is highly virtuosic, obsessive and minimalist in style. The evening will be a true celebration of the instrument.

JD: Can we hope that it will become an annual event?

CO: Indeed you can! Plans are already underway for the 2017 London Piano Festival to include a strong Russian flavor in terms of pianists and their repertoire.

JD: To end, how about some anthem-like words from you both about why the piano and its repertoire deserves to be celebrated? 

CO & KA: The sheer depth of tonal beauty that a great piano possesses, mirrored by the incomparable range, variety and beauty of its repertoire is always a cause for celebration. Which other single instrument, apart from the mighty cathedral organ, can truly encompass such a spectrum of emotions, textures and dynamic range whilst retaining a truly magical singing tone?

Full programme and booking here.

They are going to measure artistic quality. Seriously.

Most perturbed by the revelation that Arts Council England is planning "to impose quantitative measures of artistic quality" upon its National Portfolio Organisations. Here is more information about it on the ACE website.

Here is a clear and detailed report in Arts Professional: http://www.artsprofessional.co.uk/news/arts-council-impose-quantitative-measures-arts-quality

The scheme so far has apparently cost more than £700k, and the ACE is said to be pressing ahead with it despite concerns, following the pilot scheme, that it's not guaranteed to deliver in an entirely satisfactory way...

So how is this going to work? ACE site provides us with this.

The core quality metrics

Self, peer and public:

• Concept: it was an interesting idea
• Presentation: it was well produced and presented
• Distinctiveness: it was different from things I’ve experienced before
• Challenge: it was thought-provoking
• Captivation: it was absorbing and held my attention
• Enthusiasm: I would come to something like this again
• Local impact: it is important that it's happening here
• Relevance: it has something to say about the world in which we live
• Rigour: it was well thought through and put together

Self and peer only:

• Originality: it was ground-breaking
• Risk: the artists/curators really challenged themselves
• Excellence: it is one of the best examples of its type that I have seen

Some of these points make more sense in some areas of the performing arts than in others; it would, one surmises, be iffy to apply them en masse not only to theatre and cinema but also to opera and ballet both traditional and contemporary, and to concerts of classical music. One size doesn't fit all. It never did and it never will. 

It's tempting to wonder if this is an unintended consequence of the continuing reduction of space for professional critical assessments of artistic work in the national press - now so marginalised that the majority of cultural work never receives any newspaper assessment at all. The notion of public reviews - the 'everyone is a critic' stance - seems to be progressively devaluing the concept of the alternative: this is because consensus is so rare that once you pass a certain number of reviews everything ends up, on a scale of one to five, averaging around three because some like it, some don't, everyone takes a different view for a different reason and nobody really trusts what other people say in any case. 

This in itself should demonstrate how problematic it is to assess artistic quality in a generalised way.

Let's try out the Core Quality Metrics on an actual classical concert...

Yulianna Avdeeva. Photo: C. Schneider

It so happens that the most recent event I've been to was the debut recital at the Wigmore Hall the other night of Yulianna Avdeeva, the young Russian pianist who won first prize at the International Chopin Competition in Warsaw in 2010 - the year Daniil Trifonov pulled in in third place. Instead of a review, here is an assessment of the evening according to Core Quality Metrics.

CONCEPT: it was an interesting idea

Of course it's interesting to have the winner of the Chopin Competition make her Wigmore debut six years after the event. She is an extremely fine artist and should be far better known than she is.

PRESENTATION: it was well produced and presented

Find me anything at the Wigmore Hall that isn't well produced and presented? It's the Ritz of concert halls. Such things are never in doubt. As for Yulianna, she is a consummate professional, at ease on the stage and in complete control at every turn. (Presentation? I don't know where she got her pewter-coloured shot-silk jacket, but I'd like one too.) 

DISTINCTIVENESS: it was different from things I've experienced before

Yes, because I haven't previously heard Yulianna Avdeeva give a recital at the Wigmore Hall. I'm not sure I've heard those exact pieces played in that exact succession before either. But others might say: well, it's a piano recital, so it's not all that different. To those who love going to piano recitals, it was different for the above reasons. To the non-pianophile bureaucrat, though, would this risk raising puzzlement?

CHALLENGE: it was thought-provoking

That depends purely on the individual listener. Some might experience provoked thoughts such as: here is Bach's English Suite No.2 being played on the modern piano with absolute clarity, great conviction, beautiful rhythmic sense, exquisite sound quality and enthralling virtuosity, so what price those who think it's the wrong instrument, and do those people still even exist? And: here is Prokofiev's Piano Sonata No.8, written towards the end of World War II: it is a massive, nearly symphonic work, full of colour, deeply original and fantastically difficult to perform, and Yulianna is so at one with it and its idiom that she's making me imagine that I am in Moscow looking at Russian modernist art by the likes of Malevich and Goncharova. 

I hope this is what they mean by 'thought-provoking', but it's quite hard to tell. 

CAPTIVATION: it was absorbing and held my attention

Yup. See above.

ENTHUSIASM: I would come to something like this again

Yup. You bet.

LOCAL IMPACT: it's important that it's happening here

We're going round in circles now. Yes, it is important that Yulianna, a top-class musician with a growing international profile, should have a Wigmore Hall debut, here in central London, and that our discerning audience should have a chance to hear her. See above.

RELEVANCE: it has something to say about the world in which we live

This can only mean what you want it to mean. The concert says that people still adore listening to Bach, Chopin and Prokofiev, that some young pianists are as good as ever at playing them, and that the Wigmore Hall is one of the best places to go to listen to them. But what of the mindsets with which people approach this topic? What do we want an artistic event to say about the world in which we live? 

Again, to standardise that expectation would be an unpleasant development. If I come out of the concert without any particular thoughts about the world in which we live, but having had a really great evening nonetheless, isn't that my prerogative as a member of the public? Some people go to arts events precisely to escape having to think about the world in which we live for a couple of blessed hours.

This recital brings us great music, wonderfully played, and people love that. This really ought to be enough. It doesn't tell us whether or not Southern Trains are still on strike, or whether it's a good thing if the third runway at Heathrow gets built, or what's going on now in Syria, and it shouldn't have to do so to be 'relevant'. Music connects people to one another across time and space - listening to Chopin we're in a way communing with the soul of a human being who died in 1849, and the souls of everyone who has played or listened to his music since then. That tells us something about ourselves as human beings at our best, and perhaps that is one of the many things that music is for. Can we hope that this registers as valuable in this 'core quality metric'?

RIGOUR: it was well thought through and put together.

Yup. 

Self and peer only (including this because it's there):

ORIGINALITY: it was ground-breaking

In the sense that it was Yulianna playing in a venue that is new to her, and that venue hosting her for the first time, I guess that's a yes. In terms of musical content, not necessarily; but I don't really care because I enjoyed it so much.

RISK: the artist really challenged herself

And how. People forget what an enormous feat of accomplishment it is to play extremely complex music to a world-class level for a discerning public for about two hours. (Besides, she's hardly going to sit up there and play Chopsticks, is she.)

EXCELLENCE: it was one of the best examples of its type that I have seen

It was bloody excellent. But if every piano recital I attend has to be "one of the best examples of its type that I have seen", I think that would be a problematic way to assess them. This one was indeed top-quality artistry. But I've previously attended plenty of piano recitals that have been most enjoyable, not necessarily "one of the best" of all, yet still worth giving, worth listening to and worth loving. 

Core Quality Metrics as a measurement technique, then, seems a mixed bag. The bits that work would work anyway. The bits that don't work probably never will. And everything, but everything, depends on how the criteria are applied, and by whom, to what - and to which ends, with what effect.

For the moment, one has to try to set aside the unpleasant visions that a quango's "one size fits all" policy conjures up, with all our instinctive shudders about Stalin, Kafka and Orwell, and hope that this latest bizarre algorithmic development may somehow be able to do more good than harm. I can't say I'm holding my breath.

When Steven met Schumann...

Steven Isserlis is one of those infuriating musicians who writes as well as he plays. His latest book is just out and it is a revisiting of Schumann's Advice to Young Musicians, as tweaked for the 21st century (published by Faber & Faber). I went to talk to him about it - and also about his new recording of the Brahms Double and original version of the Op.8 Trio plus the slow movement of the Schumann Violin Concerto arranged by Benjamin Britten (yes, really), with Joshua Bell. Feature is out now in this week's JC and here's a taster.

....The question remains whether today's younger generation can share the attitude that music is something sacred, as he and Schumann both advocate. "It's not a sport," Isserlis declares. "I say it in the book and I've said it many times: music is not a sport and it should be taught as a mixture of religion and science. You find out as much as you possibly can about it and approach it with respect. You don't make it a vehicle for impressing people and showing off. 

"Actually I think the new generation has this outlook still more, at least among violinists and cellists," he adds. "They really respect the music. I think we went through a bad phase about 20-30 years ago. But those in their late teens and early twenties today seem to have a much better attitude and are emerging much more rounded as musicians."

Read the whole thing here.

Pianophiles: Martha alert!

Psst, pianophile friends: did you know that Martha Argerich is playing the Schumann Piano Concerto at the Royal Albert Hall on Monday? Well, she is. Get there.

It's part of a very special concert: the Royal Philharmonic Orchestra's 70th anniversary gala. Their principal conductor, Charles Dutoit, will be on the podium for most of it and Pinchas Zukerman, the principal guest conductor, will also star in the Bruch Violin Concerto which I think he is directing from the violin. The programme is topped and tailed by the Rossini Overture to William Tell and the Stravinsky Firebird suite. Details and booking here.

I was lucky enough to interview Charles Dutoit for an RPO preview film about the concert and his long history of working with this orchestra, so here it is.