The Creative Industries Federation published an important Brexit Report last autumn, looking at critical issues for the creative industries, arts and cultural education as the UK sets its course for the cliffs. Now that "negotiations" are underway, the CIF has distilled its recommendation into seven red-lines principles.
These include:
• Guarantee the rights of EU nationals currently working in the UK;
• Retain freedom of movement for EU workers, those in education and touring exhibitions, shows, musicians and support teams
• Remain part of the EU single market and the customs union - or at least find a free trade deal that replicates its frictionless travel arrangements as far as possible
• Continue to influence the shape of the EU's Digital Single Market (DSM)
• Maintain a robust and properly enforced International Property regime. [Do you have any idea how important this is? Please read about it, fast, right now.]
• Maintain reciprocal single market access for the distribution of UK and EU member state film and TV productions and audio-visual services
• Continue to participate in EU programmes such as Creative Europe, Horizon 2020 and Erasmus+.
A HUB FOR GLOBAL TALENT: The success of the UK’s creative industries is down to the people who work within it.
Britain has a longstanding reputation as an open nation that attracts diverse global talent, and it is because of this
that our creative sector is world-beating. If the UK loses easy access to people, it loses its competitive edge. If it loses
its creative talent, it also loses its reputation as an attractive destination for work and play.
Meanwhile there would be one very simple solution, which you can guess as well as I can, but we don't seem to have the right person at the top to do that job.
As London lurches from one horror to another, the only place to be last night was Cardiff, or at least in front of a TV beaming it in loud and clear. The 2017 BBC Cardiff Singer of the World final proved one of those historic-to-be occasions that do occur there sometimes: five burgeoning singers take the stage and you soon realise you don't want to miss one note of any of them.
The victor seems to have taken some viewers by surprise, but I can't imagine why, other than the fact that she was the only performer who had not actually "won" her "round". Having grouped the contestants into a series of concerts, each of which has a winner who goes through to the final, the competition also offers a "wild card" final-round place for an extra choice. This was given to her. Her name is Catriona Morison and she comes from Scotland. (Is that why people are surprised? No one is a prophet in, etc.) Before the grand final, she had already won the Song Prize together with the Mongolian baritone Ariunbaatar Ganbaatar. We are very much in favour of joint awards when occasion demands - after all, the "there CAN only be ONE winner" trope beloved of TV talent contests serves TV way more than it serves the contestants.
Catriona Morison
In a grand final of astounding singing from most of the competitors, everyone displayed splendid, rock-solid technique. Most had planned their programmes well. The voices glowed and blazed and dazzled. Louise Alder, the English soprano, scooped the audience prize, as well she might: she's got it all, from top notes to absolute charisma. The men, even if ultimately outdone, were stunners too. The Australian tenor Kang Wang had a big following, was out to please and is clearly going places, though I thought he had a slight tendency (nerves perhaps?) to rush in the Lensky aria. But Ariunbaatar Ganbaatar, who has already won the International Tchaikovsky Competition's singers' section, offered an account of Yeletsky's aria from The Queen of Spades, with sapphire-dark shining tone, that came so much from the heart that any Lisa in her right mind would have to drop the plot and fall straight into his arms. Anthony Clark Evans's Evening Star aria from Tannhäuser was scarcely less satisfying, and both baritones gave us the Prologue from Pagliacci, each so superb that I for one would never have been able to choose between them. Stardom awaits the lot.
What did Catriona do that was different from the others? Well, she sang Dido's Lament by Purcell.
She also sang Octavian from the first scene of Rosenkavalier, and a few other things, but frankly those pale, given what she did with the Purcell. The Lament is close to the hearts of very many music-lovers in the UK, of course, but partly because of that, it's the sort of piece we can sometimes take too much for granted. Catriona not only wrung us out with her emotional veracity, but made us feel we were recognising this music's extraordinary power and beauty for the first time. Thanks to her, it seemed that Purcell could outshine Wagner, Tchaikovsky and Puccini, never mind the bel canto stuff, plus Louise's beautiful extract from André Previn's A Streetcar Named Desire. As Danielle de Niese commented, when the technical level is so high all round, the judges have to look beyond that...
Where has she been all our lives? Actually, at Wuppertal Opera. A lot of surprise emerged on Twitter when the hosts for the evening mentioned in conversation that Germany has 83 publicly funded opera houses and 1/3 of the world's opera takes place there, but yes, they do, and they get things right: their audiences are accustomed to attending, they do rare repertoire, they present challenging productions and their ensemble companies help to train up fabulous youngsters from all over the world. Most of the best opera singers of today have done stints as company members in Germany. Some of them don't come home, which is why a British soprano, Catherine Foster, has been singing Brünnhilde at Bayreuth to great acclaim, yet nobody here has heard her...
I haven't found the words I need to express the horror of the emotions we're all feeling here in London about the Grenfell Tower tragedy. It does symbolise, to the ultimate degree, a lot of what is wrong in the UK's social set-up today, but I don't think I can add anything sensible to the argument or assessment or comfort. Even consoling music feels inappropriate at the moment.
Life has to go on, so I'm simply going to offer you my own recipe for a refreshing drink on a very hot afternoon.
JDCMB Summer Cooler
Ingredients (to serve 4): Fresh mint leaves Petals of 1 smallish pink rose 2 pink grapefruit Vanilla paste Ice
Put the mint leaves and rose petals in a teapot and pour on boiling water. Leave to steep. Squeeze the grapefruit and strain the juice into a jug (unless you like "bits", in which case don't strain it). When the mint and rose tea has cooled, mix it with the juice - test the flavour until the balance of quantities is as you like. Pour into glasses and sweeten with a soupçon of vanilla paste (I use about a 1/4 teaspoon per glass). You could use honey instead if you prefer more sweetness and less vanilla. Pile in some ice. Garnish with a spring of fresh mint and a few rose petals.
If you fancy an alcoholic version, add a splash of Pimms. Alternatively - well, I haven't yet tried adding prosecco, but one suspects that would be unlikely to do any damage to it.
Nice to be able to bring you some good news today. A new high-definition streaming service, designed specifically for classical music, is being launched in the UK and USA by Primephonic, and it serves to tackle several of the biggest streaming frustrations for us all.
The company is a Utrecht-based online store that for a couple of years has had, as its USP, the downloading of studio-quality recordings. As any classical aficionado knows, sound quality has been a big problem for music on the Internet and Primephonic's capacity to bring us an improved experience has been a breath of fresh air in a muddy world. Every track is available to download in 16-bit FLAC file format, i.e. CD quality, and some are more sophisticated still, with availability in studio quality and "premium pro-studio quality" (explore the options here and in more detail here). They now have more than 100,000 tracks available to stream in high-res.
For the streaming service, Primephonic is also aiming to improve the experience for listeners and creators in two further ways: better metadata, which has long been a stumbling block online, and should improve the searching capacity that we need; and crucially, payment to providers. Instead of paying out per track listen, Primephonic plans to pay per second. This should hopefully ensure that more money goes to the classical labels and thence to the artists themselves - it stands, at the very least, a better chance of getting into the bank accounts of musical creators than it does at the moment.
According to Veronica Neo, the company's head of business development, "Primephonic provides a way for streaming to give back more than ever to the classical music industry and a sustainable way for fans to support their favourite artists. As a 100% classical music service, 100% of the revenues stay in the classical industry."
I've been writing for Primephonic's website for a couple of years, doing CD reviews and occasional features (most recently, a big piece about Philip Glass for their just-published print magazine). It's a great pleasure to be involved with a company that has homed straight in on those problems, is determined to find a way to solve them and is thinking big about the possibilities for the future.
When I glanced down at the carrier bags and saw the two gigantic volumes of score, I realised the chap next to me on the Glyndebourne bus was none other than the composer of Hamlet, Brett Dean. "Why Hamlet?" I asked. He grinned: "Why not?"
Hamlet should be a gift for any composer - glorious soliloquies, poetry known to the entire land if not the whole world, a story of bottomless depth and endless possibilities for reinterpretation. It's not as if nobody has set it before: if I remember right, there are around 14 earlier versions, with Ambroise Thomas's effort the best known (though as Saint-Saëns said, "There is good music, bad music and the music of Ambroise Thomas...") Brett Dean's humongous new work for Glyndebourne, though, seems set to shred all competition into musical flotsam and jetsam.
Jacques Imbrailo, John Tomlinson, Allan Clayton
Photo: Richard Hubert Smith
One thing you cannot do if you're turning a play like Hamlet into music is treat it with kid gloves. Dean and his librettist, the distinguished Canadian director Matthew Jocelyn, haven't. They have used only about a fifth of the actual play: Jocelyn has taken it to bits, reassembled it, restructured, redepicted, redreamed. After all, it takes, on average, about three times as long to sing a word as to speak it, so if you set every last line of Hamlet you'd end up with about 15 hours of opera. It would be possible to do it in other ways, retaining more of the poetic monologues which here are often boiled down to a mere handful of lines. But then something else would have to give; one might lose the grand sweep of the dramatic total, the ensemble work, the sonic colour with its imaginative flair.
Although you may find your favourite moments are missing ("Alas, poor Yorick" is in, but "To thine own self be true" is not) the work is masterfully structured. The impression, musically, is rather like a giant symphony of Mahlerian proportions plus some; dramatically it is full of different levels, new insights, magnificent company challenges and a vivid variety of pace and richly explored possibilities.
Symphonic Shakespeare
Allan Clayton as Hamlet
Photo: Richard Hubert Smith
The opera's scenes seem to correspond roughly to the movements of a symphonic work in which the intensity rarely lets up. First, an opening dramatic exposition with slow introduction - Hamlet mourns his father at the graveside before we plunge into Gertude and Claudius's wedding party, at which the prince is drunk and disruptive; and the arrival of the Ghost, all the more chilling for the tenderness between Hamlet and his dead father.
The second main section opens almost as a scherzo, with Rosencrantz and Guildenstern played by two skittish countertenors, and culminates in the play-within-a-play - lavishly decorated with a totally brilliant onstage accordionist plus deconstructed lines from Hamlet's soliloquy that pop in as self-referential touchstones. The 1hr 45min first act closes with the desperate confrontation between Hamlet and Gertrude and the murder of Polonius - a great central climax that leaves Gertrude psychologically eviscerated. We all need the long interval to get our breath back.
Allan Clayton and Barbara Hannigan as Hamlet and Ophelia
Photo: Richard Hubert Smith
Next we turn to Ophelia's madness, death and funeral - an eerie slow movement, full of startling writing that includes a good proportion of the work's best and most interesting music. The dramatic pacing is notable here, building up to an absolute cataclysm as Hamlet cries "I loved Ophelia"; similarly cathartic is the multifaceted finale, with the sword fight and multiple murders that nevertheless retains Horatio's determination, as the match is agreed, to up Hamlet's quota of prize horses to 11. The rest is...silence.
The opera has been planned with Glyndebourne's auditorium in mind. A group of singers take their places in the orchestra pit - and sometimes in the balcony - being used, effectively, as instruments. Indeed, almost everywhere you look there are people singing, thumping instruments or doing strange things with unusual percussive gadgets... The LPO tweeted this image from the score:
Electronics are subtly woven in, whether using sampled (apparently pre-recorded) extracts of the singers' lines or setting up atmospheric rumbles and roars. Even the more conventional aspects of the instrumentation are clever, clear, often ingenious; for instance, the countertenors of Rosencrantz and Guildenstern are aurally shadowed by two clarinets almost trying to edge one another out of the way. As for the designs, Ralph Myers places the action in a Nordic Noir type of design featuring shiftable Scandic white walls with huge windows; Alice Babidge's costumes are contemporary in style, which makes Claudius's crown look faintly ridiculous, but I suspect it's meant to be. Neil Armfield's direction is so organic a part of the work that it is hard to imagine it done in any other way.
To thine own self be true...
To say that it's a superhuman effort, and not only for the composer, is not saying enough. Dean and Jocelyn have risen to the challenge of transforming the play with fearless aplomb, and in so doing have created giant roles for their lead singers.
Allan Clayton's Hamlet may prove the ultimate making of this rising-star British tenor. He is on stage almost all the time; we rarely see anything from anyone else's point of view. A doomed, bearlike desperado, he travels from agonised grief through madness real or imagined and out the other side to the fury of his final (expertly performed) sword fight with David Butt Philip's Laertes. It's a huge sing for this often classically-oriented performer - we have loved his Mozart and Handel although, most recently, he was pushing the boat out further as David in Meistersinger - and he proves himself not only in glorious voice but a master of the stage in every way. For Barbara Hannigan's Ophelia, Dean has created ethereally high, dizzyingly complex arabesquing lines, offset by Sarah Connolly as a persuasive Gertrude, hard-edged in character but mellifluous and radiant of voice. Sir John Tomlinson is the Ghost, as well as the Lead Player and the Gravedigger - an intriguing alignment of the three figures - and owns those scenes with his outsize presence and sepulchral tone.
The chorus frames the action with plenty of impact, plunging into "Laertes shall be king" to launch the second half with maximum oomph. There's also a rewarding plethora of smaller roles, luxuriously cast: Rod Gilfrey as Claudius, Jacques Imbrailo as Horatio, Kim Begley as Polonius and Rupert Enticknap and Christopher Lowrey as Rosencrantz and Guildenstern. As for Vladimir Jurowski's conducting, I doubt anyone else could have pulled this off even half so magnificently.
I am reliably informed that some of the stage blood found its way onto a first violin part in the orchestra pit. At least, I think it was stage blood. Pictured left...
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