Man of the Golden West

John Adams. Photo: Vern Evans

John Adams has just turned 70. Everyone is celebrating. Everyone wants him to celebrate with them. So when is he supposed to compose? I caught him backstage during the Dr Atomic rehearsals at the Barbican a few months ago. In the resulting interview for Primephonic we talked about his forthcoming Gold Rush opera Girls of the Golden West, set in his home state of northern California, as well as nature versus nurture, the evolution of his style and the consistency of voice within that evolution - and why he feels like "a Soviet hack composer" compared to the music of his up-and-coming son, Samuel Adams.

.....Adams reflects that this “voice” could be determined as much by nature as nurture – a sort of musical DNA. “I suspect it’s almost genetic,” he comments. “If you look at Stravinsky, there’s such radical difference between the early music and the late music, yet there is some almost inexplicable identity that carries on. And I think certainly the rhythmic energy of my music and the particular harmonic language that I have comes through.  

“Once every couple of years I conduct Nixon in China [his opera of 1987] because I like it and it’s always a lot of fun. And I’m amazed how much of that opera is expressed in minimalist style, with these crazy, whimsical marriages with jazz and big-band music. I don’t compose in that style any more. But that sort of rhythmic impulse, which you also hear in the early piano music, is still there today.”

Evolution, he suggests, occurs thanks to the needs of the pieces. “Nixon is a much more consciously minimalist piece and I think that works for the certain ironic tone of the opera,” he says. “But starting with The Death of Klinghoffer, which I composed between 1990 and 91, I had to find a language that was more serious and not at all ironic. I think that was the big moment of expanding. 

“But I’m not a hidebound, by-the-rules kind of guy. I feel that every piece I compose needs its own special language – and that’s both the joy and the anguish, because you have to find out what and who it’s going to be.” ...

Read the whole thing here.

Hotello

Kaufmann as Otello, Vratogna as Iago.
All photos by Catherine Ashmore/Royal Opera House

One of the first rules of reviewing is: do not start by talking about the weather. So to start on the Royal Opera's new Otello by pointing out that it was the hottest first night of the year - Jonas Kaufmann's role debut - as well as the hottest June day since 1976 just isn't on. Nevertheless, it was both. In the auditorium one experienced Keith Warner's postmodern new production and Verdi's sizzling score through the gentle rattling of ladies' fans, the flapping of tickets and programmes mimicking their effect, and the upping and downing of light on rogue mobiles as certain people in my row checked Facebook every ten minutes. (Why couldn't they just have donated their ticket to a fan who would have fully appreciated the performance?)

If the audience was finding it difficult to settle, the same couldn't be said of the music. Tony Pappano, first of all, is in his element in this opera. His shaping and pacing of the drama is breathtaking: mercurial, clear, enormously energetic and deeply intelligent. The building up of the scene where Iago gets Cassio increasingly drunk is just one example, beginning almost as a pub song, joshing about, before spiralling through a queasy mephistophelian intensification into violence. The chorus's staging is often static and stylised, very far from naturalistic, but they sound simply glorious.

Again, canny pacing is everything in Kaufmann's characterisation of Otello: confident and tender until Iago plants the seed of doubt, but thereafter tumbling in stages from loss of faith through cool, calculating and controlled resolve, into increasing torment and ultimate dissolution. At ease taking command, but tentative with his new wife as she leads him to the bedroom, this Otello is a man of war first and foremost, perhaps unable to cope with the shock of his own emotions. His progress towards murder for once makes considerable sense.

Deeply convincing and vocally gorgeous, full of careful shading with brilliance reserved for the moments it most counted, this was singing in 3D. If some people expected more volume, one can only reiterate that Kaufmann doesn't do volume for the sake of it and has never been the biggest voice on the stage, just the most beautiful and intelligent one (hmm, this is my second time this year writing that). It is no reason to reject the most complex and satisfying interpretation of this role that I've yet experienced.

Marco Vratogna, replacing the originally announced Ludovic Tézier as Iago, was the wild card of the evening, bursting into our consciousnesses in impressive style. Warner's production makes him explicitly the puppet master, controlling not only those around him but the symbols of Venice, the carnival mask, the winged lion, setting the hideous process in motion with ice-cold, psychopathic glee and resembling nothing so much as a Shakespearean version of Dracula with shaven head and bat-like cloak. He could scarcely lean on a wall without making it move. Yet his raven-dark, demonically powerful voice made Iago more than merely a copybook villain. Meanwhile, as Desdemona Maria Agresta sounded vocally effortless and presented the hapless heroine as a straightforward, uncomplicated, loving young woman, trapped in a tragic situation beyond control.

Agresta as Desdemona, Kaufmann as Otello in the final scene

Visually the production has some seriously striking moments. The set design, by Boris Kudlička, involves sliding panels that shift to show us blazes of light through glass, the bedroom through latticework, Otello's face highlighted in a window frame before the final scene, and Cassio's vertiginous descent into drunkenness, amid much else. The contrast between the public and the private moments is convincingly achieved, with Iago and Otello experiencing their oppressive solitary reflections in the darkest isolation. The aptly named Bruno Poet's lighting is, throughout, not only masterful, but often magical.

However, reflecting Otello as a tragic-faced lion-caricature in a mirror, smothering him with a carnival mask and bringing on a giant dismembered lion statue are gestures that seem to over-egg the Venetian pudding in a production that otherwise mixes and mismatches its eras to occasional ill effect. The tall ship rigged with beautiful sails arriving at the back in scene 1 is far indeed from the apparently contemporary hotel-style bedroom in which the murder takes place. And the costume designs by Kaspar Glarner, while offering flowing robes for Desdemona and that splendid cloak for Iago, experience occasional misjudgments. Emilia - the excellent Kai Rüütel - is encumbered by an impossibly stiff and outsize fake-Renaissance wig, and as for Otello's gigantic harem-style leather trousers (eh?) and the blue sparkly robe - think variety-act pseudo-magician - in which he arrives to kill his wife, these did few favours to either singer or character. If the point is that the story is timeless, we know that already and this doesn't help.

There's always some plonker who has to boo the production team, of course, and despite those few weaknesses they really didn't deserve it. It's a powerful, moving account of a towering masterpiece, with musical performances of a calibre that you won't find improved upon anywhere.

Otello is in cinemas next Wednesday, 28 June, so if you can't get to the ROH, do try and catch it on screen.

Details and booking here.


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Hotting up at cool Fjord Classics

As if taking over the artistic directorship of Australian Festival of Chamber Music weren't enough, the inimitable Kathryn Stott has joined forces with Norwegian violist Lars Anders Tomter (both, left) to start a new chamber music festival a little bit further north: Fjord Classics. They have assembled a seriously impressive line-up of artists, including Leif Ove Andsnes, Ruby Hughes, the Skampa Quartet, Vikingur Ólaffson, Christian Poltera and many more, ready to awaken the town of Sandefjord to the sounds of music from Mozart to Messiaen, Rebecca Clarke to Janáček, Alma Mahler to Fauré. The festival runs from 27 June to 2 July. I asked the energetic British pianist what they're doing, and why, and how, because it has all happened rather quickly...

Kathryn Stott

JD: Kathy, what inspired you and Lars to start Fjord Classics?

KS: Originally Lars had invited me to work on a different project with him, but when that took an abrupt turn, we started to consider other options and were very determined to find a way to get our collaboration up and running. Where to begin when starting a new festival is both daunting and exciting in equal measure, but we were more than thrilled when Vestfoldfestspillene offered us the opportunity set up Fjord Classics under their larger umbrella. 

JD: You’ve pulled it together incredibly fast - what’s that been like?

KS: If you’d asked me this question just before Christmas, I’d say we were out of breath for a few months. Thats probably an understatement! Firstly we put a lot of thought into choosing the right venues, in particular the main festival town. When we looked around Sandefjord we knew that was the one. Lars had a number of musicians all on hold from his previous venture and I have to say their loyalty in following us through to Fjord Classics speaks volumes. From there we added more musicians as our programming took shape but obviously the pace was very fast and I look forward to next time when we can focus solely on artistic thoughts and not the logistics of setting up a new festival. Our theme, 'The Dance of Life’ by Edvard Munch, gave us amazing inspiration so let's say that was a major springboard for musical ideas both on the track and some off piste!

Lars Anders Tomter

JD: How is it different from the other festivals you’ve been (and are) involved with?

KS: As you know, since 1995 I’ve been an Artistic Director on many projects but they have all been one-offs or with no real thought to follow through. That changed when I was appointed AD of the Australian Festival of Chamber Music so I was already extremely excited to have that opportunity to be creative with a vision towards the future. With Fjord Classics, Lars and I share the role. Between us we have an abundance of ideas but I think more than anything else, we compliment each other in having different skills and approaches. I see that as so positive and an aspect of our working relationship which is to be treasured.

JD: What do you think is most attractive about it for the audience?

KS: Huge variety! This year we really went for the max in all respects and from this we will see how to continue in the future. However, our primary thoughts have always been about quality and so this is never compromised. We have gathered the best musicians and put them with the greatest of music, so what is there not to like? I hope our audience is excited by what we are offering and will hold onto memorable experiences long into the future. This is just the beginning.

JD: What are you most looking forward to in it?

KS: In a way its not so much the performing aspect myself, but seeing how the programmes come together in reality and most of all, the joy of bringing musicians together from around the world and seeing what they create. Apart from anything else, I love going to concerts, so it's a musical feast whichever way you look at it.

JD: How’s your Norwegian?

KS: What was the question? Pass…...

More details and booking at https://www.fjordclassics.com/welcome

MEETING ODETTE: The Swan Lake Book

I used to have a recurring dream. I was in the library, looking for a book. I knew I'd seen it once before. I couldn't find it. It was a book of Swan Lake. I would always wake up knowing there was something inside it that I wanted, or needed, but I could never remember what it was.

This isn't the cover and it probably isn't the title either,
but a kind and creative author friend came up with the image on Canva and sent it to me

I had this dream right through my childhood into my teens and beyond, in one form or another. At first it showed me Swiss Cottage Library, which was our local. On other nights I'd see myself in Foyles, looking through the ballet section for a book that wasn't there. Wherever it might be, I always knew that it was my Swan Lake book.

Then, when I was 26, I decided that as it hadn't pitched up yet, I would write it myself.

That was in 1992. Since then I have rewritten it about 200 times: differences as small as changing the names or as large as reducing the length to half its original. The first draft was, in any case, hopeless: it was full of words.

Periodically I've shown it to people. Literary agents, publishers, friends, family. The typical reaction from the professionals? "Oh darling, we love it, it's beautiful, but it's very, er, whimsical..." They didn't fancy whimsical. Magical realism, which had flourished while I was a teenager gobbling up Angela Carter's books, had gone out of fashion. Meeting Odette, as it became called, at least for the moment, didn't fit anywhere.

Yet occasionally one of those friends or family members would pop up after reading another of my novels or attending one of our concerts and say: "What happened to the one about the swan? That was actually my favourite..."

Therefore I thought, after the splendid job that Unbound did with Ghost Variations, that I'd run it past them, just in case. Unbound likes quirky. Unbound likes whimsical. They love things that don't "fit" easily. And it didn't bother them one jot that Meeting Odette has little in common with Ghost Variations other than an association with an actual piece of music or, in this case, ballet.

It isn't a "ballet book", though, and it has nothing to do with Black Swan or any of the ballet's various stage updatings. It's a fairy-tale for the 21st century. The story of what happens when Odette is blown off course and crashes through Mary's window in a university town in the east of England has begun to feel oddly "relevant".

This isn't the title or the cover either. This is just me messing around on Canva...

All the ducks - or swans - were in a row at last. And today, 21 June, Summer Solstice 2017, we launch the campaign for Meeting Odette.

If you've enjoyed Ghost Variations, you'll probably know how Unbound works now. It's like an 18th-century subscription model. Essentially you are buying the book before it's published, rather than after, and you get thanked for it in print. It's now called crowdfunding, of course, but the inspiration is really quite archaic. (I should add, because people often denigrate self-publishing, that this is not self-publishing in any way, shape or form. Unbound has a different model, for sure, but they are top-flight professionals. I wouldn't have the first clue how to publish my own book and wouldn't like to attempt it.)

You can go for various different reward packages at different levels. Prices start at £10 for the e-book and your name in the book. The paperback basic is £20, but there's an Early Swan deal for £15 on the first 50. A book club package includes five paperbacks and an author visit; a larger contribution gets you and your plus-one an invitation to a buffet lunch with me and some wonderful friends from inside the ballet world to enjoy food, drink and good conversation about books, music, ballet, Swan Lake and, no doubt, more. Ballet enthusiasts could also consider clubbing together for the biggest one, for which I'll come to your house or institution and give a lecture about Swan Lake itself (and you get 10 paperbacks too).

Later in the process I am hoping to add further rewards in collaboration with the Royal Opera House, where a new production of Swan Lake directed by Liam Scarlett is due for premiere in May. If you've already pledged by then, you can upgrade to one of these if you want to. The site makes it nice and easy.

On Meeting Odette's page at Unbound, you'll find a video welcome from me, a synopsis, an extract and the full list of pledge rewards. Please swan over and have a look. I do hope that you will consider backing this book, which after 25 years is very, very close to my heart.

HERE WE GO.

Brexit: Creative Industries Federation offers 7 red lines

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. 

Read them here.

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.




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