Aida at ENO: a pearl, an intractable oyster and an elephant in the house

Latonia Moore as Aida. Photo: Tristram Kenton

Here's my review of ENO's new production of Aida, for The Arts Desk. I've never particularly liked this opera and the staging really did not help. But Latonia Moore is truly wonderful. As for the elephant, it's the language, this translation especially. When 'shelter' rhymes with 'Delta', isn't it time to go back to Italian? Or at least commission a new and better version?

http://www.theartsdesk.com/opera/aida-english-national-opera-review-heroine-almost-saves-dismal-day

Russian around: Tchaikovsky goes to Victoria

I have to doff a respectful cap to writer-actor-musician Hershey Felder. To create a one-man show in which you personify a composer, tell his story, play his music and hold the stage all alone for 1hr 40mins takes not only talent and charisma but a few shedloads of damned hard work, and in Our Great Tchaikovsky - the multitalented Canadian performer's latest musical incarnation, following Gershwin, Bernstein, Chopin, Liszt and Beethoven - he does all of this with enormous aplomb, plus Russian accent.

The show, which is directed by Trevor Hay, has just opened at The Other Palace, a theatre I thought I'd not been to before. And I'd been wondering what happened to the St James Theatre. Turns out the latter was bought up by ALW's theatre company and has changed both its name and its aspect. A mission statement from Lloyd Webber in the programme explains that it's now a space for burgeoning, experimental music theatre of all kinds. And its atmosphere has undergone a sea-change. It's buzzing, and it attracted a good, strong audience of non-specialists to see Felder become Tchaikovsky, and I have to doff a cap to that as well, because getting general audiences along to shows about classical music is not a walk in the park.

About town...
Photo: Hershey Felder Presents

Nor was the performance, entirely. Felder, with vast flair, brings us Tchaikovsky's life history, with all its anguish, fear and hints of scandal, switching persona in a twink from the young-gay-about-town Pyotr Ilyich to his mentors and nemeses: a portly Balakirev, a whine-toned Nikolai Rubinstein. The setting evokes Tchaikovsky's home at Klin: wooden desk, samovar, rug, and a backdrop of birch-forest which soon comes to life thanks to clever digital animation. A portrait frame's images change according to where we are in the story: mother, Nadezhda von Meck, beloved nephew Bob and the famous scowl-eyed portrait of the composer himself all appear in due course. The background conjures a range of visual treats: animals in the forest, New York in the snow (The Nutcracker was thought out on its streets when our composer went there to open a new concert hall built by Mr Carnegie) and mountains transforming into a flight of swans as Swan Lake music accompanies some pertinent information about the Sochi Winter Olympics and the policy of the Russian government towards homosexuality since 2013.

Silver birches...
Photo: Hershey Felder Presents

The show is certainly aimed at an audience unfamiliar with Tchaikovsky's personal story and Felder has handled its thorny, uncomfortable aspects with admirable clarity: upfront about the mystery of his death, fairly explicit about the composer's affection for young boys, and even more so about the relevance of the unfortunate man's personal history to unwelcome developments in the present day. He's crammed in a lot. Most of the important pieces get at least a passing mention and considerable chunks of music are heard throughout, some recorded, more in the powerful hands of Felder at the piano, meshing words and music to the manner born.

The only thing is - and this might not bother everyone, but it bothers me because of my pianoy side - Felder is a smashing actor, but rather too smashing a pianist in not always the best sense. He can certainly play (back in the '80s he studied with Jerome Lowenthal, among others), but he has a slightly bombastic touch, and many were the moments when I wondered if there might have been another way to approach this theatre piece: namely, by collaborating with a second person who would serve as full-time pianist? This worked extremely effectively for Mikhail Rudy's adaptation of The Pianist, in which Rudy plays and an actor (I saw the splendid Peter Guinness) inhabits the script and the whole is bound together with excellent direction (if I remember right, as it was some years ago, it was Daniel Kramer). In Felder's one-person-does-all account, though, there's possibly a bit too much playing - and, crucially, it slows the pace of the story. One might lose 15 mins with judicious cuts, upping the tempo and introducing, potentially, some interesting interactions that would enable Felder to concentrate on the drama and deepen the complexity, the pain and the shocking elements (of which there could be many more) of the heartbreaking tale of Pyotr Ilyich.

Having so said, there are moments at which the juxtaposition of different pieces of music makes a dramatic point even better than the words. The contrast between what felt like an endless extract of the ghastly 1812 Overture (even Tchaikovsky hated it) and the simplest, tenderest piece from the Album for the Young proved in a few seconds that there's more genuine feeling in one phrase of the latter than in all the lurid crashes, booms and fireworks that went before.

Anyway, do go and see it. Now running to 22 October. https://www.theotherpalace.co.uk/whats-on/hershey-felder-our-great-tchaikovsky

Farewell, Zuzana

Zuzana at home in Prague in September 2016, preparing for our interview...

News has just broken that Zuzana Ružičková, the great Czech harpsichordist, died peacefully today at the age of 90.

Devastated, but so glad that I went over to meet her when I did, about a year ago. Interviewing her was a joy, privilege and inspiration. It is also wonderful that Warner Classics released all her Bach recordings on CD at long last, to celebrate her big birthday last January. Here is my article about her for the JC.

Farewell, then, to the ultimate survivor. We were lucky to have her at all.

What makes a good duo?

Violinist Tasmin Little and pianist Piers Lane have been working together not just for years, but for decades. Doesn't time fly when you're having fun? Ahead of their delectable Wigmore Hall concert on Saturday 30 September, I asked Tasmin what the secret of a good duo might be... and a few other things...

Tasmin Little
Photo: bbc.co.uk

JD: Hi Tasmin - we're looking forward to your concert next weekend and that is quite a line-up of pieces: Bridge, Szymanowski, Bliss and Franck! How do you go about planning your programmes?

TL: When I plan a programme, I try to think about how an audience will feel when they sit down and what the first thing they would like to listen to might be! I always think it’s important to find a good mixture of works that are more immediately accessible and works which require more concentration and even emotional commitment for the audience. I think that audiences go to concerts to be moved, entertained and sometimes challenged - so, depending on where I’m playing and the kind of audience that the venue attracts, I’ll bear that in mind. I think it’s important to start with the opening piece and also think how to finish the evening. If there’s a very substantial work, I often put it just before the interval to allow the audience a breather afterwards (and me…).



JD: Why do you think British repertoire such as Bridge and Bliss is still relatively neglected? What appeals to you about their music?

TL: I think it’s simply that these works aren’t generally known to the wider public and so there’s less call for them - the Bridge, for instance, is an early work that has youthful vigour but is not perhaps representative of his mature style. And the Bliss sonata has only recently been reconstructed - so even I didn’t know it a couple of years ago! But this music is so engaging and I love the range of nuances that both composers demand;  it is also satisfying to bring a neglected work to life and then to have a good response from an audience who have enjoyed something new. 

JD: You and Piers have been playing together pretty much forever…what makes a good duo?

Piers Lane
photo: Keith Saunders

TL: It’s vital to have a good rapport and this is something that cannot be “learned” - it is either there or it isn’t! What develops through a long association is trust and a real understanding of how the other person thinks and feels. In this way, one can be very spontaneous on stage and know that you’re not going to take your partner by surprise! Piers and I have been playing together for 30 years now so we know each other really well - we even breathe together on stage… 

JD: What’s it like to perform at the Wigmore Hall? 

TL: The Wigmore Hall is such a glorious acoustic to perform in... the sound is so good that you can play as quietly as you like and know that every member of the audience will be able to hear you. So it’s an intimate hall but with a great deal of presence to it. I love walking on that stage and thinking of all the great musicians that have sung and played there over the years - it’s very inspiring. 

JD: Have you got any new recordings out?

TL: The most recent release is of both Szymanowski concerti and the Karłowicz concerto that I recorded with Ed Gardner and the BBC Symphony Orchestra. I love the Szymanowskis - they are so different from each other, the first one slightly mystical and other-worldly, and the second one completely sensual and down to earth, even rustic! The Karłowicz provides a beautiful foil for both works as it is a much more traditional concerto which is very easy to listen to and enjoy… 

JD: Other highlights for you this season?

TL: I’m excited to be going to play in Dubai with Piers in November and I’ll be playing the Britten concerto in Portugal in December. Next year I have two super trips to Australia, where I’ll be playing in Sydney and Melbourne among other places, and I’m also off to play Mozart in Spain. In between times and nearer to home, I’ll be up and down the UK for concertos and recitals and am particularly looking forward to playing with the CBSO doing Bernstein’s Serenade for violin and orchestra.

Book here for Tasmin Little and Piers Lane's recital at Wigmore Hall on Saturday 30 September

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Cape Town Opera clicks with London

Mandla Mndebele sings the Prologue from Pagliacci

Last week, a very special event at Bonham's Auction House in New Bond Street brought a spring to the step and a tear to the eye.

My parents left South Africa in the early 1950s, soon after their marriage, and rarely returned. My father refused to go back until apartheid had been thrown out. They were great music-lovers, but both died more than 20 years ago, so they did not live long enough to see the marvellous growth of talent now emerging from their old country, black and white together. Today's star South African singers include, just for starters, Pumeza Matshikiza, Golda Schultz, Pretty Yende and Jacques Imbrailo - and as Bonham's geared up for its sale of South African art, it joined forces with Cape Town Opera to bring us some more.

The sheer raw talent and dynamism that came bounding off the platform amid the paintings was little short of extraordinary. Among them were Lukhanyo Moyake, the tenor whom you may have spotted on the Cardiff Singer of the World; Frances du Plessis, a splendid young soprano with a bent for bel canto; Johannes Slabbert, who's changing fach from baritone to tenor - not quite there yet, perhaps, but well on the way and with a personality with "tenor" written all over it; Mandla Mndebele, a magnificently charismatic and full-voiced baritone; and, perhaps most wonderful of them all, the rich-toned soprano Siphamandla Yakupa, whose searing intensity in Gershwin's 'My Man's Gone Now' was absolutely shattering. Samantha Riedel was their excellent accompanist. Moyake and Mndebele's Pearl Fishers duet was a major highlight too, and massed encores included the Click Song (I'd have loved more South African music to be included).

It was the first time Bonham's had staged an event like this, mixing the genres, and it brought a valuable dimension to both: first we could wander round the exhibition and discover the works of inspiring painters including Irma Stern, Vladimir Grigorovich Tretchikoff, Gerard Sekoto and many more; then there was singing in the gallery.

In an age where the progress made towards racial equality and away from discrimination sometimes seems to be stalling, or at worst reversing in certain parts of the world, here art and opera together proved that talent and the drive to be creative and to bring music to people know no such boundaries - proving how plain stupid the very notion of racism is.

One day, far in the future, perhaps people will scratch their heads and say to one another, "Did you know, 200 years ago people actually used to judge each other by the colour of their skins or by which fairy-tale they believed in? Can you imagine how they could be such idiots?" And they'll laugh, and buy each other drinks and chocolate, and sit in the sunshine enjoying a few minutes of hilarity over the morons who were still alive and well in the 21st century thinking that such ideas were even valid - before they get on with creating their new opera about real people, genuine emotion and universal questions.

For the time being, we can only do what we can each do, and I know how much it would have meant to my parents to see a black Don Giovanni singing 'Là ci darem' to a white Zerlina and a mixed company of singers all together for Miriam Makeba's wonderful party-piece Click Song. It wouldn't have been possible in the days when they left and refused to go back. I'm proud of them. Now I'm also pleased to be going back myself: I'll be there again in January and hope to visit Cape Town Opera on location, all being well. We can only do what we can do, but if we can do something, we should. Together, we can click.