Margot Fonteyn's lost kiss revealed

OH JOY, there's going to be a ballet season on BBC TV in March. Included is a programme of highlights from The Sleeping Beauty from 1959 starring Margot Fonteyn - and the above kiss sequence which has been long lost and resuscitated by a clever someone somewhere just in time for Valentine's Day. Other airings will include Good Swan, Bad Swan - Tamara Rojo on dancing Swan Lake; Darcey Bussell talking about her ballet heroines; and Dancing in the Blitz, about British ballet during World War II, including rare footage of Ashton's Symphonic Variations.

Anniversary

Today is the 20th anniversary of my mum's death. It still feels like yesterday. We miss her every day of our lives.

This is the Marietta Lute Song duet from Die tote Stadt by Korngold, sung in 1924 in Berlin by Lotte Lehmann and Richard Tauber, here rendered with superbly remastered sound. If you don't know the opera, it is all about coming to terms with loss. As Korngold's Paul discovers, you don't get over things. You can only learn to live with them, because there is no alternative.

If you want to see a video of the full opera, I can recommend a recently released DVD from Finnish National Opera - a production by Kasper Holten with stunning designs by Es Devlin, starring Klaus Florian Vogt as Paul and Camilla Nylund as Marietta.

"Cello goddess" drawn into the afterlife

Maya Beiser, dubbed a "cello goddess" by the New York Times, is heading for London to play David Lang's concerto World to Come next week. Here's my interview with a fascinating and ground-breaking figure whose effect on the contemporary repertoire for her instrument is simply immeasurable. The performance, with the BBC Concert Orchestra, is on 24 February at the QEH, booking here.

Inspired by the effect of 9/11 - the composer was living close to the World Trade Center at the time - the concerto portrays the idea of a cellist and her voice being separated then reunited in the afterlife. It was originally written for solo cello with multitrack recording; he then orchestrated it for use in a ballet. This will be its UK premiere. Lang, whose music has a dark brilliance to it that stands out a mile, won the Pulitzer Prize for his Little Match Girl Passion in 2008. Together with Julia Wolfe and Michael Gordon he was one of the founders of the Bang on a Can collective, and Beiser became a founder member of the Bang on a Can All-Stars.

Although he has risen to be one of America's most often-played contemporary creators, and on these shores was for a time composer-in-residence for the Royal Northern Sinfonia, Lang's music is all too rarely heard in London. It's high time one of our leading orchestras gave a go to an American composer - especially one who has a chance of raising audience interest. It's time to examine British preconceptions about American music, too. However did this spiritual and deeply unsettling piece find its way into a programme by the BBC's "light" orchestra (or should that be "lite" today?) alongside the likes of Bernstein's Fancy Free?

Bach to the ballet

The second performance at the Royal Opera House of Wayne McGregor's brand-new ballet Tetractys - The Art of Fugue - had to be cancelled the other night due to an injury sustained by Natalia Osipova that afternoon. While we wait for her to get better - hopefully by tomorrow - here is my interview with McGregor about it for The Independent. It came out the other day while I was blogless in NY.

Um, in case you were wondering where I was...

...I've been in New York and - in between shopping, museum-hopping and seeing all my oldest and dearest friends - spent a rather pleasant hour in a press room at the Met with a certain tenor, who recovered from his bout of flu in time for a good chinwag. I've been trying to make this happen for years rather than months...and it was worth the wait.

JFK - Jonas Fluey Kaufmann, natch - is in NY preparing for a new production of Werther, which opens on 18 Feb, directed by Richard Eyre and also starring the glorious Sophie Koch as Charlotte (see the new issue of Opera News, just out, for my cover feature about her). HD cinecast is on 15 March. Be there. You'll like it.

It was also wonderful to see Glyndebourne's production of Billy Budd - imported wholesale, orchestra, chorus, Marks Elder and Padmore and all - receive a massive ovation at the Brooklyn Academy of Music the other night. New Yorkers, you have two more chances to see it this week. Here's a rave review from the New York Times.

Just flew home from...JFK. Incredibly, only 5 hrs 40 mins.

Rameau 250: don't just sit there, do something!

Jean-Philippe Rameau died 250 years ago, so there's a nice anniversary to provide an excuse to spotlight him. He's an absolute magician - just as his later successors, Ravel and Debussy, would be. I'm a late convert to French Baroque: I've grown to love the richness of its musical invention, its startling originality, its mellifluous beauty and its dizzying range of emotion - excitement, humour, sparkle, pathos and more - and Rameau is one of its reigning triumvirate, alongside Lully and Couperin.

Recently the tenor Lawrence Olsworth-Peter got in touch to say that he is starting a new opera company especially for the anniversary, the International Ramaeu Ensemble, so I've asked him to talk to us about it. Roll up to St George's, Hanover Square, for their big launch concert on 21 February.

JD: Lawrence, please tell us why you’ve decided to set up a new opera company for the Rameau anniversary? What will be special and/or unique about it? What will you do that’s different from others? [if it is] What do you hope to achieve?

LOP: The first and foremost reason for setting up the International Rameau Ensemble was the stunning music that Rameau composed, mostly as official court composer to Louis XV. 

When I first heard it I couldn't believe how audacious his writing was that it made other baroque composers seem perfunctory! We are a group of baroque specialists who play all around the world with various ensembles including the OAE and London Handel Festival and we want to be the UK's first research led French baroque Opera company exclusively devoted to promoting Rameau and as it's his 250th anniversary this year we thought this is would be the perfect time to start it. We would love to bring Rameau's music to a whole new generation of music lovers who would never have had the opportunity to hear it live otherwise. 

JD: How effective has Kickstarter been when trying to raise money for the project? Is it a course of action you’d recommend to others?

LOP: Kickstarter is a great phenomenon and was really good as helping us raise our profile online. Over half of kickstarter projects don't meet their target as was the case with ours, but there are many other crowdfunding sites out there now; you just need to know which one will best work for your project.

JD: Please tell us something about Rameau? What do you love about his music? Which pieces should people start with if they’re not familiar with it? 

LOP: I was surprised to discover that Rameau didn't start composing operas until he was nearly 50 years old which, is in remarkable considering how many he wrote between then and his death in 1764. What excites me is how daring the music is and how he pushes the harmony, orchestration and singers right to the extremes of possibility. One of my absolute favourite pieces is 'Entree de Polymnie' from Les Boreades (I'd love to have this played at my funeral!) and the aria I love to sing the most is 'Lieux Funestes' from Dardanus so I would recommend either of those!

JD: Might this be a wonderful way to bring the great music of the French Baroque to a whole new audience? Why do you think this area of music hasn’t yet achieved the recognition it deserves in the UK?

LOP: Five years ago I had never even heard of Rameau's work even though I was already a professional musician and I think that is because music colleges haven't encouraged its performance and the British public are just not aware that his music exists. French baroque music in general is not regularly performed by music festivals, although there have been recent productions at ENO and Glyndebourne which is fantastic to see and we predict that it will increase within the next decade

JD: Please add anything more that you’d like to tell us about it?

LOP: I mentioned that we are research led and I believe that this is important so that people can see authentic performances of his work. One of our members is writing a PhD in Rameau orchestration under the tutelage of Graham Sadler who is who I is our honorary patron so we intend to also be a specialist training ground for young performers in this area.

Our big launch concert takes place on Friday 21st February 2014 at the beautiful St Geroge's Hanover Square where we will be performing 3 Grand motets by Rameau and we hope that you will join us and hear the music for yourself. We also have big plans for an Opera double-bill in the autumn so look out for that. For more information please visit www.rameau.eu