Puzzled by news of the stand-off between Russia and the UK over, of all things, the British Council. My own contact with this organisation consisted of two green and pleasant years, some while ago, editing a magazine named Soundings which helped to promote British music of all types and was distributed via BC offices around the world. A nicer, more mild-mannered and traditionally British bunch you couldn't hope to find. I believe that the gentleman who then headed the music section eventually left to become a poet.
Perhaps it's just the old schoolyard story: the quiet, sensitive ones are the easiest targets for the bullies...Otherwise, this could very easily become a latter-day Graham Greene novel.
Meanwhile it looks as if the planned exhibition at the Royal Academy of Arts, From Russia: French and Russian Master Paintings 1870–1925 from Moscow and St. Petersburg, will go ahead, opening on 26 January.
Thursday, January 17, 2008
Wednesday, January 16, 2008
Little goes large!
Back from hols, missing the sun...but the limelight isn't far away. It's firmly on Tasmin Little, whose free download The Naked Violin went live on Monday and promptly attracted so many hits that it briefly crashed the server. She's going great guns with 12-13,000 downloads per day, articles in most of the papers and music magazines that count (see mine today in The Independent) and masses of radio and TV coverage coming up too. She'll be live on BBC1 on The Andrew Marr Show on Sunday at 9am, talking and playing. Don't miss the music itself - download here!
Tuesday, January 08, 2008
Tasmin's violin goes naked!
Tasmin Little is hitting the headlines by becoming the first musician (to the best of my knowledge) to give away a recording free online. The project is called The Naked Violin. Radiohead, eat your heart out.
She's recorded three contrasting pieces for solo violin by Bach, Ysaye and Paul Patterson and it will be available to listen or download free of charge from her website from next Monday. She sees this as a new way of getting through to people who might never dare to go into a record shop or walk into a concert hall, but mightn't mind pressing a button on a computer and having a listen. There's an important educational element too - the recording is ideal for use in schools and the website is going to include Tasmin's spoken introductions and suggestions that teachers can use to plan lessons around the three different pieces. And of course you can access the recording anywhere there's internet access, whether in swinging London, darkest Peru or among the reindeer in Lapland.
Two contrasting violins are involved: her Guadagnini of 1757 and the 'Regent' Stradivarius. Listen out for the difference between the instruments, decide which you prefer and why, and let her know via the website!
I'm chuffed to learn, furthermore, that the whole thing sprang from our little busking exercise for The Independent last spring. Playing outside Waterloo Station and seeing who stopped, who didn't and who might have if it had been less cold and windy just there - and especially seeing that every child who passed us wanted to stay and watch - got Tazza thinking about why people who might enjoy music don't actually go to hear live performances. She's hoping to follow up the download recording with a rather unusual tour. Coming soon to a teepee near you.
We'll be covering the project at greater length in the Indy very soon, but meanwhile please bookmark her page and dive in for a listen next week. The Guardian has a piece today (though of course they make a political statement out of it).
She's recorded three contrasting pieces for solo violin by Bach, Ysaye and Paul Patterson and it will be available to listen or download free of charge from her website from next Monday. She sees this as a new way of getting through to people who might never dare to go into a record shop or walk into a concert hall, but mightn't mind pressing a button on a computer and having a listen. There's an important educational element too - the recording is ideal for use in schools and the website is going to include Tasmin's spoken introductions and suggestions that teachers can use to plan lessons around the three different pieces. And of course you can access the recording anywhere there's internet access, whether in swinging London, darkest Peru or among the reindeer in Lapland.
Two contrasting violins are involved: her Guadagnini of 1757 and the 'Regent' Stradivarius. Listen out for the difference between the instruments, decide which you prefer and why, and let her know via the website!
I'm chuffed to learn, furthermore, that the whole thing sprang from our little busking exercise for The Independent last spring. Playing outside Waterloo Station and seeing who stopped, who didn't and who might have if it had been less cold and windy just there - and especially seeing that every child who passed us wanted to stay and watch - got Tazza thinking about why people who might enjoy music don't actually go to hear live performances. She's hoping to follow up the download recording with a rather unusual tour. Coming soon to a teepee near you.
We'll be covering the project at greater length in the Indy very soon, but meanwhile please bookmark her page and dive in for a listen next week. The Guardian has a piece today (though of course they make a political statement out of it).
Sunday, January 06, 2008
Tannhäuser in Paris
I write up Tannhäuser in Paris for the Indy, but what appeared in print was heavily cut. Here is the full version. (You can hear a broadcast of the show on France Musique on 9 February.)
It’s Christmas in Paris, and Venus saunters onto the Bastille stage in the first bars of Wagner’s overture, stark naked. While British audiences were shoehorned into endless Nutcrackers, the French capital hotly anticipated a season highlight in Robert Carsen’s new production of Tannhäuser, the Paris Opera’s first since 1984, which opened on 6 December – but the first performances were semi-staged due to a strike by stagehands. It wasn’t until later that the full monty was unfurled. And it was worth waiting for.
Re-settings of operas that actually work are rare, but the transformation of Tannhäuser into a radical artist creating a scandal succeeds because it enhances the work’s core issues: sex versus spirituality (or prudishness), progressive art versus the establishment. How appropriate, too, for Paris, the city of Manet – whose ‘Dejeuner sur l’herbe’ adorns the programme – and the territory where Tannhäuser caused a comparable scandal in 1861, albeit because the Jockey Club objected to the lack of a ballet in the second act.
The ballet appears, instead, right after the overture, in the Venusberg – the realm of the senses inhabited by the goddess of love – and this time the Jockey Club members wouldn’t have known what had hit them. The nude Venus, Tannhäuser’s model, drapes herself across a mattress while he paints her in a frenzy, aided and abetted by a crowd of male dancers who portray the wild, messy confluence of creativity and sex in an orgy of scarlet paint.
Act II’s song contest is transformed with great aplomb into a painting competition in a posh gallery; the artists’ songs introduce the unveiling of their paintings (which the audience never sees). Symbolism returns for Act III, when the conventional, uptight Elisabeth – who alone understands Tannhäuser’s art but is fatally wounded by his sexual betrayal – takes off her dress, lets down her hair and begins to merge with the image of Venus. Tannhäuser, refused absolution by the Pope, returns from his pilgrimage seeking the Venusberg instead, but now Elisabeth and Venus mingle as he learns to integrate their opposing qualities in his work. And with the final chorus comes Tannhäuser’s salvation: his canvas is hung among the most famous and scandalous nudes in the history of art.
The American heldentenor Stephen Gould is a towering hunk as Tannhäuser, his voice as powerful as his presence. His Elisabeth is Eva-Maria Westbroek, her ‘Dich, teure Halle’ delivered from the front of the stalls with a heart-lifting combination of natural radiance and vocal ease. Exquisite richness of tone from the mezzo-soprano Béatrice Uria-Monzon as Venus and superb performances from Franz-Josef Selig as Hermann and the substantial chorus.
Most unforgettable, though, is Matthias Goerne as Tannhäuser’s friend Wolfram, portraying a generous yet introverted soul tortured by unrequited love for Elisabeth. Goerne’s magical phrasing, charcoal-soft baritone and gut-wrenching inwardness make him unique at the best of times, but it would have been worth the journey to Paris just to hear him sing Wolfram’s Song to the Evening Star. Meanwhile under Seiji Ozawa’s mercurial baton, the orchestral playing was full of élan, and proved unfailingly sensitive to the singers. Christmas crackers for grown-ups don’t come much better than this.
It’s Christmas in Paris, and Venus saunters onto the Bastille stage in the first bars of Wagner’s overture, stark naked. While British audiences were shoehorned into endless Nutcrackers, the French capital hotly anticipated a season highlight in Robert Carsen’s new production of Tannhäuser, the Paris Opera’s first since 1984, which opened on 6 December – but the first performances were semi-staged due to a strike by stagehands. It wasn’t until later that the full monty was unfurled. And it was worth waiting for.
Re-settings of operas that actually work are rare, but the transformation of Tannhäuser into a radical artist creating a scandal succeeds because it enhances the work’s core issues: sex versus spirituality (or prudishness), progressive art versus the establishment. How appropriate, too, for Paris, the city of Manet – whose ‘Dejeuner sur l’herbe’ adorns the programme – and the territory where Tannhäuser caused a comparable scandal in 1861, albeit because the Jockey Club objected to the lack of a ballet in the second act.
The ballet appears, instead, right after the overture, in the Venusberg – the realm of the senses inhabited by the goddess of love – and this time the Jockey Club members wouldn’t have known what had hit them. The nude Venus, Tannhäuser’s model, drapes herself across a mattress while he paints her in a frenzy, aided and abetted by a crowd of male dancers who portray the wild, messy confluence of creativity and sex in an orgy of scarlet paint.
Act II’s song contest is transformed with great aplomb into a painting competition in a posh gallery; the artists’ songs introduce the unveiling of their paintings (which the audience never sees). Symbolism returns for Act III, when the conventional, uptight Elisabeth – who alone understands Tannhäuser’s art but is fatally wounded by his sexual betrayal – takes off her dress, lets down her hair and begins to merge with the image of Venus. Tannhäuser, refused absolution by the Pope, returns from his pilgrimage seeking the Venusberg instead, but now Elisabeth and Venus mingle as he learns to integrate their opposing qualities in his work. And with the final chorus comes Tannhäuser’s salvation: his canvas is hung among the most famous and scandalous nudes in the history of art.
The American heldentenor Stephen Gould is a towering hunk as Tannhäuser, his voice as powerful as his presence. His Elisabeth is Eva-Maria Westbroek, her ‘Dich, teure Halle’ delivered from the front of the stalls with a heart-lifting combination of natural radiance and vocal ease. Exquisite richness of tone from the mezzo-soprano Béatrice Uria-Monzon as Venus and superb performances from Franz-Josef Selig as Hermann and the substantial chorus.
Most unforgettable, though, is Matthias Goerne as Tannhäuser’s friend Wolfram, portraying a generous yet introverted soul tortured by unrequited love for Elisabeth. Goerne’s magical phrasing, charcoal-soft baritone and gut-wrenching inwardness make him unique at the best of times, but it would have been worth the journey to Paris just to hear him sing Wolfram’s Song to the Evening Star. Meanwhile under Seiji Ozawa’s mercurial baton, the orchestral playing was full of élan, and proved unfailingly sensitive to the singers. Christmas crackers for grown-ups don’t come much better than this.
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