Friday, February 03, 2012
Friday Historical: Rubinstein meets an old friend...
A real "look what turned up on Youtube" moment: this wonderful footage, from 1966, shows Arthur Rubinstein visiting the Steinway factory in Hamburg to test out his favourite piano after it has been repaired. He plays extracts of Szymanowski, some Chopin Etudes and Ballades, Ravel Valses Nobles et Sentimentales, and the Schubert B flat Sonata, among other things. The swathes of fascinating interview material include a story about the manuscript of the Chopin Fantasie-Impromptu, which he found inside the album of the Baroness d'Este after buying it at an auction - Rubinstein was a passionate collector...
The film, about 27 mins long, is in German, but if you want subtitles you can find them by clicking the 'cc' box in the video box's bottom menu bar.
Thursday, February 02, 2012
Violin birthdays for astrological doubters?
Happy Heifetz's Birthday! Happy Kreisler's Birthday, too! What chance that the two greatest violinists of the 20th century shared a birthday? But that's life, so let's celebrate.
Here is some amazing film of Heifetz: at home, practising, playing ping-pong and - good heavens, smiling?
And now Kreisler...a radio broadcast from his 80th birthday with congratulations spoken by his colleagues, including Mischa Elman, Yehudi Menuhin, Nathan Milstein and many more, followed by an interview with Kreisler himself (in two parts).
Here is some amazing film of Heifetz: at home, practising, playing ping-pong and - good heavens, smiling?
And now Kreisler...a radio broadcast from his 80th birthday with congratulations spoken by his colleagues, including Mischa Elman, Yehudi Menuhin, Nathan Milstein and many more, followed by an interview with Kreisler himself (in two parts).
Wednesday, February 01, 2012
Robert Maycock
We are all devastated to hear of the death last week in a car crash of the arts journalist Robert Maycock, a treasured colleague and former editor of Classical Music Magazine. A great supporter of contemporary and world music, he worked for The Independent for many years and was also the biographer of Philip Glass. He was 63. More information from Classical Music Magazine, here.
Monday, January 30, 2012
Gold stars for this silver rose
If you only do one thing in London over the next few weeks, make it this: go and see Der Rosenkavalier at ENO.
The opening night on Saturday...where to start? The dream-team cast? OK, Amanda Roocroft is The Marschallin for the first time - not that you would guess for a moment she had not been born singing this music. Roocroft is one of the finest actresses in British opera right now - look at her awards for all that Janacek. She can effortlessly evoke the charming, open-hearted aristocrat on the one hand, and, lurking just beneath the surface, a self-destructive woman whose fear of losing her beloved young lover leads her to chase him away; act I's conclusion leaves her cradling a cushion in despair. Sarah Connolly is everyone's perfect Octavian: glowing, dashing, her voice as silvery as her armour (and those of us who follow her updates on Facebook were extra-pleased to see her as she'd been stuck on a motionless train with points failure for half the afternoon).
But perhaps most stunning of all was the debut of Sophie Bevan as Sophie (above, pic by Clive Barda). A star is born? You can't argue with the goose-bumps: you can't always explain them, but you know them when they happen. The moment Sophie opened her mouth, it was clear that she is no common-or-garden girl soprano, but one with potential to reach some very special places indeed. At no point while she sang did one have to glance at the surtitles; every word was clear as the proverbial bell, and every twist of character projected with relish. The voice - pure, flexible, snowy and effortlessly voluminous when required - never faltered; and the magical moments following the presentation of the rose as Sophie and Octavian fall in love made us all fall in love too. The audience went mad for her. I can't wait to hear what she does next.
Nor can you argue with John Tomlinson as the odious Ochs. Some of us feel that the opera contains too much Ochs and too little outrage over his ghastliness (the programme notes said that Strauss makes us like Ochs, but actually no, he doesn't) - but 'John Tom' is so convincing that what one remembers is a) the 18th-century setting would have condemned him to the guillotine had Strauss and Hofmannsthal not shifted the action to Vienna instead of Paris, and b) the world premiere, in 1911, took place only six years before the Russian revolution. Rosenkavalier as social commentary for its own time and maybe for ours too... Meanwhile, so involved was the singer with his role that in the scene with the attorney he turned physically scarlet with anger.
David McVicar's direction of a production as opulently golden as its music is typically astute and detailed - probing, questioning and poetic. For instance, why doesn't Octavian dressed as Mariandel slip out of the boudoir to escape Ochs's attentions? Because the mystery doors in the wall are so mysterious that he can't work out how to get them open. And the last gesture of Octavian towards the departing Marie-Therese before turning back to Sophie sparks an idea that we may not have seen the last of that affair after all...while young Mohamed the page boy has a crush of his own to pursue after curtain-down.
Down t'pit, Ed Gardner was working a magic of his own. This was a shimmering, generous, expansive Rosenkavalier - running to 4 hrs 10 mins, it was 25 mins longer than the theatre's estimate - but not a second of it was excessive. The music had room to breathe, grow and smoulder. Super violin solos from leader Janice Graham and some very lovely woodwind playing.
I have only two complaints. First of all, fine though the diction of the singers was, this opera's entire musical world is so bound up with flow of the German language that in English it just sounds all wrong. That's nobody's fault. I imagine the translation could have been more inspiring, but perhaps it would be a losing battle in any case. The other issue is that the set scarcely changes from scene to scene - without differentiation between the Marschallin's olde-worlde palace and the Faninal's new-build house, half the matter of class distinction, which is such an overriding theme, can't help but be somewhat submerged. Still, sets cost money; and, quite honestly, this cast could have performed in concert alone and still convinced us every step of the way.
Runs to 27 February. I wanna go again!
Photos here: http://www.flickr.com//photos/eno-baylis/sets/72157629055732903/show/
The opening night on Saturday...where to start? The dream-team cast? OK, Amanda Roocroft is The Marschallin for the first time - not that you would guess for a moment she had not been born singing this music. Roocroft is one of the finest actresses in British opera right now - look at her awards for all that Janacek. She can effortlessly evoke the charming, open-hearted aristocrat on the one hand, and, lurking just beneath the surface, a self-destructive woman whose fear of losing her beloved young lover leads her to chase him away; act I's conclusion leaves her cradling a cushion in despair. Sarah Connolly is everyone's perfect Octavian: glowing, dashing, her voice as silvery as her armour (and those of us who follow her updates on Facebook were extra-pleased to see her as she'd been stuck on a motionless train with points failure for half the afternoon).
But perhaps most stunning of all was the debut of Sophie Bevan as Sophie (above, pic by Clive Barda). A star is born? You can't argue with the goose-bumps: you can't always explain them, but you know them when they happen. The moment Sophie opened her mouth, it was clear that she is no common-or-garden girl soprano, but one with potential to reach some very special places indeed. At no point while she sang did one have to glance at the surtitles; every word was clear as the proverbial bell, and every twist of character projected with relish. The voice - pure, flexible, snowy and effortlessly voluminous when required - never faltered; and the magical moments following the presentation of the rose as Sophie and Octavian fall in love made us all fall in love too. The audience went mad for her. I can't wait to hear what she does next.
Nor can you argue with John Tomlinson as the odious Ochs. Some of us feel that the opera contains too much Ochs and too little outrage over his ghastliness (the programme notes said that Strauss makes us like Ochs, but actually no, he doesn't) - but 'John Tom' is so convincing that what one remembers is a) the 18th-century setting would have condemned him to the guillotine had Strauss and Hofmannsthal not shifted the action to Vienna instead of Paris, and b) the world premiere, in 1911, took place only six years before the Russian revolution. Rosenkavalier as social commentary for its own time and maybe for ours too... Meanwhile, so involved was the singer with his role that in the scene with the attorney he turned physically scarlet with anger.
David McVicar's direction of a production as opulently golden as its music is typically astute and detailed - probing, questioning and poetic. For instance, why doesn't Octavian dressed as Mariandel slip out of the boudoir to escape Ochs's attentions? Because the mystery doors in the wall are so mysterious that he can't work out how to get them open. And the last gesture of Octavian towards the departing Marie-Therese before turning back to Sophie sparks an idea that we may not have seen the last of that affair after all...while young Mohamed the page boy has a crush of his own to pursue after curtain-down.
Down t'pit, Ed Gardner was working a magic of his own. This was a shimmering, generous, expansive Rosenkavalier - running to 4 hrs 10 mins, it was 25 mins longer than the theatre's estimate - but not a second of it was excessive. The music had room to breathe, grow and smoulder. Super violin solos from leader Janice Graham and some very lovely woodwind playing.
I have only two complaints. First of all, fine though the diction of the singers was, this opera's entire musical world is so bound up with flow of the German language that in English it just sounds all wrong. That's nobody's fault. I imagine the translation could have been more inspiring, but perhaps it would be a losing battle in any case. The other issue is that the set scarcely changes from scene to scene - without differentiation between the Marschallin's olde-worlde palace and the Faninal's new-build house, half the matter of class distinction, which is such an overriding theme, can't help but be somewhat submerged. Still, sets cost money; and, quite honestly, this cast could have performed in concert alone and still convinced us every step of the way.
Runs to 27 February. I wanna go again!
Photos here: http://www.flickr.com//photos/eno-baylis/sets/72157629055732903/show/
Friday, January 27, 2012
Friday Historical for Mozart's Birthday, plus some news
First of all, I'm delighted to announce that I have "a new gig", contributing to The Spectator Arts Blog. My first piece is out today and it's a look at six of the best young opera singers I've come across in the last year or so. First up is Sophie Bevan, who will be singing her namesake in Der Rosenkavalier for ENO from Saturday. And five more budding superstars... Read it here.
And it's Mozart's birthday, and it's Friday, so here is some Friday Historical Mozart: the first movement of the Concerto for Three Pianos, with Sir Georg Solti (conducting and playing), Daniel Barenboim and Andras Schiff, and the English Chamber Orchestra. Happy 256th birthday to our darling Wolferl!
And it's Mozart's birthday, and it's Friday, so here is some Friday Historical Mozart: the first movement of the Concerto for Three Pianos, with Sir Georg Solti (conducting and playing), Daniel Barenboim and Andras Schiff, and the English Chamber Orchestra. Happy 256th birthday to our darling Wolferl!
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