It's Tom's half century today!

HAPPY BIRTHDAY, TOM!

We are off for a day of celebration, to include a posh lunch and the purchasing of rather a lot of cheese.

The pic was us in Argentina last year. We haven't changed too much since then, though are currently less tanned.

And the sequel is...

... this. Go here and click on 'Listen' for Track No.9, entitled ISOLDINA. Marc-Andre Hamelin performs and the music is by Clement Doucet after, er, Big Richard.

Note from Technotwit: ambitious attempts to plant the music directly into this post have failed.

Grande Cornish

Certain members of the orchestra not a million miles from here are blaming our freak storms on the fact that they're about to launch into Tristan und Isolde at Glyndebourne, the emotional power of which is inducing the weather to imitate the opera's setting, Cornwall. I couldn't possibly comment... but here's a sneak preview of Nina Stemme singing the Liebestod. Tristan opens next week - with La Nina a climatically appropriate choice for the lead. A further taster to get everyone in the mood will follow tomorrow.

Jerry Hadley, 1952 - 2007

Having learned of the tragic death by suicide of the American tenor Jerry Hadley, the best I can do is refer you to the post by La Cieca and the discussion that follows it. There is also an obituary in The New York Times. Everyone who heard Hadley will treasure the memory of a wonderful voice and superlative performer.

Is it true that artistic, creative souls are especially prone to depression? I reckon depression is common across the board - I've known accountants, management consultants and many others who've suffered it. But the depressed artist remains the most potent symbol, because he or she brings such joy and comfort to others while experiencing a living hell.

Schiff shape!

One of the delectable things about writing booklet notes for CDs is that now and then you're assigned a task you like; and you get the disc at the end of it. This morning a box of dizzying delights hit my desk as a result of one such job: a set of reissues from Warners of Andras Schiff playing concertos and chamber music - no fewer than nine discs.

OmG, which to play first?! The Bartok piano concertos with Ivan Fischer and the Budapest Festival Orchestra? Schubert trios with Yuuko Shiokawa and Miklos Perenyi? The Dvorak Piano Quintet with the Panochas? Beethoven, Mozart and the fascinating Sandor Veress... Solution: close eyes, shuffle discs and pick the one at the top. It's the Dvorak. Heaven.

"...Schiff always puts the music first and last. In a world obsessed with superficiality, image, anti-intellectualism and short-term thinking, Schiff continues to stand proudly for the opposite, offering a voice of reason and artistic integrity."

A couple of weeks ago Andras was awarded the Royal Academy of Music Bach Prize. He'll be starting his Beethoven sonatas cycle in the States this October - Ann Arbor, San Francisco, Los Angeles and New York - I've recently done an interview with him about this for Carnegie Hall's Playbill, which I'll post as soon as it's available online. And you can still hear his lectures about the sonatas from the Wigmore Hall on The Guardian's webcast.

Please excuse me while I gloat, worship and purr, all at the same time.

Bartok goes back to Romania

Do have a look at this fascinating article in today's Independent about Taraf de Haidouks, the Romanian Gypsy group I went to hear at the Barbican a few weeks ago. Here's an extract:

"It's all in the body language. They'll pull close together as if drawing around a fire, goading each other towards dizzier tempos and ornamentations. It's a game-playing delivered with fatalistic abandon, shifting its weight and shape from one passage to the next, delivering moments of outrageous serendipity."

Their new album, Maskarada, is just out and features their version of Bartok's Romanian Dances and the waltz from Maskarade by Khatchaturian, among other pieces of magic. Most of the album involves their reinterpretations of classical works that were inspired by, or borrowed from, folk and Gypsy music.

Pillow fight at the Proms

Yesterday's Prom with the English Baroque Soloists & Monteverdi Choir mixing and matching with Buskaid's Soweto Strings Ensemble, and the Compagnie Roussat-Lubek from France with Dance for All from a township near Cape Town, was unlike anything I've seen at a Prom in the (various) decades I've been attending them - or, indeed, anywhere else.

From the most authentic of the schmauthentic in the baroque Franco-Latin pronunciation of Andre Campra's long-forgotten and very beautiful Requiem in the first half, to the reinventing of Rameau as a traditional African miners' gumboot dance at the end of the evening, this concert was a revelation, a marvel and an inspiration - and a statement about how the most apparently disparate of cultures can come together and be united through the shared joy of creating sound and movement...

That's where the pillow fights came into it. It would be so easy for an event like this to become portentous and preachy, but that was never going to happen: the Compagnie Roussat-Lubek, founded by two dancers who trained in mime, circus and acrobatics as well as ballet, offered such quirky imagination, from orange frock coats to pillow fights to a ballerina in a false nose tossing glitter over the tenor, that joyousness remained uppermost for its own sake. Then in came their secret weapon: a cherubic, curly-haired little boy, who we reckoned couldn't be more than 4 years old yet performed with the assurance of all the adult dancers on the stage with him. Imagine the noise in the RAH!

As for the Soweto Strings Ensemble, they sounded every bit as good as the English Baroque Soloists. Their director, Rosemary Nalden, is an EBS alumna and has trained her ensemble with perhaps an even greater unanimity of style; their physical engagement with the music and seriousness of purpose was second to none. Samson Diamond, the leader, currently studying at the Royal Northern College of Music (pictured above right), could just be a young artist to watch out for. And from time to time, a fiddler or two put down his or her instrument and stepped out to join Dance for All.

The energy left me awake most of the night, cherishing the image of some of the finest baroque players and singers in Britain sharing the stage with inspirational youngsters and marvellous dancers, in a musical world where everything, at last, is possible. John Eliot Gardiner picked up the little lad and hugged him as if he were standing to be president. An evening to remember, forever.

A symbol of the future? If so: oh, yes, please.

(Oh - no, JEG, we don't want you to be president, we want you to keep conducting things like this, hope that clarifies it, hugz, jdxxx).

Rameau is/was a complete genius. Never got him before. Get him now.

Read JEG's own account of the story behind the story here.

Hear the concert here.

This thing called The Proms, once again

It's Friday 13th and the Proms open tonight. I've managed to write a substantial piece about the forthcoming programme without grumbling about the Royal Albert Hall's acoustics, sightlines or temperature, and trying very hard to be enthusiastic since there is some great stuff to be heard. The Independent is running daily 'Promcasts', previewing every concert.

A few little updates since blogging has been taking a back seat for the past few weeks. Differences in Demolition sold out and went beautifully; the critics enjoyed it, but mostly missed the point, with the exception of Neil Fisher in The Times. Tristan is in rehearsal for Glyndebourne and Tom is coming home high as a kite after playing Wagner for 6 hours a day, not to mention practising. An interesting experience to undertake remedial, editorial-hawkeye work on book while the Liebestod is going hell for leather in the living room. Alicia's Gift is out and about in paperback and had some nice reviews in various magazines. The Messiaen play is complete and is being translated.

More here as soon as possible.

Book signing this week

ALICIA'S GIFT is out in paperback on Thursday 12 July and that day I'll be at Waterstone's in Richmond, Surrey, to sign copies at 12 noon. All welcome!

Noye's flooooood

Apologies to anyone who read my blithely confident post about weather-forecasting via the first Glyndebourne dress rehearsal. The theory was that if said day was cold and wet, the rest of the season would be hot and sunny. I'm forced to revise this: if that day is so cold and wet that you have to picnic with a flask of soup in the car, the rest of the season will be soggy and frightful. Last year we had a hosepipe ban. This year, nobody's needed a hosepipe since April.

I'm reminded of a song about Noah's Ark that we used to sing at school: "It rained and poured for forty daysywaysy, everyone was going crazywaysy" (or similar). Solti is already wondering which local cat to invite to keep him company when we build the boat - suspect he has his eye on Scarlett, the pretty long-haired tabby from No.10.

Misha in Manchester

Talk of the town this weekend is Russian pianist Mikhail Rudy's stage version of The Pianist, which opens for a two-week run at the stunning Manchester International Festival today. Misha has written a piece in The Guardian's arts blog about how/why he's doing this, and there is an excellent feature in The Sunday Times too.

The show has already had tremendous success in France, capturing the public imagination in a very positive, encouraging way (it's not all Kismet out there, thank God). Combining music and words is far more difficult that it looks, and Misha and his team appear to have hit the nail right on the head.

Mess o'potamia

Back. Have been in Denmark, eating fish...more of that when I've copied the photos properly.

So, where were we? Well, a big thank-you to everyone who wrote in support of the Kismet feature! The Times has its own take on the thing today (my dear readers will recognise the quoted critic, which could perhaps have been attributed more precisely), and they've interviewed Luther Davis (90), the surviving member of the original team. Ho-hum, here's what he says about the Baghdad problem:

“There’s a line in the song Not Since Nineveh in which Lalume sings ‘Don’t underestimate Baghdad!’ Now we were discussing how to deal with this in the current situation. Should we get rid of it, or downplay it? No, my suggestion was to lean on it heavily, to really belt it out. In a way it reminds you that Baghdad isn’t just a war zone, it’s a place that’s been full of real human beings for millennia.”

Er, right...Read the whole thing here. The headline is good.

UPDATE, 9pm: OOOH, the fur is flying backstage!!! This is what happened while we were away...and the first preview has been put back a night...

A few essentials

I'm rather 'under the snow' at the moment, hence lack of posting, but wanted to present a few essentials while I can:

The Nigel Osborne opera I went to see in Mostar, Differences in Demolition, is absolutely wonderful: a work full of heart and soul, with hardline modernism set beside glorious lyrical melody in a way that feels entirely natural. Goran Simic's libretto - the first work he has undertaken in English - is so full of wonderful poetry that I'm thinking of framing the copy that I now have. The production is poetic too, and the singing and playing superb - amazing how many different sounds can emerge from an accordion. The work as a whole seemed to have grown out of the soil of Bosnia itself. It will be at Wilton's Music Hall, near Tower Bridge, on 10, 11 and 12 July, as part of the City of London Festival, performed by Opera Circus. Do yourself a favour: go and see it.

The Pavarotti Centre in Mostar, however, is in financial difficulty. It opened its doors in 1997 and still offers the only clinical programme of its type in the world specialising in treating war-traumatised children and PTSD. But as things stand, the entire music therapy programme may have to close due to lack of funding. As Nigel Osborne explained during our trip, this treatment is very cheap and very effective and does a huge amount of good, but it doesn't 'fit into any boxes' and bureaucratic purse-string holders simply don't understand it - even though the methods pioneered there are being applied now in many other countries. They need support, both moral and financial.

Finally, my current snowdrift involves rewriting a play - with three months to go till the premiere - and a novel in one month flat. See you soon, I hope...

Now, have a look at the sensational young Chinese bass Shen Yang, who has just scooped the Cardiff Singer of the World prize.

And gluttons for punishment can read in today's Independent what I really think about English National Opera doing Kismet.

Back to Mostar...

This slide-show of pictures from Mostar is unfortunately not a Jess original but lifted from YouTube. But here's much of what I saw, the place I was staying (the gorgeous Ottoman Muslibegovic House with the courtyard and carved windows is a guest house as well as a tourist attraction) and some of the kind of thing I heard: the music is a typical sevdah song performed by the famous band Mostar Sevdah Reunion, some members of which were apparently at the premiere of 'Differences in Demolitions' on Saturday, joining in the standing ovation, so I'm told. Enjoy.

My old friend...

I was told yesterday that an old friend and musical partner of mine from university days, Phanos Dymiotis, died in March in a car crash.

Phanos, a Greek Cypriot, was one of the brightest guys in the Cambridge music department when I got to know him. I remember him as a witty, warm, unassuming, self-contained and slightly enigmantic character; he was both an excellent composer and a brilliant violinist - the sort that's so brilliant that he could play the socks off the Saint-Saens Havanaise in a concert, but again with knobs on at the end of the post-concert party. He got a 'double first' (anyone who's survived the Cambridge music tripos will know that that takes a lot of doing), then headed for postgraduate studies at Princeton; last time I heard of him, several years ago, he was freelancing as a violinist in New York. I haven't heard any of his music for many years, but he had won a number of prizes and it sounds as if he was finally gaining the recognition I am certain he deserved.

We played the Faure A major Violin Sonata together once (a lunchtime concert at Emmanuel College), and enjoyed many of those priceless student moments with our many mutual friends - the Guy Fawkes Day fireworks and fun-fair on Midsummer Common, the Darwin College May Ball where we danced together to a Glenn Miller band at dawn, and late-night winter wanders across town from concerts/celebrations along the frosty grass on the Backs. Sadly, we lost touch after university, as too often one does, and despite many good intentions of correcting that, I never got round to it...

Phanos, a fond farewell from London. We'll never forget you.

UPDATE: Drew McManus covered this, I now discover, back when it happened in March. There is also a very moving tribute to Phanos by another friend, here. Here is the site of the Mariner String Quartet, of which he was a member. And more information at this Baltimore news site.

Phanos was the victim of a drunk driver, whose car hit his in a head-on collision and who also died at the scene along with his 19-year-old passenger. I also found a clip of a news item on Youtube. Nothing I say about tragedy, drink, irresponsibility, government bans or anything else is going to make any difference, so I shall shut up and go and cry instead.

Wham!

It's The Firebird, it's the Royal Festival Hall, and I nearly fall out of my seat. It's loud. It's clear. You can hear the harp from the back row of the rear stalls. Some of the players used to describe the RFH acoustic as 'pigeon hitting wall'. Now the pigeon bites back.

The dear old place looks more or less the same inside, with some crucial differences - a bigger stage, more acoustical aids, less carpet; there's a tad more leg room in the rows and each seat is equipped with a little metal ring for holding your drink (assuming they decide to let the audience take some in). The foyers are magnificently open and glassy, the spaces giving maximum light and making the most of the river views; the bars and the new-look first-floor restaurant are sleeker and shinier; and mercifully, we're told, there are twice as many ladies' loos as before.

If there's a downside to the acoustic, it's that while every note of the celesta can be heard bright and clear, so can every cough, rustle of sweet paper, watch alarm, hearing aid and mobile phone. Two seconds into The Firebird, a mobile phone playing Mozart's 40th rang out across the double basses. Vladimir Jurowski called a halt...such is life...

Musically the evening was a mixed bag: I suspect that it was too worthy for its own financial aims. I'm mystified as to how anyone could programme world premieres by Julian Anderson and Harrison Birtwistle, load the programme up with Ligeti and Ives, and expect people to fork out £500 for a ticket. If you charge those prices, you have at least to pull some rabbits out of some hats, or at least a Gheorghiu or Terfel or Kissin or two (the biggest wigs last night were the three conductors, none of whom is a household name, though Vladimir will be soon). Maxim Vengerov was in the audience. He should have been on the platform and on the publicity. People with big money like big stars.

The Anderson will no doubt be praised to the skies (and already is in today's Independent), but it struck me as typical establishment-approved modernism with vaguely poncy establishment religious connotations ('Alleluja', all right, already) that wasn't celebratory, interesting, inspired or original and fulfilled no function greater than Parry's 'I was glad', which would have done the trick better last night. The Birtwistle was a reworking of a funeral lament that he wrote in memory of Michael Vyner (former chief of the London Sinfonietta) 18 years ago - which has its place, but surely not in a celebratory reopening concert? Birtwistle's place in our house is in the kitchen: we have a Glyndebourne fridge magnet of him. It's usually upside down, and is very useful for holding shopping lists.

Ligeti and Ives, while more interesting, still tend to scare people away from buying expensive tickets. And after imbibing as much champagne as you can swallow in 20 minutes, does anyone really want to listen to pootly Purcell? Oh dear. Still, Ravel's Bolero, played by representatives of all four resident orchestras - the LPO, the Philharmonia, the London Sinfonietta and the Orchestra of the Age of Enlightenment, around 120 players, with Marin Alsop having a great time on the podium - did indeed raise the roof as the grand finale, and Richard Morrison notes in today's Times that the sound in the last movement of Beethoven 9 (given with its original words this time) made the lights flicker.

Afterwards there was an extremely glittery party in and around the ballroom, and the champagne continued to flow...It's fantastic that the arrival of the nearest thing we now have to a world-class concert hall should be seen in with such a tremendous celebration. There's no doubt that it's certainly become a world-class venue. The weeks ahead will say more about the sound.

UPDATE, 13 June 8.36am: 'Mad props' to Vanessa Thorpe from (gasp) The Guardian for linking here. She was sitting next to the owner of the errant mobile...

Meanwhile back at the ranch...

While I was pottering over the bridge in Mostar, the Royal Festival Hall opened its doors at last after its snazzy refurbishment. It's taken two years of building work and some two decades of blundering beforehand; now they're doing nothing by halves. From Friday evening until yesterday there was a grand jamboree of free music and dance inside and outside the venue. Billy Bragg led a festival of mass busking and wrote some new words for the finale of Beethoven 9; a floating chorus took to the waters of the Thames; dancing both Bollywood and ballroom was on display; 2500 school kids were involved; and 18,000 performers in all. Unfortunately I missed the lot, but going to Mostar was my own decision and in any case there's plenty more to come.

Tonight, for example. The grand first night gala: a concert in three parts with all the resident orchestras (they'll play together for the first time), two world premieres - Julian Anderson and the ubiquitous Birtwistle - plus a big party in the ballroom afterwards. Dress code is given as "to celebrate" and there'll be wall-to-wall champagne. It looks sure to be a night to remember. The big question: purple silk or sea-green linen? Either way, the tango shoes will be shown off... A full report on the state of the place will follow in due course. And from now on it's business as usual at the RFH: the LPO's first real concert is on Wednesday, with Vladimir Jurowski conducting and Imogen Cooper playing the Mozart D minor Piano Concerto; and on Thursday, the inimitable Brendel is giving a recital. Speaking of Vladimir, here's Richard Morrison's interview with our favourite resident maestro from The Times the other day.

It's going to seem weird after experiencing the Mostar opera premiere the other day, in a little theatre covered in a smallpox rash of shelling damage.

Just back from Bosnia-Herzegovina

Here's an extract of the poem by Goran Simic on which the new sevdah opera by Nigel Osborne, with libretto by Simic, is based. Like the poem (from Simic's book of poems Immigrant Blues), the opera is called Differences in Demolitions.

In the Country where I live
when a house has to be torn down
a few workers arrive with a contract,
tear down the house in a few days and leave
and later nobody remembers any more the names of those
who lived there until yesterday.

In the Country I came from
before the house is torn down
an armed police squad arrives
and an ambulance for someone who might want
to die grieving under the demolished roof
beneath which he was born long ago.
For months afterwards even the children avoid the place
where once there was a house
because of the ghosts of ancestors who moan
from the spiderwebs and weeds.
There the demolition ball is heavy as a curse.

That's just the first part...

Here's a taste of the difference between London and Mostar.

*LONDON*
Do not leave your luggage unattended. Any unattended bags may be removed and destroyed.
Hold the handrail on the ecscalator. Stand on the right.
Do not allow children to ride in the luggage trolleys.
Do not allow children to play on the escalators.
Dogs must be carried.
From 1 July smoking will be banned in all enclosed public spaces in England.
'We are sorry to announce that the 15.55 service to Hounslow is delayed by approximately six minutes. We are sorry for the inconvenience this may cause to your journey.'
All places wishing to present live music must apply for a very expensive licence.
Those with five cars exhort those of us who take trains to oppose planned parking restrictions and pricey residents' permits in our road.

*MOSTAR*
'Attention! Dangerous ruin. Access and parking forbidden.'
'Ticket: Differences in Demolitions. National Theatre, 8pm.'... 8pm: people start to arrive, drink and talk to each other in the square. 8.25pm: doors open; stampede for best seats. 8.40pm: first sounds...
'Oh, Jess, it's best not to wander off the paths into open patches of grass. There could be landmines.'

A trip like this can cause some ructions in the soul. I need to process this before writing about it fully.

Meanwhile in Milan...

...Our dear colleague Opera Chic has been on the receiving end of a sense-of-humour failure on the part of La Scala's in-house lawyers. We're still trying to think of any other musical organisation that would turn their noses up at free publicity to the value of thousands of $$$s...but she's being forced to replace her logo in case someone mistakes it for the official La Scala one (...yes, really). Solidarity from London, OC!

(If I had any idea how to design my own logo, the one I'd pick to rip off would probably be London Zoo, because London's musical life is so full of strange fish. As things are, the Blogger template will have to suffice.)

Wednesday

Sokolov, a.k.a. PianoGod, is playing at the Wigmore Hall tonight and Guess Who Got The Last Ticket?!? :-)

Meanwhile I'm swotting Noel Malcolm's excellent book Bosnia: A short history. The early 1990s come surging back. The names we heard daily on the news: Milosevic; Arkan; Srebrenica; Sarajevo. The pigs-ear that resulted not least because Western governments, it appears, didn't have the first clue what the conflict was really about.

A few examples. An arms embargo was placed on the entire region - which left most of the old Yugoslavian supplies in the hands of the Serbs, but the Bosnians without recourse to defend themselves. "No-fly zones"? Unenforced and unenforcable. "Safe havens"? Ditto. UN peacekeeping forces? Nice idea, but they ended up becoming human shields. You can scarcely miss the frustration in the text:

"It fell to the British government, as holder of the rotating presidency of the EEC, to chair a joint EEC-UN conference on the entire situation in Yugoslavia...The paralysis of the Wrst was made only more apparent. John Major obtained what he thought were solemn pledges from the Serb leaders to lift the sieges of Bosnian towns and cities and place their heavy weaponry under UN supervision. It later emerged that 'supervision' was to be interpreted in its original, etymological sense: UN monitors were allowed to look over the artillery pieces above Sarajavo every day while they were being fired."

Off to Sarajevo tomorrow.

What did I just say about loudness?

The Times runs an article today saying that rock music really is getting louder, and that it is definitely not a good thing. It has an adverse effect on human physiology, makes listeners feel fatigued and sick, drives neighbours round the twist and wrecks the music. WTF, why did it take so long for anyone to notice?

Here's a sample:

...Peter Mew, senior mastering engineer at Abbey Road studios, said: “Record companies are competing in an arms race to make their album sound the ‘loudest’. The quieter parts are becoming louder and the loudest parts are just becoming a buzz.”

Mr Mew, who joined Abbey Road in 1965 and mastered David Bowie’s classic 1970s albums, warned that modern albums now induced nausea.

He said: “The brain is not geared to accept buzzing. The CDs induce a sense of fatigue in the listeners. It becomes psychologically tiring and almost impossible to listen to. This could be the reason why CD sales are in a slump.”

Geoff Emerick, engineer on the Beatles’ Sgt. Pepper album, said: “A lot of what is released today is basically a scrunched-up mess. Whole layers of sound are missing. It is because record companies don’t trust the listener to decide themselves if they want to turn the volume up.” ...

Elgar's 150th anniversary...

Edward Elgar was born 2 June 1857 in Broadheath near Worcester. Here's the latest in a spate of articles about him - this by Richard Morrison in yesterday's Times, on the perennial enigma of the Enigma Variations.

It's kind of strange hearing Elgar the morning after Bosnian sevdah and Romanian Gypsies. Thank heaven there's room in the world for all of them.

UPDATE: Monday 4 June, 8.50am - discovered a pretty interesting take by Stephen Pollard in The Times the other day, in which he makes it clear that our own dear Arts Council doesn't think there is room in the world...

Barbican burns down

Metaphorically, that is. Went to the latest concert in the Gypsy Music festival last night and heard these guys. Ever seen the Barbican bopping like mad to Bartok? I have now. Please welcome, from Romania, TARAF DE HAIDOUKS:

Now add a packed hall, yelling, whistling and dancing in the aisles, and a smattering of classical musos looking on with dropped jaws (that'll be me & pals) and you get the idea. It was fast, it was loud and they took no prisoners. The place went bananas.

The cimbalom player boggles eyes and ears alike. Last time I saw one close to, in a restaurant in Budapest, I thought the instrument was simply a poor substitute for a pub piano. Wrong! This was wall-to-wall fireworks and white-hot energy - harpsichord and rock drummer rolled into one. The fiddles were fevered and furious, the accordion sounded like a clarinet, and the singing - Romany? Romanian? I'm not sure - the men's voices are direct, natural, communicative, conversational, and even if you don't understand a word it doesn't matter, you still get the general idea and that's fine.

Amira, the Bosnian sevdah singer, was the curtain-raiser to all this. She has a beautiful, sweet, soulful voice; the music is haunting, deeply sad, distinctly Mediterranean in sound (lots of Turkish influence, if I'm right) and her band was super, especially the pianist Kim Burton who isn't Bosnian but British. Fabulous rapport between them.

I have certain issues with overamplified music - not least that it makes my ears hurt for hours afterwards - which is why I don't go more often. And it would perhaps have been nicer, at least more 'authentic', to hear them unamplified (preferably somewhere in the wilds of Romania). All the same, this morning my head is reeling with wild Gypsy sounds and a smattering of Bartok, Kodaly and Khatchaturian that they 'regypsified' (including the Romanian Dances) and that will never sound the same again.

And more Schumann...

Here's a super little promotional video from EMI about Jonathan Biss's Schumann album, which gives a good taster of his playing and personality and has handily found its way onto Youtube.

Shoo, man

My poor old piano has been a bit neglected lately. Last week my editor (novels) went on holiday for half term and I can't make much progress on the revision of Hungarian Dances until I have her feedback. Instead, with an hour or two to spare, and Tom safely shooed away to Glyndebourne, I took the plunge and opened the lid.

The great thing about being an official amateur - no concerts, no lessons, no exams, no pressure - is that nobody can tell you what to do, or, more importantly, what not to do. No-one can say, "Don't you dare touch the Schumann Fantasie, it's too hard for you!" So I dare. I touched the Schumann Fantasie. I read through the first and last movements and as much of the March as I could manage without going cross-eyed, and nobody could hear me or stop me. And it's heaven. Surely no piece represents pure romanticism more than this one. To touch Schumann is to hold starlight in your hands, even if only for a second.

Here are two favourite recordings: Marc-Andre Hamelin (Hyperion), full of wonder and tenderness and fleetness; and Jonathan Biss (EMI), replete with good sense, empathy and a deep, pure humility in the representation of genius.

Achtung, piano fans: Jonathan Biss is playing the Queen Elizabeth Hall on Sunday afternoon, 3 June. Beethoven, Webern and Mozart, and guess what? The Schumann Fantasie.

Hough rejected from Vietnam

The other day, the Telegraph revealed that the pianist Stephen Hough has been forced to cancel a performance in Vietnam because the authorities 'could not guarantee his personal safety'. The report suggests that Hough's writings about the Catholic church's attitude to homosexuality may have sparked this extremely unfortunate reaction. The Telegraph's site has a video clip where you can see Hough playing some Mompou and talking about the incident. Frankly, it's Vietnam's loss. Stephen is one of the finest British pianists ever. End of story.

Go west, young woman

One of the most excellent people in the UK recording business is about to join the brain drain and head for the US. Melanne Mueller, who's been the marketing and PR half of Avie Records with her partner Simon Foster, is off to NY this weekend to become vice-president of the core classical division of Universal. Melanne is a real musician - she started out as an oboist and played professionally in the States before going into the record industry. Nice to know that a big label is still capable of taking on someone who knows something about music, musicians and people as well as products. She'll be much missed in the London scene.

HAPPY BIRTHDAY, ERICH!

Erich Wolfgang Korngold: born 29 May 1897 in Brno. A nice round 110 for a nice round composer! The 'unofficial' Korngold website has a very good front page full of 2007 events commemorating the 50th anniversary of his death, and if you're a fan it is well worth exploring. I have just finished listening to a super new double CD set about to be released on Naxos of the complete music from The Sea Hawk, plus hefty chunks of Deception: William Stromberg conducts the Moscow Symphony Orchestra.

Composer in Baghdad

Thanks to Alex Ross for the pointer to this blog by Daniel Todd Currie - a composer who's now serving as an engineer in the American air force in Iraq.

Radiant Leonore, but trouble down t'pit

Karita Mattila must have been born to sing Fidelio. Opening afternoon (a Sunday matinee) found the Finnish soprano conquering Covent Garden at one stroke. She's about six foot tall with a knock-em-dead stage presence; this was the first time I've been convinced that poor little Marzelline could have been taken in. Her voice has the strength and purity of a laser. Never mind that The Times ran one of the bitchiest articles imaginable about her the other day (no wonder artists don't like talking to British journalists - this was so unnecessary, I don't see the point of writing pieces like that, I mean, really...). She's one of the greats; I doubt that Leonores get better than this.

A pity that the rest of the show wasn't consistently up to her level. First, the opening bars of the overture revealed some nasty stuff in the pit, namely the horns. I suspect it was widely assumed around the house that they'd spent Sunday lunchtime in the pub, but this morning Tony Pappano told me that it was more serious than that: the first horn had hurt his lip and as a result there'd been a last-minute cabinet reshuffle, with first horn playing third, etc. I'm not sure that the rest of the orchestra recovered from the experience; there was some uncomfortable ensemble (or lack of) and generally the effect felt lacking in tension, especially compared to Mark Elder's recent account at Glyndebourne. But there were some fine moments - a wonderful hushed tone at the beginning of the magical Quartet - and perhaps things will settle down as the run progresses: the ROH hasn't done Fidelio for around 15 years.

Production: fresh from the Met, directed by Jurgen Flimm and set in a prison in the 1940s or 50s. A world where guns are casually tossed about, where Pizarro wields a champagne bottle in one hand and a pistol in the other; the prisoners are kept in cages three storeys high. Leonore, not Rocco, takes it upon herself to let them out for the King's name day, and they emerge in absolute silence before the chorus begins - the effect is both touching and startling. Anyone hoping for the Leonore No.3 Overture before the last scene will be disappointed - but the opera works perfectly well without it, since the duet between Leonore and Florestan acquires a climactic significance that can sometimes be dissipated by the interpolated orchestral work.

Ailish Tynan is a fantastic Marzelline, Eric Halfvarson and Terje Stensvold excellent as respectively Rocco and a ferocious, neo-Con-style Pizarro. The big surprise, literally, was Endrik Wottrich as Florestan. He's huge. Massive, like something out of Lord of the Rings. He looks like he spends his life body-building. And then he opens his mouth and out comes - this rather odd voice. Bizarrely small, given the size of the soundbox. Unfocused, tight and lacking resonance, with rapid continual vibrato but no real centre to the tone. A physical match for Mattila, but certainly not a vocal one.

Of course, anyone who was anyone was there, my dears. We ran into Elgar expert Michael Kennedy, Sunday Times critic Hugh Canning, politician-turned-presented David Mellor and the inimitable Sean Rafferty from Radio 3's In Tune, and said hello to fellow blogger Stephen Pollard, who's already written up the show...we have some pretty different opinions, but are in perfect accord over Mattila.

UPDATE: Tuesday, 1.30pm: Fellow London music blogger Intermezzo, whom I've shamefully neglected to add to the blogroll until now, was at Fidelio too, struggling with the sightlines, feeling seriously scathing about the orchestra and has no time for the first horn...

A damp bank holiday

I have a piece in today's Independent about Britten & Aldeburgh - rather content to see that it made the Editor's Choice listing on the website. Not sure I did work out what it was about Suffolk that inspired him, but I found some fascinating stuff by Hans Keller, and tried to give a plug for the excellent local fish and chips, though that has been cut.

Off to Covent Garden to interview Maestro Pappano this morning. More about yesterday's opening performance of Fidelio later on...

Sticking up for Edu

Everyone else is busy writing about Elgar now. His birthday isn't until next weekend, but here's conductor Sakari Oramo in The Guardian with a ream of good sense. What Elgar needs, he insists, is foreign champions. Dead right. With the same peculiar nationalist whateveritis that insists you have to be Russian to play Rachmaninov, English musicians have tended to prevail in Elgar - whose fault? Promoters? Record companies? Elgar's perceived 'Englishness'? Sakari says something I've been saying for a while, which is that Elgar's music is not particularly English: his principal influences are Strauss, Schumann and Wagner.

Michael Kennedy takes the Englishness line in a different direction in The Telegraph, but I guess he/they would. He begins with 'Windflower', Alice Stuart Wortley, talking about Elgar coming from the heart and soul of England etc etc.

Oh lordy, and The Times says we're wrong to downplay his love of Empire. That's all he needs... but at least they are offering free downloads (only short ones, mind).

Pay your money and take your choice. Or alternatively have a look at my angle on the matter in my archive.

Tasmin Little is going off to the Far East and Australia next week to tour the Elgar Violin Concerto around Kuala Lumpur, Perth, Adelaide and, appropriately enough, Tasmania (which is what will take over Launceston and Hobart when they hear her play!). Meanwhile I missed Philippe Graffin's performance of the piece in its pre-Kreislerised version in Liverpool with the RLPO and Tod Handley on Thursday night. I had to give about a talk about Schumann and Brahms down the road in Manchester at the same time - this went well, by the way. It was in the Bridgewater Hall, one of my favourite venues, combining good modern design, excellent acoustics and a relatively intimate atmosphere. My fellow Indy journalist Lynne Walker and I discussed the cross-currents between the composers and persuaded the resident CD player to cooperate with illustrations now and then.

I'm still overwhelmed with relief when I walk on to a concert platform and find that I do not have to play a piano.

Sevdah at the Barbican

Next week (1 June) the Bosnian sevdah singer Amira is playing the Barbican, part of a celebration of Gypsy (and Gypsy-influenced) music and film. She's also at the Royal Northern College of Music in Manchester the next day. Good piece about her in today's Guardian:

All who survive a war remain scarred, each in their own way. For Amira, who was studying economics when Yugoslavia brutally disintegrated, war pushed her into song. And not just any song, but sevdah, the ancient lyric ballad of Bosnia. Sevdah - the word is Turkish and suggests desire, yearning, thwarted love - has existed for hundreds of years in this region, often composed of just a voice and a saz (a Turkish lute). Yet it took Bosnia's suffering to focus the world's attention on this small nation's music. Sevdah bears comparison to Portuguese fado and Spanish flamenco; all three are vocal arts rooted in Arabic courtly love songs from a millennium ago. Amira, who comes to the UK for the first time this week and whose debut album, Rosa, is a recording of startling beauty, looks set to do for sevdah what rising Portuguese star Mariza has done for fado.

I am going to Bosnia on 7 June and will hopefully be learning much more about sevdah, the war and musical healing.

Cheers!

Big cheers for shoutout to Stephen Pollard who, along with the tremendous Clive Davis, has now had his blog taken under the fold of The Spectator. His opinion is that here we do what we say on the tin. And he's got an eye for La bloggerissima Opera Chic too.

The Red Shoes - a.k.a. Cosi fan tutte

Phew - I have something in common with Dorabella, even if I can't sing. Opening night of Cosi fan tutte chez Glyndebourne yesterday; there's Fiordiligi in blue and Dorabella in red and cream with marvellous red suede shoes, and as coincidence would have it I'd donned my favourite scarlet tango heels for the occasion. I hope this serendipitous little incident helped to dispel the dazzlement of the delectable Rinat Shaham upon my starry-eyed resident fiddler, who had a rare night in the auditorium (some of the violins are doing job-shares in Cosi, as it requires too few of them) and was keen to see the reincarnation of his favourite Carmen.

Besides the shoes, Cosi is a treat: a period production by Nicholas Hytner with a light touch and some superb moments - notably that the men in their disguises get nowhere wooing their own fiancees, but when they swap, the sparks begin to fly, rather to their dismay. And soon after giving the girls the advice to 'have your cake and eat it', Despina brings in tea with a real cake - chocolate. Dorabella tucks in. Fiordiligi stares at it in horror, as if one mouthful might kill her...

The cast was largely unfamiliar to me (apart from Rini); particularly striking was the powerful tenor of Pavol Breslik as Ferrando and the characterful Despina of Ainhoa Garmendia. Rachel Harnisch as Fiordiligi hadn't been feeling well for the dress rehearsal and had marked the role, with her understudy singing; it could be that yesterday she wasn't quite at full strength. I hope to hear her again later in the season.

Best of all, though, was the orchestra. Our own LPO - conducted by the newest and youngest of all the baby Rattles on the circuit. Robin Ticciati has recently been appointed music director of Glyndebourne On Tour; he has a post in Gavle, Sweden, as well; and he looks all of 12 years old, though is around 25, with copious Simonesque curls. A few seconds into the overture, I found myself sitting forward thinking 'heck...?!' This was truly musical conducting; airy, smooth, stylish. Joined-up thinking and moving was taking place on that podium. Ticciati looks like a dancer, phrases like a singer and balances his ingredients like a masterchef. In terms of preparation and polish with cast and chorus, he maybe has some way to go - but I reckon his destination includes some interesting, exceedingly high-up places.

A video of the production is available, filmed last year with Ivan Fischer conducting the Orchestra of the Age of Enlightenment.

At some point, I'll find a knife to stick in the notion that the plummiest of vibrating singers (and this lot are plummy) must be accompanied in Mozart by that lean-mean-string-thing, that silly period-practice-equals-no-vibrato tokenism... But for now, Dorabella must have left the knife in her cake; and the sun shone. It was a great evening.

Vengerov and the healing power of music

Speaking of organisations that enable music to change lives, Maxim Vengerov has just given a recital in a neurological hospital in Putney, celebrating the 30th anniversary of Live Music Now. Richard Morrison went along to report for The Times. Vengerov tells him, among other things, the following:

“This kind of work is my first passion. This is where I think music belongs. And it has a wonderful effect on me, too, not just on these people here. You see, when you talk to severely brain-damaged people, they may not understand what you are saying. But once you start playing music, you are speaking to their subconscious. And what happens is that the effect of that bounces back. So I, as a musician, get in touch with my own subconscious. It goes in both directions, this therapy.”

Read the whole thing here.

And while we're reading Richard, here's his review of the Glyndebourne Macbeth, which will tell you a little more about those cardboard boxes. Also see Ed Seckerson in the Indy.

Thursday

Apololgies for thin-on-the-screen blogging. Heavy week ahoy. But if you're in Manchester on Thursday (24 May) and fancy hearing a wonderful concert of Brahms and Schumann, come to the Bridgewater Hall and pop along to the pre-concert talk at 6.30 when Lynne Walker and I will be be discussing 'Mystery, Mastery and Madness' - the cross-currents between the lives and works of the two composers. In the concert, Gianandrea Noseda will conduct the BBC Philharmonic in the Brahms Double Concerto with Olivier Charlier and Alban Gerhardt as soloists, plus, appropriately, Schumann's 'Spring' Symphony.

No.15

According to Scott Spiegelberg, JDCMB is now officially no.15 out of the top 52 classical music blogs. I'm not entirely clear how this is calculated - it involves Technorati and maths, and my strong points do not notably include understanding of either. Still, 15 sounds all right to me. Scott has the full list.

New section

I've added a new section to the sidebar entitled MUSIC INSPIRATIONS, linking to the websites of organisations that enable music to change lives. I've started with three, but there will be others in due course. Please explore!

OMG. She's back

The sensational Rinat Shaham returns to Glyndebourne to sing Dorabella in Cosi fan tutte, opening next Tuesday, 22 May. I fear I shall have to put an electronic tag on Tom for every single performance.

Here's 'Rini' as Carmen...need I say more?



But hey. I can get my revenge: Rini has a brother, Hagai Shaham, who's a fabulous violinist (=prerequisite), and looks my kinda guy. Here he is with his answer to the Gypsy:



Cold showers all round.

Giuseppe MacVerdi

It's going to be a hot summer. Whenever the first Glyndebourne dress rehearsal is cold & wet, the weather for the rest of the season is glorious. Yesterday, we pinicked in the car with a thermos flask of soup.

Suitably atmospheric, of course, for the Scotland of Verdi's Macbeth. Hmm. Last year I thought that Betrothal in a Monastery was about to become the hottest ticket in town, but it wasn't, so I won't risk my luck this time. Suffice it to say that IMHO Richard Jones's production is startling, fresh, original, clever and a treat for anyone who likes hairy knees. And I'll never be able to look at a cardboard box in the same way again. Vladimir Jurowski's conducting is red-hot, seat-of-the-pants stuff and the singing - Andrzej Dobber as Macbeth and Sylvie Valayre as his blonde-beehived Lady Macbeth - is top-notch.

Debate will probably rage over whether Macbeth is this full of irony and black humour, and no doubt many will think not...but, weirdly enough, the production suits Verdi's remarkably effervescent score and I found the second half both powerful and moving.

An heroic family

Do have a look at this extremely touching short film from yesterday's BBC Newsnight in which presenter Gavin Esler and his daughter Charlotte discuss the impact on their family of Charlotte's diagnosis with Hodgkins Lymphoma last year, when she was 14.

My sister died of ovarian cancer aged 45 in March 2000. Today would have been her birthday.

The miracle of Melisande

Well, the miracle of Debussy. I've started to feel that Pelleas et Melisande is the most rewarding of all operas: every performance I've attended has been like hearing it for the first time because there's something special to notice on each occasion. The Royal Opera's co-production with Salzburg does leave a thing or two to be desired - notably, costume designs that don't induce the good punters of Covent Garden to titter audibly at every character's first entry - but with Simon Rattle in the pit, Angelika Kirchschlager, Simon Keenlyside, Gerald Finlay, Robert Lloyd and Catherine Wyn-Rogers on stage, and as Yniold a young boy named George Longworth so musical that he almost stole the whole show, it didn't really matter.

Angelika looks fabulous in her now famous Red Dress, but the others, in huge, white, padded, puffed and pointed clown suits (without red noses) seem to have walked straight out of a cross between Star Trek and Dallas, and the way that stagehands push the foldaway sets round and round in circles during the first half's interludes, with associated squeaks, could have been usefully cut back. There wasn't much wrong with the actual direction - the characters emerged as well-drawn and believable - but the design...oh well.

Rattle controlled the dramatic pace marvellously and the orchestra sounded super - detailed, transparent and balanced extremely well with the singers. Hard to believe it was the same band that played that mismanaged, lumpen Mayerling the other week (conducted by, oh dear, um, one Mr Wordsworth).

Pelleas remains a conundrum of an opera because - well, what do you do with it? Nothing kills it stone-cold dead as much as naturalism. It's a Symbolist work, a conceptual piece where nothing can be taken at face value. So it begs a conceptual rendition. At least, one would think so. The music is what really counts, though; starship outfits or none, I still went home floating.

A good way to start the week

A note from Korngold supremo Brendan Carroll not only alerts me to the presence on Youtube of this clip, but also explains that the pianist/comedian Great Dane was a tremendous Korngold fan and knew the composer in Hollywood.

This is, of course, Liszt...

Bonne anniversaire, Monsieur Gabriel

Those eyes. That moustache. And oh, that music... Happy birthday to my beloved Gabriel Faure, born on 12 May 1845.

Vladi scoops the RPS!

Our own utterly glorious Vladimir Jurowski, principal conductor designate of the LPO and music director at Glyndebourne, has been named the Royal Philharmonic Society's Conductor of the Year! (Just in time to do Korngold's Das Wunder der Heliane in November :-))). He's opening the Glyndebourne season with MacVerdi's Macbeth next week. Vazhazdarovye, Vlad!

Bach to basics...

...while I was up to my eyeballs in kitchen building site dust, Jeremy Denk had one of those moments of pure inspiration...see what happened when a certain composer answered his ad...

Angelic Angelika

Here's my interview with Angelika Kirchschlager from today's Independent. A glorious singer and a strong, expressive woman full of intelligence and intuition, she is about to take on Debussy's Melisande at Covent Garden. The piece doesn't really have much to do with trouser roles, despite the standfirst.

Violinist scuppers Iran-US rapprochement?!

The Indy today runs a startling news story about the curtailment of a Sharm-el-Sheikh dinner in which the Iranian foreign minister left in a huff - possibly because of a violinist in a red dress...

Classical Brits...

This peculiar awards ceremony took place yesterday. I don't think it quite matches up to what I was told a few weeks ago. A nice PR person called me and said that the Classical Brits wanted to go upmarket, that a certain Very Wonderful Tenor was going to be singing on the big day and that if the paper would take something then they'd fly me out to Vienna to interview him. Boss wasn't keen - we've probably had too much VWT recently - so (*sigh*) I didn't go. Now the results are out: guess what? Paul McCartney, Katherine Jenkins and so forth. Fine if you like that sort of thing; I didn't think Sir P's album was as utterly dreadful as some would have us believe. But it's not exactly going upmarket.

A couple of noteworthy notes, though: they gave a lifetime achievement award to Vernon ('Tod') Handley, who deserves a knighthood far more than most British conductors who already have one. And the young violinist Ruth Palmer won a prize, having had the gumption not only to raise enough sponsorship dosh to hire the Philharmonia and make her first recording off her own bat, but to play stupendously well on the disc.