I must say I really liked and enjoyed this evocation of the founding years of Glyndebourne written excellently by David Hare. The play moved through a series of flash forwards and backs, telling the story of Christie's determination to host world-class opera in England. He recruited three German exiles to act as maestro, manager and director and we appeared to spend some while being taken through the Nazi persecutions that had brought these people from Germany/Austria. The issue of whether this was just a vanity project for Christie's wife - the Moderate Soprano of the title was confronted head-on, as was her eventually declined health - dealt with in a flash forward.
Christie's zeal for the project and reluctant acceptance that Glyndebourne was better suited to Mozart than Wagner were vividly portrayed and gave some understanding of his motivations.
As one would expect from a writer of Hare's calibre, the play was not simply a history of Glyndebourne, but also contained point to muse upon such as the idea that if only one knew when one was in the best part of something - a musing provoked by Christie's greater enjoyment of getting the project going than living with its fulfillment. Also there were the rather harrowing scenes of his wife wanting to die and be released and his enduring cheering love fore her.
Monday, 23 November 2015
15 November 2015. Calder at Tate
I went to both the exhibition itself and a rare performance of a percussion piece inspired by Calder and including one of his mobiles as instrument and orchestrator.
The exhibition was a revelation. It starts with extremely clever, simple and effective figurative sculptures, made with wire and therefore delicate to look at and very effectively having a second existence in their shadows on the wall. The simplicity was similar to that achieved by Picasso and, more recently, one of Ai Wei Wei's works at the Royal Academy.
The exhibition then moved on to the remaining, abstract, period of his career, ushered in by the influence of Mondrian. This, the larger, part of the exhibition contained works perhaps more readily associated with his name.
Then, later in the evening came the performance by four percussionists from Guildhall. There were four percussion sets with the mobile in the middle. At occasions, one or more percussionists visited the mobile to play upon it and rotate it. It thus took on a life in the performance and one that, if I understood correctly, dictated the unfolding of the performance. It all seemed very complex and the music was received with rapt attention by the entire audience despite its challenging nature - not a cough to be heard.
The exhibition was a revelation. It starts with extremely clever, simple and effective figurative sculptures, made with wire and therefore delicate to look at and very effectively having a second existence in their shadows on the wall. The simplicity was similar to that achieved by Picasso and, more recently, one of Ai Wei Wei's works at the Royal Academy.
The exhibition then moved on to the remaining, abstract, period of his career, ushered in by the influence of Mondrian. This, the larger, part of the exhibition contained works perhaps more readily associated with his name.
Then, later in the evening came the performance by four percussionists from Guildhall. There were four percussion sets with the mobile in the middle. At occasions, one or more percussionists visited the mobile to play upon it and rotate it. It thus took on a life in the performance and one that, if I understood correctly, dictated the unfolding of the performance. It all seemed very complex and the music was received with rapt attention by the entire audience despite its challenging nature - not a cough to be heard.
12 November 2015. Quadruple bill (Viscera, Afternoon of a faun, Tchaikovsky, Carmen) at ROH
This was an eventful evening, being the last appearance of Carlos Acosta on the main stage, though this fact wasn't bigged-up in the ROH publicity
The evening started with Viscera, choreographed by Liam Scarlett to the music of Lowell Lieberman and the most thoroughly modern of the four pieces. In three parts, the first and third were fast-paced with the middle much slower and contemplative. All conducted against a completely stark background of ever changing coloured light
After the interval, came Afternoon of a faun. This was the complete opposite of Viscera, taking place at the pace of the rising from slumber that it portrayed. Next was the Tchaikovsky pas de deux. This was a classic, classic series of set 'show off' pieces, with plenty of clapping after each piece. .
Finally, came Carmen. This was enthusiastically received by the audience, despite the mixed reviews from the critics. It seemed to contain everything. Aside from the dance, there was some singing and instrumentalists on stage. Overall, perhaps a bit of a happening but an enjoyable one with an extraordinary set of a fiery red circle which hosted a bull that presumably intentionally morphed as a devil.
At the end, Carlos was showered with flowers and in true 'this is your life' style his family and much of the ROH company joined him on stage to hear the director's tribute and his reply.
The evening started with Viscera, choreographed by Liam Scarlett to the music of Lowell Lieberman and the most thoroughly modern of the four pieces. In three parts, the first and third were fast-paced with the middle much slower and contemplative. All conducted against a completely stark background of ever changing coloured light
After the interval, came Afternoon of a faun. This was the complete opposite of Viscera, taking place at the pace of the rising from slumber that it portrayed. Next was the Tchaikovsky pas de deux. This was a classic, classic series of set 'show off' pieces, with plenty of clapping after each piece. .
Finally, came Carmen. This was enthusiastically received by the audience, despite the mixed reviews from the critics. It seemed to contain everything. Aside from the dance, there was some singing and instrumentalists on stage. Overall, perhaps a bit of a happening but an enjoyable one with an extraordinary set of a fiery red circle which hosted a bull that presumably intentionally morphed as a devil.
At the end, Carlos was showered with flowers and in true 'this is your life' style his family and much of the ROH company joined him on stage to hear the director's tribute and his reply.
Monday, 9 November 2015
8 November 2015. Trash Cuisine by the Belarus Free Theatre.
This evening was always going to be a bit different. The location of the staging of the event is sent by text 24 hours beforehand, in the same manner than is employed in Belarus - to avoid the KGB. On this night, we were told to assemble outside a Baptist church just north of Manor Park at 18.20. When I got there there ten minutes early, a large number were already present. We stood around, luckily with no rain, until about 18.35 when a cameraman arrived accompanied by 'stewards' and people were led off in groups to the nearby venue on an industrial estate. We were given a drink token and hung around until the remaining groups arrived from outside the church.
The evening was introduced by a director of the theatre company together with a lawyer from Reprieve, who fights on behalf of condemned US prisoners and inmates of Guantanamo. Then the staging began. This took us through various horrors in the world, starting with a discussion between a Belarus and a Thai on how they conduct executions. We moved on to an account of the waterboarding and false confession of an Irish prisoner at the time of the 'troubles', and a graphic description of the killing in Rwanda of a wife and three children by the husband during the massacre of a million. There was also the account of a man on death row in America and we finished with the execution of two Belarus youngsters.
After a break for a bowl of beetroot soup, we were engaged in a consideration of a murder case from the US, in which we were led to the conclusion that such cases are frequently bizarre. In this one a nine day old baby had been killed by putting it in the freezer and the truth was supposedly that the husband had done it sleep-walking. This part of the evening was not terribly satisfying. Clearly some murders are bizarre; but others aren't. We were taken though the different facts of the case and asked to ponder our prejudices as to who had done it after each fact, before the bizarre conclusion was revealed. However, by and large, this audience were unwilling to commit to a prejudice and I did not feel a point was proved. As to the first half, it is hard, looking back, to think where that got us. It told graphically of terrible things that happen in the world, and could have expanded the list indefinitely. But we knew that anyway. Ok, by the end of the 80 or 90 minutes, I felt as though I'd been done over with a sledge hammer and we were given the action point of supporting Reprieve but this wasn't really meant to be a supporter-raising event. Or was it? So I'm left thinking that the take aways for me were the novelty of the venue and of the evening as well as the commitment of the 'actors' rather than its content.
The evening was introduced by a director of the theatre company together with a lawyer from Reprieve, who fights on behalf of condemned US prisoners and inmates of Guantanamo. Then the staging began. This took us through various horrors in the world, starting with a discussion between a Belarus and a Thai on how they conduct executions. We moved on to an account of the waterboarding and false confession of an Irish prisoner at the time of the 'troubles', and a graphic description of the killing in Rwanda of a wife and three children by the husband during the massacre of a million. There was also the account of a man on death row in America and we finished with the execution of two Belarus youngsters.
After a break for a bowl of beetroot soup, we were engaged in a consideration of a murder case from the US, in which we were led to the conclusion that such cases are frequently bizarre. In this one a nine day old baby had been killed by putting it in the freezer and the truth was supposedly that the husband had done it sleep-walking. This part of the evening was not terribly satisfying. Clearly some murders are bizarre; but others aren't. We were taken though the different facts of the case and asked to ponder our prejudices as to who had done it after each fact, before the bizarre conclusion was revealed. However, by and large, this audience were unwilling to commit to a prejudice and I did not feel a point was proved. As to the first half, it is hard, looking back, to think where that got us. It told graphically of terrible things that happen in the world, and could have expanded the list indefinitely. But we knew that anyway. Ok, by the end of the 80 or 90 minutes, I felt as though I'd been done over with a sledge hammer and we were given the action point of supporting Reprieve but this wasn't really meant to be a supporter-raising event. Or was it? So I'm left thinking that the take aways for me were the novelty of the venue and of the evening as well as the commitment of the 'actors' rather than its content.
6 November 2015. Bernstein and Wynton Marsalis at the Barbican
I was inspired to go to this concert to see the world premiere of Wynton Marsalis's work, coupled by the chance to see Nicola Benedetti in action.
The concert started with Bernstein before moving on to the Wynton Marsalis premiere. Nicola Benedetti played with passion what must be an extremely difficult piece in four very differing movements. It was great to see her, coupled with the animation of the conductor, James Gaffigan.
The second half was Stravinsky's Symphony in three movements, before Bernstein's Chichester Psalms, featuring the London Symphony Chorus.
The concert started with Bernstein before moving on to the Wynton Marsalis premiere. Nicola Benedetti played with passion what must be an extremely difficult piece in four very differing movements. It was great to see her, coupled with the animation of the conductor, James Gaffigan.
The second half was Stravinsky's Symphony in three movements, before Bernstein's Chichester Psalms, featuring the London Symphony Chorus.
5 November 2015. Waste at the National Theatre.
I went to see this in its preview period and so was unprimed by any critics. I found it a slightly hard play to get into and pin the different characters down. Anyway, as the play unfolded it revealed itself as the story of an earnest politician, Henry Trebell, promoting disestablishment who impregnated the wife, Amy O'Connell, of an Irish politician,. She went on to die from the abortion that she elected to have, not because of the scandal but simply because she never wanted children. The scandal breaks and the second half revolves around the establishment trying to protect itself by cojoling the cuckolded husband not to reveal that the aborted child was not of his issue. When this fails, Henry Trebell shoots himself - the Waste of the title.
It is a quite lengthy - almost three hours - play with very little action - mainly lengthy dialogues. At one stage, I noticed how the main actor was pacing up and down the stage, delivering his lines, for want of anything else happening. It was an interesting evening, particularly given the fact that the play was banned at the time of its writing in the 1920s. It also dealt well with the sleaze and hypocrisy of the political class and the role of women at the time as, of necessity, the embodiment of the power behind the throne.
It is a quite lengthy - almost three hours - play with very little action - mainly lengthy dialogues. At one stage, I noticed how the main actor was pacing up and down the stage, delivering his lines, for want of anything else happening. It was an interesting evening, particularly given the fact that the play was banned at the time of its writing in the 1920s. It also dealt well with the sleaze and hypocrisy of the political class and the role of women at the time as, of necessity, the embodiment of the power behind the throne.
Sunday, 8 November 2015
3 November 2015. Measure for Measure at the Young Vic
I had no knowledge of this play but, by all accounts this was a radical production. Radical not just in the presentation but also the cropping of the text. The aspect of the presentation that will remain most vivid was the engulfment of the stage with blow up sex dolls, denoting the decadent state of the City of Vienna that was the subject of the play.
Classified as a comedy, there was little laughter the night I went. The plot sounds funny but it was presented in a serious manner. The benign Duke of Vienna leaves the city in charge of the more puritanical Angelo who immediately condemns Claudio to death for getting his girlfriend pregnant. Claudio's chaste sister steps out of her nunnery to plead for her brother and is propositioned by Angelo who renders himself thoroughly compromised.
The Duke is witnessing and advising upon events, disguised as a friar and in the end, Claudio is saved, the Duke marries the Novice and Angelo is persuaded to marry Mariana, the woman he dropped when her dowry was lost but who he subsequently had sex with, thinking she was Claudio's sister.
This all sounds confused and the production did well to ensure we weren't. The play is interesting in the subjects that it touches and I found the weighing of Isabella, the nun's virtue against her brother's life particularly thought-provoking. The acting was excellent, particularly Romola Garai and my only criticisms were that the play became quite shouty with everyone bellowing at everyone. I also am beginning to tire of the use of video relay which was employed quite extensively in this production.
Classified as a comedy, there was little laughter the night I went. The plot sounds funny but it was presented in a serious manner. The benign Duke of Vienna leaves the city in charge of the more puritanical Angelo who immediately condemns Claudio to death for getting his girlfriend pregnant. Claudio's chaste sister steps out of her nunnery to plead for her brother and is propositioned by Angelo who renders himself thoroughly compromised.
The Duke is witnessing and advising upon events, disguised as a friar and in the end, Claudio is saved, the Duke marries the Novice and Angelo is persuaded to marry Mariana, the woman he dropped when her dowry was lost but who he subsequently had sex with, thinking she was Claudio's sister.
This all sounds confused and the production did well to ensure we weren't. The play is interesting in the subjects that it touches and I found the weighing of Isabella, the nun's virtue against her brother's life particularly thought-provoking. The acting was excellent, particularly Romola Garai and my only criticisms were that the play became quite shouty with everyone bellowing at everyone. I also am beginning to tire of the use of video relay which was employed quite extensively in this production.
1 November 2015. Tehran Taxi
Every critic had given this five stars. It is a quite short film (80 minutes), all set in the taxi of the suppressed Iranian director, Jafar Panahi. It consists of a series of episodes, starting with the bigot and self-confessed mugger in the front seat, plus an older and more liberal lady in the back; then a bootleg-dvd seller interrupted by a badly injured man who records his will on Panahi's phone. We move on to two old ladies taking goldfish to a lake before concluding with a long section with Panahi's niece. Finally, we end up back at the lake where the taxi goes to return to the goldfish ladies a purse they had left.
It was an engaging film to watch. My only reservation is that I was quite unclear how much was staged and how much spontaneous. The set-up suggested spontaneity but the ending, where the equipment appeared to be stolen, confirmed my doubts.
It was an engaging film to watch. My only reservation is that I was quite unclear how much was staged and how much spontaneous. The set-up suggested spontaneity but the ending, where the equipment appeared to be stolen, confirmed my doubts.
29 October 2015. John Adams Scheherezade.2 at Barbican
Adams conducted the concert, as is his want. He opened with two pieces by Ravel before moving to conduct Leila Josefowicz in the UK premiere of his piece prompted by the oppression and sufferings of women. It was a complex piece of four parts, played with passion and well received by critics that I read. I hope a recording is made.
15 October 2015. Barbara Hepworth at Tate Britain.
I'm glad I went to see this exhibition which gave a good appreciation of the chronological range of Hepworth's work. I particularly liked the pieces from early and late in her career whereas those in the 'international modernism' room left me rather unmoved.
14 October 2015. Goya Portraits at the National Gallery
I enjoyed this exhibition - but not as much as the National's Rembrandt exhibition. The Goyas were mainly of Spanish royalty and nobility. This not only gave a chance to appreciate the artist's technique but also insight of his 'salesmanship' and an addition to my knowledge of Spanish history. However, although some critics have the exhibition on their 'must see' lists, I'm not sure I will be desperate to return - and almost certainly not again and again.
17 October 2015. Don Pasquale at Glyndebourne
This wa a very enjoyable afternoon with a most arresting set, good acting, playing and singing. The set in particular stood out with the rotating stages giving views of the goings on in the various rooms of the poor Don's house. The only niggle was the surtitles that were a bit spasmodic. As a result, I was left feeling a bit at sea on the precise reason for the mean trick being played on the old boy whose only crime seemed to be having a bright twinkle in his eye.
The choir were particularly 'wow factor' dressed entirely in white and sitting like statues when first seen.
The choir were particularly 'wow factor' dressed entirely in white and sitting like statues when first seen.
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