This time on the Seen and Heard web site, by Carla Rees.
Videte Miraculum was heard in versions by Tallis, using a spacious six part texture and in a world premiere version by Robert Hugill. This had a lovely opening and a simple, well considered structure, with the harmonies based in tonality but moving gradually to build up tension through dissonance. Hugill made use of parallel and contrary motion to excellent effect, and motivic sections returned to give a sense of overall coherence. He also used a wide range of textures, including unisons, octaves and polyphony in different numbers of parts. This was another well written work which deserves further performances.
Monday, 28 December 2009
Saturday, 26 December 2009
Recent CD Review
My review of Salvatore Sciarrino's Madrigali is here, on MusicWeb International.
Not for the faint-hearted … uncompromising but rewarding ...
Not for the faint-hearted … uncompromising but rewarding ...
Wednesday, 23 December 2009
Recent CD Review
My review of Robin de Raaff's opera Raaff is here, on MusicWeb International.
Should be of interest to anyone who loves opera and wants to know where it might be going in the 21st century ...
Should be of interest to anyone who loves opera and wants to know where it might be going in the 21st century ...
As seen in the Telegraph
A nice review of Saturday's St. John's Smith Square concert from Ivan Hewett in the Telegraph - 'Robert Hugill's Videte Miraculum soared too, especially at its ending, with the three sopranos perched at a perilous altitude (to their credit, they never wavered).'
Monday, 21 December 2009
Premiere
Well Saturday's concert went off well. Alistair Dixon and La Chapelle du Roi gave a fascinating concert mixing old and new with premieres by Paul Ayres and Gabriel Jackson along with my own piece. It was fascinating to hear Morten Lauridsen's O Magnum Mysterium performed by just 9 singers rather than by the plushly upholstered tones of a large group of singers. I was extremely pleased with Videte Miraculum, and it was fascinating to re-acquaint myself with a work written some months ago.
Friday, 18 December 2009
New Lamps for Old
My motet Videte Miraculum gets its premiere tomorrow in the Chapelle du Roi's New Lamps for Old concert. My motet sets the same text as Thomas Tallis's respond Videte Miraculum and there will be similar new/old pairings from Francis Pott, Kenneth Leighton, Morton Lauridsen, Paul Ayres and Gabriel Jackson.
Tuesday, 15 December 2009
Recent CD Review
My review of Handel's cantata Apollo and Dafne is here.
Showing its age but certainly in the realms of the interesting and, perhaps, desirable. ...
Showing its age but certainly in the realms of the interesting and, perhaps, desirable. ...
Saturday, 12 December 2009
Messiah at ENO
Last night we went to see ENO's staging of Messiah. Well we managed the first 2 parts and I'm afraid that we left at the second interval. The Part 1 was almost OK and had the odd magical moment. The designs were superb, complete with a reflective floor and some imaginative video installations (sets Tom Pye, lighting Jean Kalman, Video Lexo Warner, Lysander Ashton and Tom Pye). The costumes were casual modern, which meant that the men of the chorus as usual looked profoundly stuffy and they had managed to make Catherine Wyn-Rogers look frumpy which is quite an achievement.
I can see the point of staging the piece in a setting which mirrors the actions of everyday life, with all sorts going on. But I am afraid that I lost patience as soon as the first cute tot dashed across the stage. This particular tot (Max Craig) was rather ubiquitous and Deborah Warner seemed to use him to undercut arias and moments of drama. This was made most manifest in the turning of the 'And there were shepherds' section into a school nativity play with lots of cute kids. This was a shame as treble (either Harry Bradford or Louis Watkins) was excellent.
At moments of drama she also introduced dancers (choreography Kim Brandstrup). This increased in Part 2 when the opening section, including He was despised accompanied a strange dance of a young man being beaten up and then being comforted by Catherine Wyn-Rogers, with the chorus watching. The later sections of this part seemed to be taking place at some sort of revival meeting. I felt that in this part, Warner had lost her way somewhat and was at a loss to know what to do with the chorus especially in the more complex movements. So she did as little as possible with them.
There were some striking images, but the happy-clappy evangelical atmosphere engendered seemed at odds with Handel's music. Frankly, I spent a lot of time with my eyes closed, just listening. The soloists were a decent bunch. Soprano Sophie Bevan had to cope with some startlingly fast speeds from conductor Lawrence Cummings, but did superbly though she rather tended to over-ornament. Catherine Wyn-Rogers was profoundly moving and it was a shame that she had been encouraged to bellow sections of He was despised. Tenor Eamonn Mulhall was a last minute replacement for ailing John Mark Ainsley. Mulhall was impressive, though he did not quite seem to have got the measure of the tricky Coliseum acoustic. Brindley Sherratt was wonderful as the bass soloist, combining drama with sympathy for Handel's style.
The chorus were a little taxed by the music, and there were some moments of frankly raw singing particularly from the tenors. The staging used a community group in addition to the choir and I felt that Warner and Cummings should have had the courage of their convictions and used a larger choir with a full symphony orchestra in the pit. As it was, Cummings seemed to be treading a strange line between period and modern practice.
So all in all, a rather mixed view, I'm afraid. As a raison d'etre for staging Messiah the jury is still out as far as I am concerned.
I can see the point of staging the piece in a setting which mirrors the actions of everyday life, with all sorts going on. But I am afraid that I lost patience as soon as the first cute tot dashed across the stage. This particular tot (Max Craig) was rather ubiquitous and Deborah Warner seemed to use him to undercut arias and moments of drama. This was made most manifest in the turning of the 'And there were shepherds' section into a school nativity play with lots of cute kids. This was a shame as treble (either Harry Bradford or Louis Watkins) was excellent.
At moments of drama she also introduced dancers (choreography Kim Brandstrup). This increased in Part 2 when the opening section, including He was despised accompanied a strange dance of a young man being beaten up and then being comforted by Catherine Wyn-Rogers, with the chorus watching. The later sections of this part seemed to be taking place at some sort of revival meeting. I felt that in this part, Warner had lost her way somewhat and was at a loss to know what to do with the chorus especially in the more complex movements. So she did as little as possible with them.
There were some striking images, but the happy-clappy evangelical atmosphere engendered seemed at odds with Handel's music. Frankly, I spent a lot of time with my eyes closed, just listening. The soloists were a decent bunch. Soprano Sophie Bevan had to cope with some startlingly fast speeds from conductor Lawrence Cummings, but did superbly though she rather tended to over-ornament. Catherine Wyn-Rogers was profoundly moving and it was a shame that she had been encouraged to bellow sections of He was despised. Tenor Eamonn Mulhall was a last minute replacement for ailing John Mark Ainsley. Mulhall was impressive, though he did not quite seem to have got the measure of the tricky Coliseum acoustic. Brindley Sherratt was wonderful as the bass soloist, combining drama with sympathy for Handel's style.
The chorus were a little taxed by the music, and there were some moments of frankly raw singing particularly from the tenors. The staging used a community group in addition to the choir and I felt that Warner and Cummings should have had the courage of their convictions and used a larger choir with a full symphony orchestra in the pit. As it was, Cummings seemed to be treading a strange line between period and modern practice.
So all in all, a rather mixed view, I'm afraid. As a raison d'etre for staging Messiah the jury is still out as far as I am concerned.
Review of Christine Brewer / Charles Mackerras Wagner concert
My review of the concert of music by Wagner given by Christine Brewer and Charles Mackerras with the Philharmonia Orchestra on 10th December at the South Bank is here.
Friday, 11 December 2009
Digging into the past
Some years ago I was given a pair of 19th century bound volumes labelled plays. The bindings gave no clue as to who had had the contents bound. Inside were some dozen librettos for performances by the Royal Italian Opera at Covent Garden. Each libretto listed the work to be performed, the orchestral members (by surname) and conductor (always Michael Costa) along with the artists involved. For some productions the designers of the scenery were named, always the same people. No dates were given. All operas were sung in Italian, including Fidelo and Les Huguenots.
There were various interesting points. No director was ever named. The orchestral players are all men and are listed by surname only, but the chorus members are not mentioned at all. The repertoire consists of operas by Rossini, Donizetti, Meyerbeer, Bellini, Mozart and Beethoven. As I have no information on the original owner of the wordbooks, I have no way of knowing whether the selection is the complete picture. For instance there is no Verdi, despite I Masnadieri being premiered in London in 1847.
I have finally got in contact with the Royal Opera House archives and they have been able to confirm the dates for the librettos, they range from 1849 to 1854, with most being clustered around just a couple of years. Interestingly the House's archives are not complete as a lot was lost in the fire in 1857.
This is the second time recently that we have been attempting to trace an exact date for a musical document. Previous D. had had access to a fragment of manuscript with a partial rehearsal schedule call for Aldeburgh on it under Britten's direction, requiring some fascinating research into Aldeburgh performances under Benjamin Britten.
There were various interesting points. No director was ever named. The orchestral players are all men and are listed by surname only, but the chorus members are not mentioned at all. The repertoire consists of operas by Rossini, Donizetti, Meyerbeer, Bellini, Mozart and Beethoven. As I have no information on the original owner of the wordbooks, I have no way of knowing whether the selection is the complete picture. For instance there is no Verdi, despite I Masnadieri being premiered in London in 1847.
I have finally got in contact with the Royal Opera House archives and they have been able to confirm the dates for the librettos, they range from 1849 to 1854, with most being clustered around just a couple of years. Interestingly the House's archives are not complete as a lot was lost in the fire in 1857.
This is the second time recently that we have been attempting to trace an exact date for a musical document. Previous D. had had access to a fragment of manuscript with a partial rehearsal schedule call for Aldeburgh on it under Britten's direction, requiring some fascinating research into Aldeburgh performances under Benjamin Britten.
Wednesday, 9 December 2009
A tale of two counter-tenors
Last night we went to the Wigmore Hall for Bejun Mehta's recital with Nicholas Drake accompanying on piano. And last week we went to the Barbican for Philippe Jaroussky's concert with Concerto Köln. Both counter-tenors are in the current vanguard of young start counter-tenors. Both have relatively high-placed voices which enable them to sing a wider range of pieces than is commonly associated with counter-tenors.
Jaroussky stuck firmly to baroque repertoire, mixing operatic arias by J.C. Bach with more well known ones by Handel. Jaroussky's voice is sweet and beautiful, but does not strike me as being exceptionally powerful. He does, though, have an upward extension which means that he has greater flexibility and control in his upper reaches and seemed unphased by top E's (and perhaps even F's) [at concert pitch, I've no idea what the written pitch of the notes was]. This is allied to a strong technique, which meant that he was able to dash off with ease the virtuoso vocal parts written by J.C. Bach.
I am not sure that Handel was the best partner for the J.C. Bach arias, as Handel's ability to mine the depths of emotion, with relatively economical means rather showed up J.C. Bach's showier (flashier?) arias, which seemed to skim the surface, but did so in a quite brilliant manner. One could understand why his music was popular. Especially when these vocal lines were coupled to attractive proto-Mozartian accompaniments.
Concerto Köln played conductorless and there were times when I felt that a stronger guiding hand might have helped. Jaroussky had a tendency to go over-board in the da capo sections of the Handel arias, re-writing the vocal line in an alarming manner. This is definitely a place where less is more.
Mehta in his recital, ranged far more widely, creating a programme which would not have been out of place for a variety of more traditional song recital voices. He started with Purcell and Haydn's English Canzonets. Finished the first half with Beethoven's An die ferne Geliebte. Then in the second half gave us a ravishing selection of English song from Vaughan Williams, Howells, Stanford, Lennoz Berkely, Gurney and Warlock.
Mehta's voice is similarly quite highly placed, and he sang most of the songs in quite high keys, providing plenty of top E's. But Mehta's voice also has darker tones than Jaroussky's and I was conscious at times of Mehta's managing his voice in its upper register, whereas I wasn't conscious of this with Jaroussky.
Mehta seems to be conscious of delivery a finely crafted vocal line, and sometimes seemed to sacrifice other elements to the beauty of line. There was a feeling that he rather slid round the notes a little too much, his technique seemed far more suitable for the songs in the 2nd half than the first. Or perhaps it was just that he had relaxed a bit more. For whatever reason, the Purcell and Haydn, whilst beautifully done, rather failed to make their mark completely. I think that Mehta is also a little to interventionist and perhaps needed to find a vein of plangent simplicity [something he did only at the end with a lovely performance of Music for a While as his final encore].
Beethoven's cycle was well crafted and dramatic, but I wanted more a feeling of the words.
But in the English songs, technique and music seemed to come together. Mehta's plangent tones exactly suited the songs. Voice, artists and composer seemed to come together perfectly in Howells The little boy lost and The Willow Bird. Stanfords La Belle Dame sans merci enabled Mehta to demonstrate his dramatic skills.
Both counter-tenors explored new repertoire, Jaroussky brilliantly venturing 4 barely-known J.C. Bach arias which needed (and got) a brilliant technique to make them work. American born and trained Mehta was also venturing into new repertoire, not only was his recital unusual territory for a counter-tenor, but for Mehta himself the English song repertoire was relatively unfamiliar territory.
Jaroussky stuck firmly to baroque repertoire, mixing operatic arias by J.C. Bach with more well known ones by Handel. Jaroussky's voice is sweet and beautiful, but does not strike me as being exceptionally powerful. He does, though, have an upward extension which means that he has greater flexibility and control in his upper reaches and seemed unphased by top E's (and perhaps even F's) [at concert pitch, I've no idea what the written pitch of the notes was]. This is allied to a strong technique, which meant that he was able to dash off with ease the virtuoso vocal parts written by J.C. Bach.
I am not sure that Handel was the best partner for the J.C. Bach arias, as Handel's ability to mine the depths of emotion, with relatively economical means rather showed up J.C. Bach's showier (flashier?) arias, which seemed to skim the surface, but did so in a quite brilliant manner. One could understand why his music was popular. Especially when these vocal lines were coupled to attractive proto-Mozartian accompaniments.
Concerto Köln played conductorless and there were times when I felt that a stronger guiding hand might have helped. Jaroussky had a tendency to go over-board in the da capo sections of the Handel arias, re-writing the vocal line in an alarming manner. This is definitely a place where less is more.
Mehta in his recital, ranged far more widely, creating a programme which would not have been out of place for a variety of more traditional song recital voices. He started with Purcell and Haydn's English Canzonets. Finished the first half with Beethoven's An die ferne Geliebte. Then in the second half gave us a ravishing selection of English song from Vaughan Williams, Howells, Stanford, Lennoz Berkely, Gurney and Warlock.
Mehta's voice is similarly quite highly placed, and he sang most of the songs in quite high keys, providing plenty of top E's. But Mehta's voice also has darker tones than Jaroussky's and I was conscious at times of Mehta's managing his voice in its upper register, whereas I wasn't conscious of this with Jaroussky.
Mehta seems to be conscious of delivery a finely crafted vocal line, and sometimes seemed to sacrifice other elements to the beauty of line. There was a feeling that he rather slid round the notes a little too much, his technique seemed far more suitable for the songs in the 2nd half than the first. Or perhaps it was just that he had relaxed a bit more. For whatever reason, the Purcell and Haydn, whilst beautifully done, rather failed to make their mark completely. I think that Mehta is also a little to interventionist and perhaps needed to find a vein of plangent simplicity [something he did only at the end with a lovely performance of Music for a While as his final encore].
Beethoven's cycle was well crafted and dramatic, but I wanted more a feeling of the words.
But in the English songs, technique and music seemed to come together. Mehta's plangent tones exactly suited the songs. Voice, artists and composer seemed to come together perfectly in Howells The little boy lost and The Willow Bird. Stanfords La Belle Dame sans merci enabled Mehta to demonstrate his dramatic skills.
Both counter-tenors explored new repertoire, Jaroussky brilliantly venturing 4 barely-known J.C. Bach arias which needed (and got) a brilliant technique to make them work. American born and trained Mehta was also venturing into new repertoire, not only was his recital unusual territory for a counter-tenor, but for Mehta himself the English song repertoire was relatively unfamiliar territory.
Tuesday, 8 December 2009
Now out on AudioBook
The play for which I wrote incidental music, Candle Dancing by Coni Koepfinger, has been released as an audio-book. The audio book includes a little of my original incidental music as background to the readings, enough to give you a flavour of the original 1998 production. The audio-book is available from Tate Publishing here.
Sunday, 6 December 2009
War and Peace
Prokofiev wrote War and Peace in 1942, but there followed over a decade of changes before he could get the opera performed. Even when he submitted it to the Soviet Authorities in 1941/1942 he was forced to make changes. Now Dr. Rita McAllister has gone back to the original manuscripts, notably the composer's piano score, to reconstruct Prokofiev's first thoughts, his original setting of the opera in 11 scenes. This has included McAllister having to orchestrate some 450 bars of music. Dr McAllister's article about her new edition can be read here. From the first Prokofiev had to re-work the War scenes to comply with the Soviet authorities desire to make them more patriotic. The 10 year process of re-working emphasised the public, patriotic at the expense of the personal in the opera.
Now a collaboration between the Royal Scottish Academy of Music and Drama and the Rostov State Rakhmaninov Conservatoire is bringing this first version of the opera to the stage in Glasgow and Edinburgh. It will be fascinating to see Prokofiev's first thoughts. War and Peace is one of those operas which has no definitive version; many of Prokofiev's revisions were done at the behest of others and take on an increasingly desperate nature as he tried to get the opera performed. Having a good edition of his first thoughts (previously hidden in the Soviet Archives) will enable us to make more informed decisions about what to include (and to miss out) of future performances.
Now a collaboration between the Royal Scottish Academy of Music and Drama and the Rostov State Rakhmaninov Conservatoire is bringing this first version of the opera to the stage in Glasgow and Edinburgh. It will be fascinating to see Prokofiev's first thoughts. War and Peace is one of those operas which has no definitive version; many of Prokofiev's revisions were done at the behest of others and take on an increasingly desperate nature as he tried to get the opera performed. Having a good edition of his first thoughts (previously hidden in the Soviet Archives) will enable us to make more informed decisions about what to include (and to miss out) of future performances.
Friday, 4 December 2009
Broad Ripple Gazette vol 6, no 24
Austin City Limits Festival, continued
Friday, October 2, 2009
The first day of the Austin City Limits Festival (ACLF) was beautiful. And I had a photo pass, which meant that I could be in the “pit” in front of the stage. This was the first time I’d ever had a photo pass -- or a fancy enough camera to qualify for one. I quickly learned the system – you could only shoot the first three songs, no flash and stay out of the way of the stage crew and security. I added my own rules. Let the big guys (CNN, Rolling Stone and Paste) snap first, stay the hell out of the way and look like I belonged. I soon learned my way around the pit. Everyone was nice and takes a turn in front of the stage, I learned how to walk crouched down and backwards and shoot, to change lenses between songs and that stage right means to my left. Having a photo pass also keeps you on a schedule. Generally you have to be in the pit by the time the first song starts or you’re out of luck. Some stages wanted you to sign a release promising to just publish the photos in one publication and others needed special permission. I just about fell over when I saw my name on the list of approved photographers for Dave Matthews.
I stared day one of the festival with the Avett Brothers (reviewed in the last issue vol. 6, no. 23). I also caught part of the Texas swing band, Asleep at the Wheel’s set and a chunk of the indie darlings, Blitzen Trapper. The last time I saw Blitzen Trapper I was leaning against a speaker cabinet at Locals Only, I waved but I don’t think they recognized me. It was a blast to see them playing to thousands of enthusiastic people.
I ran to see the barefoot and always charming Todd Snider from there. Todd played an acoustic solo set, which is my favorite way to hear a singer-songwriter, especially a smart/clever/funny writer like Todd. Todd swings through Indianapolis at least once a year and I try not to miss him.
The next act I caught was sentimental favorite, Daniel Johnston. I admit that I knew nothing about him, but he’s an Austin staple and cult favorite. The documentary, The Devil and Daniel Johnston,” followed him in his musical and mental heath journey, winning an award at the Sundance Film Festival. I enjoyed Daniel’s set and wish I would have done some research about him ahead of time.
I’ve been a fan of Robyn Hitchcock since his days in the New Wave band, The Soft Boys. When your name is Nora it is hard to find things with your name on it. I’d always look longingly at the racks of bicycle license plates, pencils and shot glasses hoping I’d find one with my name. In literature Nora tends to be the upstairs maid or spinster aunt (we’re hitting a little too close to home here). I was thrilled to hear The Soft Boys, “Ugly Nora,” and took at as a compliment. Robyn was playing with another rock icon, Peter Buck from REM. I did my best to look like I belonged, not swoon or yell out, “Ugly Nora!”
From there I raced to see Them Crooked Vultures, the super-power trio of Dave Grohl (Nirvana)), Josh Homme (Queens of the Stone Age) and John Paul Jones (Led Zeppelin). Talk about rock royalty! I was nervous even standing in from of them! What did they sound like? The guy from Queens of the Stone Age singing and playing guitar with the bass player from Led Zeppelin and the drummer from Nirvana. I’m not good a comparisons, but that one was easy! And I must say, Dave Grohl looked happy has hell to be back behind the drums where he belongs (he plays guitar in his other project, The Foo Fighters).
I had a hard time choosing between the last acts of the night, the Yeah, Yeah, Yeahs or Kings of Leon. I decided to check out the Nashville family band (three brothers and a cousin), Kings of Leon. They’ve got some good genes going on! I can see why they are favorites of a wide range of folks. They’re talented and have swooningly good looks and harmonize beautifully. In the last year they’ve morphed from wooly bearded garage rockers to shiny pretty art-rockers. And I’m okay with that!
Friday, October 2, 2009
The first day of the Austin City Limits Festival (ACLF) was beautiful. And I had a photo pass, which meant that I could be in the “pit” in front of the stage. This was the first time I’d ever had a photo pass -- or a fancy enough camera to qualify for one. I quickly learned the system – you could only shoot the first three songs, no flash and stay out of the way of the stage crew and security. I added my own rules. Let the big guys (CNN, Rolling Stone and Paste) snap first, stay the hell out of the way and look like I belonged. I soon learned my way around the pit. Everyone was nice and takes a turn in front of the stage, I learned how to walk crouched down and backwards and shoot, to change lenses between songs and that stage right means to my left. Having a photo pass also keeps you on a schedule. Generally you have to be in the pit by the time the first song starts or you’re out of luck. Some stages wanted you to sign a release promising to just publish the photos in one publication and others needed special permission. I just about fell over when I saw my name on the list of approved photographers for Dave Matthews.
I stared day one of the festival with the Avett Brothers (reviewed in the last issue vol. 6, no. 23). I also caught part of the Texas swing band, Asleep at the Wheel’s set and a chunk of the indie darlings, Blitzen Trapper. The last time I saw Blitzen Trapper I was leaning against a speaker cabinet at Locals Only, I waved but I don’t think they recognized me. It was a blast to see them playing to thousands of enthusiastic people.
I ran to see the barefoot and always charming Todd Snider from there. Todd played an acoustic solo set, which is my favorite way to hear a singer-songwriter, especially a smart/clever/funny writer like Todd. Todd swings through Indianapolis at least once a year and I try not to miss him.
The next act I caught was sentimental favorite, Daniel Johnston. I admit that I knew nothing about him, but he’s an Austin staple and cult favorite. The documentary, The Devil and Daniel Johnston,” followed him in his musical and mental heath journey, winning an award at the Sundance Film Festival. I enjoyed Daniel’s set and wish I would have done some research about him ahead of time.
I’ve been a fan of Robyn Hitchcock since his days in the New Wave band, The Soft Boys. When your name is Nora it is hard to find things with your name on it. I’d always look longingly at the racks of bicycle license plates, pencils and shot glasses hoping I’d find one with my name. In literature Nora tends to be the upstairs maid or spinster aunt (we’re hitting a little too close to home here). I was thrilled to hear The Soft Boys, “Ugly Nora,” and took at as a compliment. Robyn was playing with another rock icon, Peter Buck from REM. I did my best to look like I belonged, not swoon or yell out, “Ugly Nora!”
From there I raced to see Them Crooked Vultures, the super-power trio of Dave Grohl (Nirvana)), Josh Homme (Queens of the Stone Age) and John Paul Jones (Led Zeppelin). Talk about rock royalty! I was nervous even standing in from of them! What did they sound like? The guy from Queens of the Stone Age singing and playing guitar with the bass player from Led Zeppelin and the drummer from Nirvana. I’m not good a comparisons, but that one was easy! And I must say, Dave Grohl looked happy has hell to be back behind the drums where he belongs (he plays guitar in his other project, The Foo Fighters).
I had a hard time choosing between the last acts of the night, the Yeah, Yeah, Yeahs or Kings of Leon. I decided to check out the Nashville family band (three brothers and a cousin), Kings of Leon. They’ve got some good genes going on! I can see why they are favorites of a wide range of folks. They’re talented and have swooningly good looks and harmonize beautifully. In the last year they’ve morphed from wooly bearded garage rockers to shiny pretty art-rockers. And I’m okay with that!
Thursday, 3 December 2009
Recent CD Reviews
My review of a disc of Bach Missae Breves is here.
Now showing its age ...
And my review of Emmanuelle Haim's new recording of Handel's oratorio La Resurrezione is here. Both reviews on MusicWeb International.
Time and again my ear was drawn to the lovely instrumental contributions ...
Now showing its age ...
And my review of Emmanuelle Haim's new recording of Handel's oratorio La Resurrezione is here. Both reviews on MusicWeb International.
Time and again my ear was drawn to the lovely instrumental contributions ...
Conch shells and horns
On of the most striking moments in the recent performance of Gluck's Alceste by Chelsea Opera Group was during Act 3 the Infernal God summons Alceste and is meant to be blowing into a conch shell. The composer writes for two horns, playing in unison, but the horn players hold the bells of their horns nearly together and the horns act as sort of mutes for each other. The effect is described by Berlioz in his Treatise on Orchestration. It both looks and sounds fascinating; looks, because of course, it is rather a contortion for two horn players standing side by side to place their bells together as the instruments are played laterally. And it sounds hauntingly fascinating. Though it doesn't seem to be a commonly used effect.
Wednesday, 2 December 2009
Recent CD Review
My review of Christmas a cappella from Chicago a Cappella is here, on Music and Vision.
... I would have liked a little more grit ..
... I would have liked a little more grit ..
Les Arts Florissants - Grands Motets
Last Thursday (sorry for the late posting) we went to the Barbican to see the final concert in Les Art Florissants 30th Birthday jamboree. The audience seemed to include rather more of the great and good than usual, reflection of the high status that this celebration has been achieving.
Whereas the earlier events had covered much of their more recent musical explorations, this concert went back to their roots presenting music by Rameau, Lully, Campra and Desmarest. What we got was 4 works, a Grand Motet by each composer. All were written for the same sort of ensemble, choir, group of soloists and orchestra with trumpets added for some movements.
All 4 composers used large groups of soloists with all 6 (Amel Brahim-Djelloul soprano, Emmanuelle de Negri soprano, Toby Spence tenor, Cyril Auvity tenor, Marc Mauillon baritone, Alain Buet bass) being employed in the final Lully Te Deum. Though there were solos, all composers used small groups of singers to contrast with the larger choir. In fact there was rather a lot of inevitable coming and going. You got the feeling that the original motets, written for sacred use, would probably have had the solo parts sung by choir members so that the division between solo, ensemble and choir was less obvious. It was a shame that this could not be done, but with the choir placed behind the large orchestra it was difficult to see how this could have been achieved on the rather limited Barbican stage.
Toby Spence's voice has darkened and grown larger since he regularly sang for William Christie (I remember him memorably in a performance of Rameau's Les Boreades some years ago), but he has not lost the flexibility and sang with great beauty even if he was slightly louder than ideal at times. Cyril Auvity sang the high tenor roles and the two of them had a number of memorable duets.
Though all four composers wrote music of interest, the palm surely goes to Rameau for his spectacular orchestrations in his motet, Deus Noster, with its depictions of tempests. The formal part of the evening concluded with Lully's very grand Te Deum, which uses two choirs as well as all 6 singers. But this was not the end. We got two encores, the second of which Tendre Amour from Les Indes Galantes was sung by everyone, with the soloists joining the choir. The result was sensuously beautiful and so romantic as to be incredible.
Whereas the earlier events had covered much of their more recent musical explorations, this concert went back to their roots presenting music by Rameau, Lully, Campra and Desmarest. What we got was 4 works, a Grand Motet by each composer. All were written for the same sort of ensemble, choir, group of soloists and orchestra with trumpets added for some movements.
All 4 composers used large groups of soloists with all 6 (Amel Brahim-Djelloul soprano, Emmanuelle de Negri soprano, Toby Spence tenor, Cyril Auvity tenor, Marc Mauillon baritone, Alain Buet bass) being employed in the final Lully Te Deum. Though there were solos, all composers used small groups of singers to contrast with the larger choir. In fact there was rather a lot of inevitable coming and going. You got the feeling that the original motets, written for sacred use, would probably have had the solo parts sung by choir members so that the division between solo, ensemble and choir was less obvious. It was a shame that this could not be done, but with the choir placed behind the large orchestra it was difficult to see how this could have been achieved on the rather limited Barbican stage.
Toby Spence's voice has darkened and grown larger since he regularly sang for William Christie (I remember him memorably in a performance of Rameau's Les Boreades some years ago), but he has not lost the flexibility and sang with great beauty even if he was slightly louder than ideal at times. Cyril Auvity sang the high tenor roles and the two of them had a number of memorable duets.
Though all four composers wrote music of interest, the palm surely goes to Rameau for his spectacular orchestrations in his motet, Deus Noster, with its depictions of tempests. The formal part of the evening concluded with Lully's very grand Te Deum, which uses two choirs as well as all 6 singers. But this was not the end. We got two encores, the second of which Tendre Amour from Les Indes Galantes was sung by everyone, with the soloists joining the choir. The result was sensuously beautiful and so romantic as to be incredible.
Sunday, 29 November 2009
Review of "Alceste"
My review of Gluck's Alceste from the Chelsea Opera Group is here, on Music and Vision.
Wednesday, 25 November 2009
OAE's Dream of Gerontius
The problem with period performance is that we do not always have period voices to go with the period instrumental performances. In early music this can be fudged, to a certain extent, because we don't actually know what the singers sounded like. But in Baroque opera there is no getting away from the fact that Handel, Hasse, Vivaldi et al wrote for some of the greatest voices of the day. And if the greatest voices of our day sing this repertoire then compromises have to be made, often in terms of vibrato etc.
When it comes to Elgar things are both more and less complicated. We have recordings to supplement the writings and musical manuals, so that we know a great deal about the types of sound produced and techniques used. But the singers of the day used rather different techniques, with generally a narrower focus in the voice and a tighter control of vibrato.
As a sample of what this means, consider RVW's Serenade to Music. It was recorded by the original singers, most of whom were quite mature when the recording was made. But nowadays the work is performed with younger singers, partly because when opera singers mature their voices often develop far more significant vibrato than their forebears; that this is not a hard and fast rule is indicated by the fact that one of the basses on the original recording has a very, very intrusive vibrato.
But it is not just vibrato and width focus which are a concern, there is also the issue of the use of portamento as ornament, a technique which is generally anathema to modern singing techniques, partly I think because combined with a profound vibrato it can sound rather as if the singer has no idea where the destination note is and is simply sliding up to it.
These thoughts occurred to me as I listened to the magical opening of Elgar's Dream of Gerontius at the Royal Festival Hall last night (24/11/2009) in a performance by the Orchestra of the Age of Enlightenment conducted by Jeremy Skidmore, with the Ex Cathedra XL Anniversary Choir and Susan Bickley, Adrian Thompson and Roderick Williams as soloists. Skidmore and the OAE gave us a truly magical account of the prelude, with a tone quality which took me back to those early Elgar recordings. The strings used vibrato sparingly, and the balance was more in favour of the wind; the wind and brass played on period instruments which had differences in timbre to their modern counterparts. The whole orchestral sound felt far less uniformly homogeneous than a modern group, perhaps because it was not founded on the base a warm, all-encompassing vibrato-led string tone.
When Adrian Thompson came in, it became apparent that whilst he was a willing participant in the experiment, his voice and technique was slightly at odds to the prevailing style. Thompson is mainly known in the UK as a character tenor, but his repertoire stretches to Loge and bigger roles. When singing quietly he gave is beautifully intense tone, but in the bigger moments, when his voice opened up, his vibrato became very pronounced. If he had been singing with the London Symphony Orchestra this would not have been too disturbing (when I heard David Rendall in the role with the LSO his notable vibrato was quite acceptable in the context). But it WAS noticeable given that the orchestra were using it sparingly. Hence my thoughts about period voices. But the volume that the orchestra produced was noticeably less than a modern orchestra and without the extensive vibrato, the string tone died quicker. So this meant that Thompson was able to sing much more of the piece in his lighter, more concentrated tones. And he did give us some discreet use of portamento.
At the big moments,I could not rid myself of the thought that Thompson's expression was applied to his voice, rather than done via the voice. So that moments like Sanctus fortis did not count for as much as when done by, say, Richard Lewis.
Roderick Williams was a notable presence as the bass soloist, singing in his familiar warm, rich tones, though you felt his performance would have been pretty much the same had he sung the role with the LSO. Though given his musicality, this was no bad thing.
As the Angel, Susan Bickley had to step in at the very last moment as the planned singer (Anna Stephany) was ill. Inevitably Bickley's performance was a little more understated and more careful than it might have been in regular circumstances. It was noticeable how the singer used the transparency of the orchestra to sing passages in far quieter manner than she otherwise might have done; the moments when she did let go were made all the more climactic. Bickley's performance was beautifully musical and concentrated.
Skidmore used a choir of just 100 singers; small for a regular Gerontius, but they made a good impression here. Using a slightly smaller group, with a preponderance of young voices, meant that we got a cleaner, more disciplined sound which was focussed and tidy in a way which is harder with a larger group. That said, there was no loss of power at the climaxes, notably in Praise to the Holiest. But the climaxes were not simply about noise, you noticed far more Elgar's attention to orchestration and timbres. The performance seem somehow far more subtle than a modern one, with blazing climaxes.
In the programme book, there were a series of interviews with orchestra personnel describing the instruments that they were playing on; instruments which are both similar too and different from those of modern orchestras. Notably amongst the instruments used were Denis Brain's horn and Elgar's own Trombone!
I must confess to not being as moved as I have been in some performances of Gerontius. There again, the most moving performance of the title role that I have heard was when Richard Lewis sang it with the LPO with Bernard Haitink conducting. Lewis was in his 70's and had just had both his hips replaced, his tone quality was what it was, but you felt that he lived and breathed the part. When He sang Sanctus fortis the expression was all in the voice, not applied. And when he opened Act 2 (I went to sleep and now I am refreshed) you felt he meant it. Also notable about that performance, the harpist was Sidonie Goosens who had actually played under Elgar!
The Dream of Gerontius is a difficult work to get right, and, given the fact that period performances of the work are extremely rare, we should regard this as a work in progress. Skidmore and his forces got so many things right, particularly the magical timbres and flexibility of the orchestra, and the beauty of the choral tone. So I hope that we can look forward to further experiments and a recording at some point.
When it comes to Elgar things are both more and less complicated. We have recordings to supplement the writings and musical manuals, so that we know a great deal about the types of sound produced and techniques used. But the singers of the day used rather different techniques, with generally a narrower focus in the voice and a tighter control of vibrato.
As a sample of what this means, consider RVW's Serenade to Music. It was recorded by the original singers, most of whom were quite mature when the recording was made. But nowadays the work is performed with younger singers, partly because when opera singers mature their voices often develop far more significant vibrato than their forebears; that this is not a hard and fast rule is indicated by the fact that one of the basses on the original recording has a very, very intrusive vibrato.
But it is not just vibrato and width focus which are a concern, there is also the issue of the use of portamento as ornament, a technique which is generally anathema to modern singing techniques, partly I think because combined with a profound vibrato it can sound rather as if the singer has no idea where the destination note is and is simply sliding up to it.
These thoughts occurred to me as I listened to the magical opening of Elgar's Dream of Gerontius at the Royal Festival Hall last night (24/11/2009) in a performance by the Orchestra of the Age of Enlightenment conducted by Jeremy Skidmore, with the Ex Cathedra XL Anniversary Choir and Susan Bickley, Adrian Thompson and Roderick Williams as soloists. Skidmore and the OAE gave us a truly magical account of the prelude, with a tone quality which took me back to those early Elgar recordings. The strings used vibrato sparingly, and the balance was more in favour of the wind; the wind and brass played on period instruments which had differences in timbre to their modern counterparts. The whole orchestral sound felt far less uniformly homogeneous than a modern group, perhaps because it was not founded on the base a warm, all-encompassing vibrato-led string tone.
When Adrian Thompson came in, it became apparent that whilst he was a willing participant in the experiment, his voice and technique was slightly at odds to the prevailing style. Thompson is mainly known in the UK as a character tenor, but his repertoire stretches to Loge and bigger roles. When singing quietly he gave is beautifully intense tone, but in the bigger moments, when his voice opened up, his vibrato became very pronounced. If he had been singing with the London Symphony Orchestra this would not have been too disturbing (when I heard David Rendall in the role with the LSO his notable vibrato was quite acceptable in the context). But it WAS noticeable given that the orchestra were using it sparingly. Hence my thoughts about period voices. But the volume that the orchestra produced was noticeably less than a modern orchestra and without the extensive vibrato, the string tone died quicker. So this meant that Thompson was able to sing much more of the piece in his lighter, more concentrated tones. And he did give us some discreet use of portamento.
At the big moments,I could not rid myself of the thought that Thompson's expression was applied to his voice, rather than done via the voice. So that moments like Sanctus fortis did not count for as much as when done by, say, Richard Lewis.
Roderick Williams was a notable presence as the bass soloist, singing in his familiar warm, rich tones, though you felt his performance would have been pretty much the same had he sung the role with the LSO. Though given his musicality, this was no bad thing.
As the Angel, Susan Bickley had to step in at the very last moment as the planned singer (Anna Stephany) was ill. Inevitably Bickley's performance was a little more understated and more careful than it might have been in regular circumstances. It was noticeable how the singer used the transparency of the orchestra to sing passages in far quieter manner than she otherwise might have done; the moments when she did let go were made all the more climactic. Bickley's performance was beautifully musical and concentrated.
Skidmore used a choir of just 100 singers; small for a regular Gerontius, but they made a good impression here. Using a slightly smaller group, with a preponderance of young voices, meant that we got a cleaner, more disciplined sound which was focussed and tidy in a way which is harder with a larger group. That said, there was no loss of power at the climaxes, notably in Praise to the Holiest. But the climaxes were not simply about noise, you noticed far more Elgar's attention to orchestration and timbres. The performance seem somehow far more subtle than a modern one, with blazing climaxes.
In the programme book, there were a series of interviews with orchestra personnel describing the instruments that they were playing on; instruments which are both similar too and different from those of modern orchestras. Notably amongst the instruments used were Denis Brain's horn and Elgar's own Trombone!
I must confess to not being as moved as I have been in some performances of Gerontius. There again, the most moving performance of the title role that I have heard was when Richard Lewis sang it with the LPO with Bernard Haitink conducting. Lewis was in his 70's and had just had both his hips replaced, his tone quality was what it was, but you felt that he lived and breathed the part. When He sang Sanctus fortis the expression was all in the voice, not applied. And when he opened Act 2 (I went to sleep and now I am refreshed) you felt he meant it. Also notable about that performance, the harpist was Sidonie Goosens who had actually played under Elgar!
The Dream of Gerontius is a difficult work to get right, and, given the fact that period performances of the work are extremely rare, we should regard this as a work in progress. Skidmore and his forces got so many things right, particularly the magical timbres and flexibility of the orchestra, and the beauty of the choral tone. So I hope that we can look forward to further experiments and a recording at some point.
Sunday, 22 November 2009
Towards a new Opera (4)
Having worked through the score of the new opera two or three times, I am currently in the process of creating the piano reduction which is always a good discipline. Even though the work is currently written for only 5 accompanying instruments (piano, violin, clarinet and cello), creating a single piano part out of them is sometimes a bit challenging, requiring some deft jigsaw work. It also provides me with a different view of the accompaniment and helps to shape it.
Once I have something approaching the vocal score I will then play it through a few times. Given that my piano playing is rather limited, this means that the neighbours have to put up with me bashing away rather slowly. It might sound primitive and limiting, but I find it enormously helpful to see how the work feels under my fingers.
I am thinking of expanding the orchestration, but will probably wait until after I am able to organise a performance of the work next year. So that we can see how it works in its current form. I rather fancy adding some percussion, but have not yet come up with any concrete ideas.
Once I have something approaching the vocal score I will then play it through a few times. Given that my piano playing is rather limited, this means that the neighbours have to put up with me bashing away rather slowly. It might sound primitive and limiting, but I find it enormously helpful to see how the work feels under my fingers.
I am thinking of expanding the orchestration, but will probably wait until after I am able to organise a performance of the work next year. So that we can see how it works in its current form. I rather fancy adding some percussion, but have not yet come up with any concrete ideas.
Review of The Tsarina's Slippers
My review of the new production of Tchaikovsky's The Tsarina's Slippers at Covent Garden is here, on Music and Vision.
Thursday, 19 November 2009
Recent CD Review
My review of Bach's St. John Passion from Il Fondamento and Paul Dombrecht is here, on MusicWeb International.
Little to set it apart from its rivals ...
Little to set it apart from its rivals ...
Tonic Ball 2009 line up and schedule
Radio Radio - (Led Zeppelin stage)
7:00 PM - Bat Tattoo
7:20 – The Radiators
7:40 – The Misprintz
8:00 – The Old Fair and Square Band
8:20 – Ebenezer and the Hymnasters
8:40 – The Last Domino
9:00 – Frankie Camaro’s Atomic Bombay
9:20 – ESW
9:40 – The Cocaine Wolves
10:00 – The Common
10:20 – We're Not Squibnocket
10:40 - Jennie DeVoe
11:00 - Healing Sixes
11:20 –Yoko Moment
11:40 –.
12:00 AM – Bigger Than Elvis
12:20 – Mandy Marie and the Cool Hand Lukes
Fountain Square Theater (Bob Dylan stage)
7:00 PM – Cliff Snyder
7:15 – Ladymoon
7:30 – Sanuk
7:45 – Coolidge
8:00 – Jeff Byrd and the Wingmen
8:15 – Jon Strahl Band
8:30 – CW and the Working Class Trio
8:45 – The Odyssey Favor
9:00 – Luke Austin Daugherty Jam Band
9:15 – Joel Henderson
9:30 - Shelby Kelley
9:45 - Susan and the Desperate Seekers
10:00 – Jon Martin and…
10:15 – Everest
10:30 – Brian Deer and the Achievers
10:45 – Tad Armstrong
11:00 – Mardelay
11:15 – Everthus the Deadbeats
11:30 – Everything Now!
11:45 – Otis Gibbs
12:00 AM – The Vulgar Boatmen
7:00 PM - Bat Tattoo
7:20 – The Radiators
7:40 – The Misprintz
8:00 – The Old Fair and Square Band
8:20 – Ebenezer and the Hymnasters
8:40 – The Last Domino
9:00 – Frankie Camaro’s Atomic Bombay
9:20 – ESW
9:40 – The Cocaine Wolves
10:00 – The Common
10:20 – We're Not Squibnocket
10:40 - Jennie DeVoe
11:00 - Healing Sixes
11:20 –Yoko Moment
11:40 –.
12:00 AM – Bigger Than Elvis
12:20 – Mandy Marie and the Cool Hand Lukes
Fountain Square Theater (Bob Dylan stage)
7:00 PM – Cliff Snyder
7:15 – Ladymoon
7:30 – Sanuk
7:45 – Coolidge
8:00 – Jeff Byrd and the Wingmen
8:15 – Jon Strahl Band
8:30 – CW and the Working Class Trio
8:45 – The Odyssey Favor
9:00 – Luke Austin Daugherty Jam Band
9:15 – Joel Henderson
9:30 - Shelby Kelley
9:45 - Susan and the Desperate Seekers
10:00 – Jon Martin and…
10:15 – Everest
10:30 – Brian Deer and the Achievers
10:45 – Tad Armstrong
11:00 – Mardelay
11:15 – Everthus the Deadbeats
11:30 – Everything Now!
11:45 – Otis Gibbs
12:00 AM – The Vulgar Boatmen
Tuesday, 17 November 2009
Review of Turandot
On Friday we went to see the new production of Puccini’s Turandot at the London Coliseum. ENO’s first ever production of Puccini’s final opera has been coming in for rather mixed reviews, especially as Rupert Goold’s production is distinctly untraditional.
First we have to understand that Puccini’s Turandot is no more Chinese than Sullivan’s Mikado is Japanese. The libretto for Puccini’s opera was based on a play by the Venetian playwright Gozzi, who in turn based his play on a Persian legend. So setting the opera in naturalistic China makes no particular sense and usually directors feel free to pick and choose the sort of exoticism that they use. But the main concern is to create a dramatically coherent production, not with ultra-naturalism; Turandot set in medieval China only makes sense if the drama works.
Of course, Puccini’s music is so infused with exoticism that it would be difficult to set the opera in, say, a spa town in the Italian Alps.
So we should not get too worked up if Rupert Goold has chosen to set his production of Turandot in a completely demented Chinese restaurant. In fact he and designers Miriam Buether and Katrina Lindsay have delivered up a vividly theatrical event. The first act takes place inside a Chinese restaurant, with the guards replaced by dominatrix waitresses. In the centre is the door to the kitchen, from which all sorts of nastiness appears. Ping, Pang and Pong are re-cast as chefs.
The first scene of Act 2 takes place on the fire escape stairs at the back of the restaurant, where Ping, Pang and Pong are taking a quick cigarette break, then the second half of Act 2 returns to the restaurant. Act 3 takes place in the kitchens, with the central cooking range being used for the torture of lieu.
So far so good and generally the dramaturgy works. But I had three main problems with the production. Firstly, the chorus are dressed as archetypes, from Elvis impersonators to nuns, as if they are intended to represent humanity, a detail which I thought meant that Goold was preaching a little too much. This was, however, a relatively minor point. More importantly, Goold has invented a character, the Writer, who is entirely silent but seems to direct the action, sometimes actually manipulating the singers and arranging the events. This is Goold’s take on the incompleteness of the opera. Because in Act 3, the Wreiter leaves the stage with Liu’s body, only to find he has been locked out and that the characters have taken over. Finally, Turandot kills him and during the final apotheosis the Emperor does not appear on stage, instead the singers stare out at us intently as if he is in the audience. Instead the slowly dying author takes centre stage. This was a mistake, too often Scott Handy’s Writer took attention away from the important cast members. If the production could be re-worked to avoid this unnecessary character then I think it would be a satisfying and vividly theatrical experience.
And the third problem? Well Goold is inexperienced in opera and in terms of generating good performances out of his singers, he seems to have had rather mixed success. Amanda Echalaz was outstanding as Liu and in her scenes in Act 3 turned in some of the finest singing and acting of the evening, her death scene was shattering. And there were good performances from James Creswell as Timur, Benedict Nelson as Ping, Richard Roberts as Pang and Christopher Turner as Pong. Here ENO had reaped strong rewards by casting a group of young singers in the roles. Nelson, Roberts and Turner were particularly lively and strong as the masks and made a good ensemble.
But with his two principals, Goold rather failed. Gwyn Hughes Jones sang Calaf strongly and impressively, but costumed in a black frock coat he failed to convey much of the Prince’s passion by any bodily movement. He was entirely too stiff and in Nessun Dorma Goold seems to have been unable to stop Jones signally emotion with stock telegraphic gestures. Still, Jones’s singing was such that you forgave him. And perhaps Goold intended the character to be stiff and impassive.
With Kirsten Blanck, Goold had a soprano who has all the notes for Turandot, which is a good start. Blanck does not seem to have the sort of laser sharp voice which I like in this role; her account of In questa regia was richly modulated with a strong vibrato. She has quite a warm voice and seemed to come over as impassive rather than icy. Vocal preferences apart her account of the role simply lacked the intensity which was needed. After all Gwyneth Jones did not have an ideal Turandot voice but her performance was so intense, so coruscating, that you couldn’t help but capitulate. Goold used the traditional version of the ending (Alfano with Toscanini’s cuts) so that we go briskly from Liu’s death to the end. This does not give the singer much time to thaw. Blanck was obviously trying to thaw, but this change did not quite reach her voice and visually she was limited by the rather over the top bride costume, with wacky make-up. It would have helped if some way could have been found for her appearance to reflect the change by jettisoning the head-dress or removing the make-up to make her seem more a real person. But on the plus side, this was Blanck’s first Turandot and she had learned it in English (not her native language, she is German).
If this new Turandot had had a performance of the title role delivered with the necessary coruscating intensity, then I think that this production would have come together. Goold and his designers have nearly got things right, and with a bit of tweaking and a more defined central performance, this could be a winner. It was certainly popular, as the auditorium was full.
In the pit Edward Gardner produced a dramatic, if rather brash, account of the score, but he engendered some terrific playing from his orchestra.
First we have to understand that Puccini’s Turandot is no more Chinese than Sullivan’s Mikado is Japanese. The libretto for Puccini’s opera was based on a play by the Venetian playwright Gozzi, who in turn based his play on a Persian legend. So setting the opera in naturalistic China makes no particular sense and usually directors feel free to pick and choose the sort of exoticism that they use. But the main concern is to create a dramatically coherent production, not with ultra-naturalism; Turandot set in medieval China only makes sense if the drama works.
Of course, Puccini’s music is so infused with exoticism that it would be difficult to set the opera in, say, a spa town in the Italian Alps.
So we should not get too worked up if Rupert Goold has chosen to set his production of Turandot in a completely demented Chinese restaurant. In fact he and designers Miriam Buether and Katrina Lindsay have delivered up a vividly theatrical event. The first act takes place inside a Chinese restaurant, with the guards replaced by dominatrix waitresses. In the centre is the door to the kitchen, from which all sorts of nastiness appears. Ping, Pang and Pong are re-cast as chefs.
The first scene of Act 2 takes place on the fire escape stairs at the back of the restaurant, where Ping, Pang and Pong are taking a quick cigarette break, then the second half of Act 2 returns to the restaurant. Act 3 takes place in the kitchens, with the central cooking range being used for the torture of lieu.
So far so good and generally the dramaturgy works. But I had three main problems with the production. Firstly, the chorus are dressed as archetypes, from Elvis impersonators to nuns, as if they are intended to represent humanity, a detail which I thought meant that Goold was preaching a little too much. This was, however, a relatively minor point. More importantly, Goold has invented a character, the Writer, who is entirely silent but seems to direct the action, sometimes actually manipulating the singers and arranging the events. This is Goold’s take on the incompleteness of the opera. Because in Act 3, the Wreiter leaves the stage with Liu’s body, only to find he has been locked out and that the characters have taken over. Finally, Turandot kills him and during the final apotheosis the Emperor does not appear on stage, instead the singers stare out at us intently as if he is in the audience. Instead the slowly dying author takes centre stage. This was a mistake, too often Scott Handy’s Writer took attention away from the important cast members. If the production could be re-worked to avoid this unnecessary character then I think it would be a satisfying and vividly theatrical experience.
And the third problem? Well Goold is inexperienced in opera and in terms of generating good performances out of his singers, he seems to have had rather mixed success. Amanda Echalaz was outstanding as Liu and in her scenes in Act 3 turned in some of the finest singing and acting of the evening, her death scene was shattering. And there were good performances from James Creswell as Timur, Benedict Nelson as Ping, Richard Roberts as Pang and Christopher Turner as Pong. Here ENO had reaped strong rewards by casting a group of young singers in the roles. Nelson, Roberts and Turner were particularly lively and strong as the masks and made a good ensemble.
But with his two principals, Goold rather failed. Gwyn Hughes Jones sang Calaf strongly and impressively, but costumed in a black frock coat he failed to convey much of the Prince’s passion by any bodily movement. He was entirely too stiff and in Nessun Dorma Goold seems to have been unable to stop Jones signally emotion with stock telegraphic gestures. Still, Jones’s singing was such that you forgave him. And perhaps Goold intended the character to be stiff and impassive.
With Kirsten Blanck, Goold had a soprano who has all the notes for Turandot, which is a good start. Blanck does not seem to have the sort of laser sharp voice which I like in this role; her account of In questa regia was richly modulated with a strong vibrato. She has quite a warm voice and seemed to come over as impassive rather than icy. Vocal preferences apart her account of the role simply lacked the intensity which was needed. After all Gwyneth Jones did not have an ideal Turandot voice but her performance was so intense, so coruscating, that you couldn’t help but capitulate. Goold used the traditional version of the ending (Alfano with Toscanini’s cuts) so that we go briskly from Liu’s death to the end. This does not give the singer much time to thaw. Blanck was obviously trying to thaw, but this change did not quite reach her voice and visually she was limited by the rather over the top bride costume, with wacky make-up. It would have helped if some way could have been found for her appearance to reflect the change by jettisoning the head-dress or removing the make-up to make her seem more a real person. But on the plus side, this was Blanck’s first Turandot and she had learned it in English (not her native language, she is German).
If this new Turandot had had a performance of the title role delivered with the necessary coruscating intensity, then I think that this production would have come together. Goold and his designers have nearly got things right, and with a bit of tweaking and a more defined central performance, this could be a winner. It was certainly popular, as the auditorium was full.
In the pit Edward Gardner produced a dramatic, if rather brash, account of the score, but he engendered some terrific playing from his orchestra.
Thursday, 12 November 2009
Recent CD Reviews
My review of Guerrero's Battle Mass from Westminster Cathedral is here.
Performances which are of a very high calibre and extremely seductive ...
And my review of Thomas Hampson's 2nd American song recital Wondrous Free is here, both reviews are on MusicWeb International.
All lovers of good singing will want to hear this ...
Performances which are of a very high calibre and extremely seductive ...
And my review of Thomas Hampson's 2nd American song recital Wondrous Free is here, both reviews are on MusicWeb International.
All lovers of good singing will want to hear this ...
Broad Ripple Gazette, vol 6. no 23
Preview:
Tonic Gallery
Friday, November 20, 2009 5:00-9:00
AV Framing Gallery
1139 Shelby Street, Fountain Square
free, all-ages
The Tonic Gallery features the work of thirty amazing artists with the sales to benefit Second Helpings. Bidding starts at $100 with the buy it now price of $400. The collection is fabulous and includes art from Kyle Ragsdale, Larry Endicott, Kipp Normand, James Sholly and Jeremy Efroymson. There are several things I have my eyes on. I just need more wall space!
http://avframinggallery.com
www.secondhelpings.org
Tonic Ball 8
Celebrating the songs of Bob Dylan and Led Zeppelin
Friday, November 20, 2008, 7:00 pm
Radio Radio (21+) and Fountain Square Theatre (all-ages)
$20 to benefit Second Helpings, non-smoking
As many of you know, I love my awesome job as director of operations for Second Helpings- a food rescue, job training and hunger relief agency serving greater Indianapolis. As you may not know, I learned about Second Helpings from my work as a committee member for the Tonic Ball.
The Tonic Ball features more than thirty musical artists – folk, jazz, funk, country, rock and pop playing the songs of Bob Dylan and Led Zeppelin. If you are motivated you can try to see all of the bands, but it would be a challenge. You could easily see fifteen with no fuss. In Radio Radio each band will play a Led Zeppelin song and one of their own, with only ten minutes between bands. Right next door in the Fountain Square Theatre bands will be playing Bob Dylan songs with only five minutes between bands. It’s fast and fun and full of good music and cheer. It really is my favorite night of the year.
The lineup in phenomenal –
Radio Radio (Led Zeppelin stage)
Bat Tattoo, The Misprintz, The Old Fair and Square Band, Ebenezer and the Hymnasters, The Last Domino, Frankie Camaro’s Atomic Bombay, Big Betty, Yoko Moment, We’re Not Squibnocket, Jennie DeVoe, The Cocaine Wolves, Brian Deer and the Achievers, The Common, Healing Sixes, Bigger Than Elvis and Mandy Marie and the Cool Hand Lukes.
Fountain Square Theater (Bob Dylan stage)
Cliff Snyder, Ladymoon, Sanuk, Coolidge, Jeff Byrd and the Wingmen, Jon Strahl Band, CW and the Working Class Trio, The Odyssey Favor, Luke Austin Daugherty Jam Band, Joel Henderson, Everest, Susan and the Desperate Seekers, Jon Martin and…, Shelby Kelley, Brian Deer and the Achievers, Tad Armstrong, Mardelay, Everthus the Deadbeats, Everything Now!, Otis Gibbs and The Vulgar Boatmen.
I’ll see you there – I’ll be the one running around like a nut grinning from ear to ear.
www.secondhelpings.org
Long overdue review:
Austin City Limits Festival (part one)
Zilker Park, Austin, TX
October 2 – 4, 2009
I can’t believe it has been over a month since the Austin City Limits Festival! I had a wonderful time and got to see a ton of music and shoot photos with the big kids. I swooped in to Austin a few days early to visit friends and soak in some sunshine. The first night I got to hang out with three Indianapolis-to-Austin music folks. Guitar player extraordinaire Aaron Stroup (Middletown) gave me a quick tour of Austin that included seeing Jazz great Stanley Smith and his band the Jazz Pharaohs at the Elephant Room. From there we headed to Stubbs BBQ - I was bummed that there was not a BBQ rib in site, but I did hear some great music and got to catch up with Cameron Smith, former talent booker for Verizon Music Center and the Murat. Cameron now teaches venue management the University of Texas – Austin.
The first day of the Austin City Limits Festival was amazing. The weather was perfect and I had a photo pass. One of the first things I heard when I got to the media tent was the Avett Brothers playing an acoustic set for one of the local television stations. Not only do you stumble across musical acts at in the media tent, but also they have food, drinks, Wi-Fi and most importantly Porta potties – with sinks!
The photo pass meant that I got to stand in front of the stage of the first three songs of each band. It was my first experience in the photo pit, so I did a good amount of standing back and watching to see with the pros were doing. Everyone was super-polite and helpful. One of the first bands I photographed was the Avett Brothers. I first saw them at the Midwest Music Summit in 2005 on the porch of the Monkey’s Tale. We’ve all come a long way since then! The talented – and dare I say, dreamy brothers Seth and Scott Avett with bassist Scott Crawford rocked the bluegrassy set and had the crowd entranced – and me hooked being that close to the band.
I’ll continue with the ACLF review in future columns.
Tonic Gallery
Friday, November 20, 2009 5:00-9:00
AV Framing Gallery
1139 Shelby Street, Fountain Square
free, all-ages
The Tonic Gallery features the work of thirty amazing artists with the sales to benefit Second Helpings. Bidding starts at $100 with the buy it now price of $400. The collection is fabulous and includes art from Kyle Ragsdale, Larry Endicott, Kipp Normand, James Sholly and Jeremy Efroymson. There are several things I have my eyes on. I just need more wall space!
http://avframinggallery.com
www.secondhelpings.org
Tonic Ball 8
Celebrating the songs of Bob Dylan and Led Zeppelin
Friday, November 20, 2008, 7:00 pm
Radio Radio (21+) and Fountain Square Theatre (all-ages)
$20 to benefit Second Helpings, non-smoking
As many of you know, I love my awesome job as director of operations for Second Helpings- a food rescue, job training and hunger relief agency serving greater Indianapolis. As you may not know, I learned about Second Helpings from my work as a committee member for the Tonic Ball.
The Tonic Ball features more than thirty musical artists – folk, jazz, funk, country, rock and pop playing the songs of Bob Dylan and Led Zeppelin. If you are motivated you can try to see all of the bands, but it would be a challenge. You could easily see fifteen with no fuss. In Radio Radio each band will play a Led Zeppelin song and one of their own, with only ten minutes between bands. Right next door in the Fountain Square Theatre bands will be playing Bob Dylan songs with only five minutes between bands. It’s fast and fun and full of good music and cheer. It really is my favorite night of the year.
The lineup in phenomenal –
Radio Radio (Led Zeppelin stage)
Bat Tattoo, The Misprintz, The Old Fair and Square Band, Ebenezer and the Hymnasters, The Last Domino, Frankie Camaro’s Atomic Bombay, Big Betty, Yoko Moment, We’re Not Squibnocket, Jennie DeVoe, The Cocaine Wolves, Brian Deer and the Achievers, The Common, Healing Sixes, Bigger Than Elvis and Mandy Marie and the Cool Hand Lukes.
Fountain Square Theater (Bob Dylan stage)
Cliff Snyder, Ladymoon, Sanuk, Coolidge, Jeff Byrd and the Wingmen, Jon Strahl Band, CW and the Working Class Trio, The Odyssey Favor, Luke Austin Daugherty Jam Band, Joel Henderson, Everest, Susan and the Desperate Seekers, Jon Martin and…, Shelby Kelley, Brian Deer and the Achievers, Tad Armstrong, Mardelay, Everthus the Deadbeats, Everything Now!, Otis Gibbs and The Vulgar Boatmen.
I’ll see you there – I’ll be the one running around like a nut grinning from ear to ear.
www.secondhelpings.org
Long overdue review:
Austin City Limits Festival (part one)
Zilker Park, Austin, TX
October 2 – 4, 2009
I can’t believe it has been over a month since the Austin City Limits Festival! I had a wonderful time and got to see a ton of music and shoot photos with the big kids. I swooped in to Austin a few days early to visit friends and soak in some sunshine. The first night I got to hang out with three Indianapolis-to-Austin music folks. Guitar player extraordinaire Aaron Stroup (Middletown) gave me a quick tour of Austin that included seeing Jazz great Stanley Smith and his band the Jazz Pharaohs at the Elephant Room. From there we headed to Stubbs BBQ - I was bummed that there was not a BBQ rib in site, but I did hear some great music and got to catch up with Cameron Smith, former talent booker for Verizon Music Center and the Murat. Cameron now teaches venue management the University of Texas – Austin.
The first day of the Austin City Limits Festival was amazing. The weather was perfect and I had a photo pass. One of the first things I heard when I got to the media tent was the Avett Brothers playing an acoustic set for one of the local television stations. Not only do you stumble across musical acts at in the media tent, but also they have food, drinks, Wi-Fi and most importantly Porta potties – with sinks!
The photo pass meant that I got to stand in front of the stage of the first three songs of each band. It was my first experience in the photo pit, so I did a good amount of standing back and watching to see with the pros were doing. Everyone was super-polite and helpful. One of the first bands I photographed was the Avett Brothers. I first saw them at the Midwest Music Summit in 2005 on the porch of the Monkey’s Tale. We’ve all come a long way since then! The talented – and dare I say, dreamy brothers Seth and Scott Avett with bassist Scott Crawford rocked the bluegrassy set and had the crowd entranced – and me hooked being that close to the band.
I’ll continue with the ACLF review in future columns.
Wednesday, 11 November 2009
Review of Maria di Rohan
My review of the Opera Rara/Orchestra of the Age of Enlightenment concert performance of Donizetti's Maria di Rohan in the Vienna version is here on Music and Vision
Monday, 9 November 2009
Les Arts Florissants at the Union Chapel
As part of their 30th anniversary celebrations, Les Arts Florissants presented a concert of Monteverdi's 6th Book of Madrigals. Instead of their usual home of the Barbican Hall, they de-camped to the rather more Gothic surroundings of the Union Chapel in Islington. This huge octagonal chapel is hardly a space that you would immediately associated with Monteverdi's rather intimate madrigals, but in fact the lively but not over resonant acoustics seemed to work rather well. Also, given that 7 sides of the chapel have balconies, sight lines were pretty good.
An ensemble of 6 singers and 4 instrumentalists was nominally directed by Paul Agnew, with William Christie being unusually absent. In fact Agnew sang tenor (he was one of the 6 singers) and his direction was so discreet as to be almost invisible, surely the best sort, as the singers and instrumentalists seemed to interact quite naturally - though I am quite sure that this was the result of a great deal of rehearsal.
The singers, Miriam Allen, Hanna Morrison, Maud Gnidzaz, Anne Magard, Sean Clayton, Paul Agnew and Lisandro Abadie, come from a variety of backgrounds and countries, so one of the groups most impressive feats was the way that the blended and interacted so beautifully. Throughout the evening, you were aware of the individual singers listening to each other and reacting. As Monteverdi divides his soloists into ensembles, duets and trios, so the singers reacted accordingly. The voices were blended into a rather Consort of Musicke type English sound, with perhaps just a little added vibrancy. Whilst not as cool in performance as the Consort of Musicke, they were not quite a richly vibrant as some of the Italian groups singing this repertoire.
The continuo instruments (harp, archlute, theorbo and harpsichord) were generally discreet and in the centrepiece of the programme, the sestina Lagrime d'Amante al Sepolcro dell'Amata, the singers performed unaccompanied in a profoundly intimate manner.
In these rather unlikely surroundings Les Arts Florissants managed to communicate brilliantly with their audience, conveying the intense nuances of Monteverdi's music.
An ensemble of 6 singers and 4 instrumentalists was nominally directed by Paul Agnew, with William Christie being unusually absent. In fact Agnew sang tenor (he was one of the 6 singers) and his direction was so discreet as to be almost invisible, surely the best sort, as the singers and instrumentalists seemed to interact quite naturally - though I am quite sure that this was the result of a great deal of rehearsal.
The singers, Miriam Allen, Hanna Morrison, Maud Gnidzaz, Anne Magard, Sean Clayton, Paul Agnew and Lisandro Abadie, come from a variety of backgrounds and countries, so one of the groups most impressive feats was the way that the blended and interacted so beautifully. Throughout the evening, you were aware of the individual singers listening to each other and reacting. As Monteverdi divides his soloists into ensembles, duets and trios, so the singers reacted accordingly. The voices were blended into a rather Consort of Musicke type English sound, with perhaps just a little added vibrancy. Whilst not as cool in performance as the Consort of Musicke, they were not quite a richly vibrant as some of the Italian groups singing this repertoire.
The continuo instruments (harp, archlute, theorbo and harpsichord) were generally discreet and in the centrepiece of the programme, the sestina Lagrime d'Amante al Sepolcro dell'Amata, the singers performed unaccompanied in a profoundly intimate manner.
In these rather unlikely surroundings Les Arts Florissants managed to communicate brilliantly with their audience, conveying the intense nuances of Monteverdi's music.
Saturday, 7 November 2009
Review of Arne's Artaxerxes
I have long been familiar with the aria A soldier tired from Thomas Arne's opera Artxerxes because I, like many people I suspect, listened to it regularly as part of Joan Sutherland's wonderful boxed set, The Art of the Prima Donna. I was always curious as to why the rest of the opera was never performed. Now it has been.
Ian Page's Classical Opera Company are currently performing Martin Duncan's colourful new production of Arne's Artaxerxes at Covent Garden's Linbury Theatre. And the explanation for its lack of performance before lies in the problem of the parts. The opera's score and parts were burned when the theatre (Covent Garden's predecessor) burned in 1808. The opera's full score had been published, but without the recitative and the opera's finale.
We also have the original libretto, so now Ian Page has written replacement recitatives and Duncan Druce has crafted a new finale. It is lucky that Arne's full score was published because no-one would quite have expected him to use such a full orchestra. Once of the joys of the piece is the richness of the orchestration, Arne uses horns, oboes and bassoons with regularity, has a few numbers with flutes and with clarinets and even has trumpets and timpani in the overture and the finales. And, of course, that famous aria, which I referred to above, uses a trumpet solo as well.
Arne made his own English translation of Metastasio's Artaserse, a libretto also set by Gluck, J.C. Bach and Hasse. Arne's version was premiered in 1762 at the Theatre Royal (the predecessor to the current Covent Garden). The cast included two castratos (as Artaxerxes and Arbaces), plus Arne's pupil and ex-mistress, Charlotte Brent, as Mandane (who gets some of the best music of course). It was incredibly popular and went on being performed into the 19th century as Bishop produced his own version after the original parts burned. But the programme for last nights performance (5th November) was frustratingly vague as to when the last performance of the opera was.
Martin Duncan and his designer Johan Engels set the piece in a spare, vivid blue box which filled all the stage and expanded into the auditorium. Engels created a walkway round the pit, which became a white box set into the stage area. This looked good, but meant that the front rows of the stalls had to be removed to fit it in. Also, the extra instrumentalists (trumpets, clarinets, timpani) had to play from the side of the stage as the only way into the pit was across the stage and down a set of impressive steps, so there was no slipping in and out easily. I felt sorriest for the two flute players who were rarely used, but had to sit quietly in the pit for the whole of the performance (around 2 hours 20 minutes of music, plus 2 intervals).
Above the stage, Engels had suspended blue twinkly lights and there were aubergine coloured screens which raised and lowered for entrances. The only extravagance was the royal throne which was part throne, part costume and the wearer had to be strapped in. The money went on the costumes which were all gorgeously coloured, in exaggerated Georgian style, with wigs, but long hair and expansively wide hips on the coats and dresses. There was also an oriental hint. The fabrics of the clothes seemed to be made from Kimono fabric (Artaxerxes had a wonderful orange fabric with cranes on it). And the 4 actors who doubled as supers, servants and furniture movers, looked a bit like samurai. In fact, the costumes reminded me in spirit of those for Covent Garden's production of Mitridate re di Ponto (which was designed, I think, by Paul Brown).
The shoes were to die for, high-heeled and gorgeously coloured; even Andrew Staples had shiny black heeled numbers, with Laboutin style red insteps on the soles.
There are 28 arias in the piece, and Arne seems to deliberately keep things moving. Very few of the arias are Da Capo, and the recitative moved swiftly as well. The outer acts came in at just under an hour each and the middle act was only 35 minutes.
The title role, Artaxerxes, is not the biggest role. Christopher Ainslie was announced has having a viral infection, but apart from his voice lacking all its colours, I didn't detect that much to apologise for. The biggest male role is Arbaces, sung by Caitlin Hulcup. Basically Arbaces' father, Artabanes (Andrew Staples) has killed Xerxes (Artaxerxes father) and is plotting against Artaxerxes so that Arbaces can be put on the throne. Artabanes unwittingly implicates Arbaces in his plot and has to condemn him as a traitor. This causes confusion with Arbaces sister Semira (Rebecca Bottone), who is in love with Artaxerxes, and Artaxerxes sister Mandane (Elizabeth Watts), who is in love with Arbaces. The only other cast member is Rimenes (Steven Ebel), who is a supporter of Artabanes and in love with Semira.
Arne writes in the galant style which predominated between Handel and Mozart (very much in the J.C.Bach mould). The arias are lyrically attractive, often with some pretty tricky singing, though virtuoso singing for its own sake seems to have not been the point. I think the opera was popular because of its melodic attractiveness and lack of deep complexity. It is attractive and fun. The characters are barely more than puppets and you don't feel deeply for any of them. Andrew Staples was rather too nice as the villain. And though both women had plaintive arias, you never quite felt sorry for them; Arne did not pull the heart strings the way Handel did.
I felt that Duncan's very stylised production rather put the audience at one remove, at times, he had the 4 attendants manipulating the singers. And the large, stylised costumes meant that the show had an abstract, unreal effect. You wanted to find out what the piece would be like in a more naturalistic setting. That said, Caitlin Hulcup impressed as Arbaces, with some very moving arias, though you wanted to kick him (the character, not the singer) for so pig-headedly refusing to explain that it was his father 'what done it'. Rebecca Bottone brought a nice edge to Semira's character and Elizabeth Watt's neatly caught Mandane's dilemma at being trapped between love for Arbaces and anger at her father's death and desire for retribution.
Frankly it is not Metastasio's nicest plot. But Duncan, Engels and the cast gave a terrific performance.
Ian Page and his band accompanied in fine style, contributing some lovely instrumental solos, though there were times when I would have liked a larger body of strings.
Ian Page's Classical Opera Company are currently performing Martin Duncan's colourful new production of Arne's Artaxerxes at Covent Garden's Linbury Theatre. And the explanation for its lack of performance before lies in the problem of the parts. The opera's score and parts were burned when the theatre (Covent Garden's predecessor) burned in 1808. The opera's full score had been published, but without the recitative and the opera's finale.
We also have the original libretto, so now Ian Page has written replacement recitatives and Duncan Druce has crafted a new finale. It is lucky that Arne's full score was published because no-one would quite have expected him to use such a full orchestra. Once of the joys of the piece is the richness of the orchestration, Arne uses horns, oboes and bassoons with regularity, has a few numbers with flutes and with clarinets and even has trumpets and timpani in the overture and the finales. And, of course, that famous aria, which I referred to above, uses a trumpet solo as well.
Arne made his own English translation of Metastasio's Artaserse, a libretto also set by Gluck, J.C. Bach and Hasse. Arne's version was premiered in 1762 at the Theatre Royal (the predecessor to the current Covent Garden). The cast included two castratos (as Artaxerxes and Arbaces), plus Arne's pupil and ex-mistress, Charlotte Brent, as Mandane (who gets some of the best music of course). It was incredibly popular and went on being performed into the 19th century as Bishop produced his own version after the original parts burned. But the programme for last nights performance (5th November) was frustratingly vague as to when the last performance of the opera was.
Martin Duncan and his designer Johan Engels set the piece in a spare, vivid blue box which filled all the stage and expanded into the auditorium. Engels created a walkway round the pit, which became a white box set into the stage area. This looked good, but meant that the front rows of the stalls had to be removed to fit it in. Also, the extra instrumentalists (trumpets, clarinets, timpani) had to play from the side of the stage as the only way into the pit was across the stage and down a set of impressive steps, so there was no slipping in and out easily. I felt sorriest for the two flute players who were rarely used, but had to sit quietly in the pit for the whole of the performance (around 2 hours 20 minutes of music, plus 2 intervals).
Above the stage, Engels had suspended blue twinkly lights and there were aubergine coloured screens which raised and lowered for entrances. The only extravagance was the royal throne which was part throne, part costume and the wearer had to be strapped in. The money went on the costumes which were all gorgeously coloured, in exaggerated Georgian style, with wigs, but long hair and expansively wide hips on the coats and dresses. There was also an oriental hint. The fabrics of the clothes seemed to be made from Kimono fabric (Artaxerxes had a wonderful orange fabric with cranes on it). And the 4 actors who doubled as supers, servants and furniture movers, looked a bit like samurai. In fact, the costumes reminded me in spirit of those for Covent Garden's production of Mitridate re di Ponto (which was designed, I think, by Paul Brown).
The shoes were to die for, high-heeled and gorgeously coloured; even Andrew Staples had shiny black heeled numbers, with Laboutin style red insteps on the soles.
There are 28 arias in the piece, and Arne seems to deliberately keep things moving. Very few of the arias are Da Capo, and the recitative moved swiftly as well. The outer acts came in at just under an hour each and the middle act was only 35 minutes.
The title role, Artaxerxes, is not the biggest role. Christopher Ainslie was announced has having a viral infection, but apart from his voice lacking all its colours, I didn't detect that much to apologise for. The biggest male role is Arbaces, sung by Caitlin Hulcup. Basically Arbaces' father, Artabanes (Andrew Staples) has killed Xerxes (Artaxerxes father) and is plotting against Artaxerxes so that Arbaces can be put on the throne. Artabanes unwittingly implicates Arbaces in his plot and has to condemn him as a traitor. This causes confusion with Arbaces sister Semira (Rebecca Bottone), who is in love with Artaxerxes, and Artaxerxes sister Mandane (Elizabeth Watts), who is in love with Arbaces. The only other cast member is Rimenes (Steven Ebel), who is a supporter of Artabanes and in love with Semira.
Arne writes in the galant style which predominated between Handel and Mozart (very much in the J.C.Bach mould). The arias are lyrically attractive, often with some pretty tricky singing, though virtuoso singing for its own sake seems to have not been the point. I think the opera was popular because of its melodic attractiveness and lack of deep complexity. It is attractive and fun. The characters are barely more than puppets and you don't feel deeply for any of them. Andrew Staples was rather too nice as the villain. And though both women had plaintive arias, you never quite felt sorry for them; Arne did not pull the heart strings the way Handel did.
I felt that Duncan's very stylised production rather put the audience at one remove, at times, he had the 4 attendants manipulating the singers. And the large, stylised costumes meant that the show had an abstract, unreal effect. You wanted to find out what the piece would be like in a more naturalistic setting. That said, Caitlin Hulcup impressed as Arbaces, with some very moving arias, though you wanted to kick him (the character, not the singer) for so pig-headedly refusing to explain that it was his father 'what done it'. Rebecca Bottone brought a nice edge to Semira's character and Elizabeth Watt's neatly caught Mandane's dilemma at being trapped between love for Arbaces and anger at her father's death and desire for retribution.
Frankly it is not Metastasio's nicest plot. But Duncan, Engels and the cast gave a terrific performance.
Ian Page and his band accompanied in fine style, contributing some lovely instrumental solos, though there were times when I would have liked a larger body of strings.
Thursday, 5 November 2009
Recent CD Review
My review of the Tallis Scholars disc of Flemish Polyphony (including the amazing 12-part Brumel Battle Mass) is here, on MusicWeb International.
Fabulous music, beautifully and intelligently sung ...
Fabulous music, beautifully and intelligently sung ...
Tuesday, 3 November 2009
Towards a new opera (4)
Having got to the end of my new opera/music theatre piece in draft form, and managed to do a fair amount of tidying up on it, I have sent copies of the score to a couple of people that I hope will be involved in the first performance. I'm hoping to do a low key concert performance next year in order to road-test the piece. So I'm now at the rather scary stage (well I find it scary) of having people looking at the score with me hoping that they don't dislike it, don't find it unsingable etc. Length is still an issue, it comes in at about 75 minutes which will make it a big sing for 2 principals, particularly the Man who is on stage the whole time. So here's hoping.
Blog-oddity
A friend brought to my attention a rather odd site, purportedly about how to make money, which seems to have a series of posts from my Blog in the Music column. The posts are uncredited, without a link back to this blog. But what is even odder is that the posts seem to have been run through some sort of Automated translator, perhaps twice, and the results are so bizarre as to be funny. Below is a sample from my review of the Salomon Orchestra concert.
On Tuesday we went to St . John’s Smith Square for the Salomon Orchestra’s unison . Conducted by Philip Ellis, they gave the initial open opening of John McCabe’s Symphony ‘Edward II’ and Ellis’s own unison unfolding taken from Prokofiev’s Romeo and Juliet
I contingency declare which I when I saw the full ballet, I had doubts about McCabe’s measure for David Bintley’s ballet Edward II, anticipating the song as well formidable and sonorous for the dance generally as Bintley was formulating a grand chronological ballet in the normal demeanour . In 1999, before long after the initial opening, McCabe re-worked the song in to his harmony, yet in actuality the name sonorous apartment would be improved . The outcome is 45 mins of intensely absolute song and it is obscure because the work had to wait for compartment right away for the initial open opening . Salomon’s comment of the work was constrained and thespian . Granted there was the peculiar severe dilemma, but these counted for small opposite a excellent opening of such a frozen work.
I particularly like the 'unison unfolding' bit.
I don't seem to be the only one, there are plenty of other posts on the site presumably culled from other blogs. I just don't know what the point is?
On Tuesday we went to St . John’s Smith Square for the Salomon Orchestra’s unison . Conducted by Philip Ellis, they gave the initial open opening of John McCabe’s Symphony ‘Edward II’ and Ellis’s own unison unfolding taken from Prokofiev’s Romeo and Juliet
I contingency declare which I when I saw the full ballet, I had doubts about McCabe’s measure for David Bintley’s ballet Edward II, anticipating the song as well formidable and sonorous for the dance generally as Bintley was formulating a grand chronological ballet in the normal demeanour . In 1999, before long after the initial opening, McCabe re-worked the song in to his harmony, yet in actuality the name sonorous apartment would be improved . The outcome is 45 mins of intensely absolute song and it is obscure because the work had to wait for compartment right away for the initial open opening . Salomon’s comment of the work was constrained and thespian . Granted there was the peculiar severe dilemma, but these counted for small opposite a excellent opening of such a frozen work.
I particularly like the 'unison unfolding' bit.
I don't seem to be the only one, there are plenty of other posts on the site presumably culled from other blogs. I just don't know what the point is?
Monday, 2 November 2009
Salad Days the contemporary opera version
Tete-a-tete is an amazing opera company who, since their founding in 1997, have been mid-wife to a remarkably number of contemporary operas. Their evenings of short 1-act operas have expanded into their remarkable opera festival at Riverside Studios in August when a wide variety of groups are able to show-case their works.
So it is with not a little puzzlement that I received a flyer through the post for the group's latest production - Julian Slade's musical Salad Days. Now, don't get me wrong, Salad Days is entirely charming but it is hardly contemporary opera. Its not opera at all and you can't really kid yourself that enticing people in to see it will persuade people to try out the group's more contemporary operatic offerings. Perhaps it is just that director Bill Bankes-Jones has a burning desire to stage Salad Days, let us hope so.
So it is with not a little puzzlement that I received a flyer through the post for the group's latest production - Julian Slade's musical Salad Days. Now, don't get me wrong, Salad Days is entirely charming but it is hardly contemporary opera. Its not opera at all and you can't really kid yourself that enticing people in to see it will persuade people to try out the group's more contemporary operatic offerings. Perhaps it is just that director Bill Bankes-Jones has a burning desire to stage Salad Days, let us hope so.
Friday, 30 October 2009
Broad Ripple Gazette, vol 6. no 22
Gary Wasson’s open stage
Sundays 6:00 pm
The Wine Cellar (the Corner Wine Bar)
6331 Guilford Avenue
I’m excited that Gary Wasson’s open stage moved closer to my house! Gary has run the well-respected open stage for years, first in Noblesville and most recently in Fishers. Open stage shows are a great way to see several musicians play in one evening. And you never know what you’ll hear --everything from new to playing in public folks to established musicians trying new songs. Bonus: Gary plays an opening and closing set, often joined by other stellar folks.
The food at the Corner Wine bar is available in the Wine Cellar also – I’m a big fan of the Sunday – Thursday filet special. I’ll see you there soon.
www.cornerwinebar.com
Hero House - Comics, Anime and Pop Culture, grand opening
Shawn Crystal, artist of Deadpool (Marvel Comics)
Friday, November 6, Saturday, November 7, 2009
1112 E. Prospect Street (Fountain Square)
317-636-7990
There is a new store full of comic books and coolness in Fountain Square. The owners are two talented guys – artist, Wayne Bertsch and musician Mike Shimmercore (Red Light Driver). You might recognize Wayne’s work from the Barfly comix in NUVO – I like his cartoon version of Nora – he draws me a little curvier than I am in real life.
The store carries comic books, Anime and other pop culture goodness. What is Anime you ask? I thought I knew, and that it had something vaguely to do with the Hello Kitty style of comic drawing. Anime is the abbreviated pronunciation of the Japanese word for animation. It does not just apply to Japanese work, but it is a blanket term for all types of animation.
The Hero House is celebrating its grand opening with the super-star artist Shawn Crystal, of the Marvel Comics’ Deadpool series. He’ll be making a rare Midwest appearance to meet fans and sign autographs.
http://inkpulp-shawn.blogspot.com
www.theherohouse.net
D tour documentary
November 10, 2009, 10 pm
Network premier
WFYI TV(20.1)
The tag line for the film is: A rock ‘n roll film about life, death and bodily functions. The film movie follows Indiana musician Pat Spurgeon in his quest to find a living kidney donor as his band, Rogue Wave, starts to find success. The film examines Pat’s choice to keep touring while focusing on this health and finding a potential organ donor. The movie is racking up awards at film festivals all over the country. I can’t wait to see it.
http://dtourmovie.com
www.wfyi.com
Reviews:
Johnny Socko
October 16, 2009
Vogue
I can’t tell you how excited I get by seeing a line out the door of the Vogue for live music –it’s a beautiful thing! The kickoff show for the Broad Ripple Music Fest had feeling of a college Homecoming weekend – lots of nostalgia and catching up with old friends.
I arrived just in time to catch the Johnny Socko reunion show. The band was just as remembered: danceable ska silliness. There were plenty of not-so-subtle reminders that we’d all aged in the fourteen years since the original lineup of the band had been together. Lead singer Mike Wiltrout made his entrance on a Rascal wearing a banana suit and sang “The Girl from Ipanema” in a wobbly voice. The crowd was enthusiastic and sang and danced along. I squished down in front of the stage for a few songs and got pulled in to several groups of dancers.
It also loved connecting with out of town folks. Monumental Marathon founder Carlton Ray was visiting from D.C., where he’s in charge of cleaning the Potomac River. Jeff Zuckerman and Carrie Sloo Zuckerman were visiting from the other coast. Jeff is embracing his California-ness with zest. He’s sporting longer hair, a bit of a beard and sandals. My little sister, Ann, was in town from Phoenix and tagged along to say hello to lead singer, Mike Wiltrout’s parents. One of Ann’s first jobs was with the Wiltrouts (in the wire biz, if you’re wondering).
I’d like to give hearty congratulations to the organizers of the Broad Ripple Music Fest. It has turned in to an amazing event in only three years.
Sundays 6:00 pm
The Wine Cellar (the Corner Wine Bar)
6331 Guilford Avenue
I’m excited that Gary Wasson’s open stage moved closer to my house! Gary has run the well-respected open stage for years, first in Noblesville and most recently in Fishers. Open stage shows are a great way to see several musicians play in one evening. And you never know what you’ll hear --everything from new to playing in public folks to established musicians trying new songs. Bonus: Gary plays an opening and closing set, often joined by other stellar folks.
The food at the Corner Wine bar is available in the Wine Cellar also – I’m a big fan of the Sunday – Thursday filet special. I’ll see you there soon.
www.cornerwinebar.com
Hero House - Comics, Anime and Pop Culture, grand opening
Shawn Crystal, artist of Deadpool (Marvel Comics)
Friday, November 6, Saturday, November 7, 2009
1112 E. Prospect Street (Fountain Square)
317-636-7990
There is a new store full of comic books and coolness in Fountain Square. The owners are two talented guys – artist, Wayne Bertsch and musician Mike Shimmercore (Red Light Driver). You might recognize Wayne’s work from the Barfly comix in NUVO – I like his cartoon version of Nora – he draws me a little curvier than I am in real life.
The store carries comic books, Anime and other pop culture goodness. What is Anime you ask? I thought I knew, and that it had something vaguely to do with the Hello Kitty style of comic drawing. Anime is the abbreviated pronunciation of the Japanese word for animation. It does not just apply to Japanese work, but it is a blanket term for all types of animation.
The Hero House is celebrating its grand opening with the super-star artist Shawn Crystal, of the Marvel Comics’ Deadpool series. He’ll be making a rare Midwest appearance to meet fans and sign autographs.
http://inkpulp-shawn.blogspot.com
www.theherohouse.net
D tour documentary
November 10, 2009, 10 pm
Network premier
WFYI TV(20.1)
The tag line for the film is: A rock ‘n roll film about life, death and bodily functions. The film movie follows Indiana musician Pat Spurgeon in his quest to find a living kidney donor as his band, Rogue Wave, starts to find success. The film examines Pat’s choice to keep touring while focusing on this health and finding a potential organ donor. The movie is racking up awards at film festivals all over the country. I can’t wait to see it.
http://dtourmovie.com
www.wfyi.com
Reviews:
Johnny Socko
October 16, 2009
Vogue
I can’t tell you how excited I get by seeing a line out the door of the Vogue for live music –it’s a beautiful thing! The kickoff show for the Broad Ripple Music Fest had feeling of a college Homecoming weekend – lots of nostalgia and catching up with old friends.
I arrived just in time to catch the Johnny Socko reunion show. The band was just as remembered: danceable ska silliness. There were plenty of not-so-subtle reminders that we’d all aged in the fourteen years since the original lineup of the band had been together. Lead singer Mike Wiltrout made his entrance on a Rascal wearing a banana suit and sang “The Girl from Ipanema” in a wobbly voice. The crowd was enthusiastic and sang and danced along. I squished down in front of the stage for a few songs and got pulled in to several groups of dancers.
It also loved connecting with out of town folks. Monumental Marathon founder Carlton Ray was visiting from D.C., where he’s in charge of cleaning the Potomac River. Jeff Zuckerman and Carrie Sloo Zuckerman were visiting from the other coast. Jeff is embracing his California-ness with zest. He’s sporting longer hair, a bit of a beard and sandals. My little sister, Ann, was in town from Phoenix and tagged along to say hello to lead singer, Mike Wiltrout’s parents. One of Ann’s first jobs was with the Wiltrouts (in the wire biz, if you’re wondering).
I’d like to give hearty congratulations to the organizers of the Broad Ripple Music Fest. It has turned in to an amazing event in only three years.
CD Review - Renee Fleming's Verismo
For her new album Renee Fleming has ventured into relatively new territory, a disc of arias from verismo operas. In operatic terms, verismo is slightly nebulous. It was in fact an Italian literary movement which in the late 19th and early 20th century brought realism into their writing. The verismo operatic school is associated with Mascagni, Leoncavallo and Puccini. The prime exponents being Mascagni's Cavalleria Rusticana and Leoncavallo's I Pagliacci. The subject matter dealt with contemporary everyday subjects. The term has come to refer the Italian post-Verdian school of operatic writing and does not really distinguish between the operas which come close to the verismo manifesto and those, like Mascagni's Iris, whose subject matter is far from everyday. The other aspect of verismo operas is the tendency for the musical material to be continuous, so that arias are fewer and shorter.
On this disc Fleming has bravely chosen a wide repertoire of lesser known pieces. Where operas do have well known numbers, like Catalani's La Wally and Cilea's Gloria, she has chosen to sing other pieces from the operas. The only really well known arias in the recital are those by Puccini.
She opens with Senza Mamma from Suor Angelica. This reflects another vein which runs through the verismo operas, a strong vein of sentimentality. My first reaction to hearing Fleming singing this repertoire was that she is highly interventionist, each note is individually shaped, pushed and shoved, whilst keeping a sense of line. It surprised me how well this worked. Her upper registers is still free and lovely, something rather necessary in Suor Angelica. She is expressive and her diction is good.
Iris is Mascagni's Japanese opera and in Un di Iris narrates how one day at the temple a priest told her pleasure and death were one! Fleming is attractively urgent here and builds to a good climax.
Puccini's La Rondine is hardly unknown nowadays, though it is less highly regarded than his other works. It is also far from the verismo canon. But in Ore dolci e divine Fleming shows that Magda suits her voice well. Here though, I did think there was some strain on the top. Also, I began to be rather too conscious of the artfulness that went in to the performance.
Flammen, Perdonami from Mascagni's Lodoletta involves the heroine dying in a snow-storm even though the hero is outside as will and seems to be unaffected. Here Fleming is expressive and dramatic, though the tone does get a little squeezed at the top.
Ne mai dunquie avro pace is, rather admirably, NOT the well known aria from Catalani's La Wally, the opera with the rather butch Swiss heroine who saves the hero at one point. By this time I was starting to find Fleming's generous vibrato rather intrusive and a little all to encompassing.
Si, mi chiamano Mimi from Puccini's La Boheme and Donde lieta usci are probably best considered as contrast for the two excerpts from Leoncavallo's La Boheme. In the Puccini arias, Fleming's Mimi is a little too artful and mannered, you are conscious of the swooping voice and breathless tone, but she is affecting nonetheless. She spins a lovely line but never quite tugs the heart strings.
Musette svaria sulla bocca viva and Mimi Pinson, la biondinetta are two charming numbers from Leoncavallo's La Boheme. As anyone who saw the ENO production of the opera, this work is not inconsiderable. But here its weaknesses show, the music is lovely and charming, but tells you far less about the character than Puccini's does.
In the longest track on the opera, Angioletto, il tuo nome from Leoncavallo's Zaza shows Leoncavallo experimenting with textures. The libretto is about a French music-hall singer who leaves her lover because he is married. In this excerpt Zaza sings a big romantic number in dialogue with the child, Toto, who speaks over instrumental accompaniment. Part of the way through Leoncavallo introduces a paino and later a solo cello, thus providing an array of interesting textures and colours. Perhaps because the excerpt is rather longer, Fleming seemed to bring to this the passionate intensity which is missing in the other tracks.
In Sola perduta abbandonata from Puccini's Manon Lescaut Fleming does give us chest tones and strong emoting, but I rather missed the darker vocal colours which other singers have brought to this role. Taken on her own terms, however, this was lovely, the climaxes wonderful and she gives us the original manuscript version of the aria, evidently its first outing on disc.
Zandonai's Conchita set a libretto (based on Pierre Louys) which was rejected by Puccini. Ier della fabbrica a Triana is very much a character number, which seemed to want a tighter less voluptuous voice.
Cilea's Gloria is a rather Romeo and Juliet-ish story set in Sienna and in O mia cuna, fiorita di sogni e di melodi Fleming is convincingly impassioned.
Giordano's Fedora does have a flickering half-life in the theatre, though Troppo tardi! Tutto tramonta, tutto dilegua is not one if its best known numbers. Giordano provides melodic material in plenty but the piece never seems to settle into the big number that it seems to want to be. Here Fleming is wonderfully passionate and intense.
With Tu che di gel sei from Turandot we are back on familiar ground. Here there is just too much artfulness and not enough directness in Fleming's performance. It is admirable and impressive but we are a little too aware of the way the voice has to be controlled. I would hardly imagine this role would be core repertoire for the singer nowadays.
Nel suo amore rianimata from Giordano's Siberia is very short and rather charming.
Finally the set finishes off with Fleming being joined by Jonas Kauffmann for Bevo al tuo fresco from La Rondine I don't know whether I'd want the complete recording but it is delightful.
In all the arias Fleming is well supported by Marco Armiliato and the Orchestra Sinfonica di Milano Giuseppe Verdi.
On this set Fleming shows that her art is about much more than luxuriating in a beautiful voice. Many of these arias need more than just a lovely line, and by and large this is what Fleming gives is. Frankly, she lacks the chest register and the simple, direct gutsy singing that are best in some of these pieces. If I had to choose a single singer than I would prefer someone like Renata Tebaldi. But Fleming shows that she can bring something to the pieces. But in her choice of aria and in her performance, Fleming is refreshingly different and brings something new and interesting. Recommended.
On this disc Fleming has bravely chosen a wide repertoire of lesser known pieces. Where operas do have well known numbers, like Catalani's La Wally and Cilea's Gloria, she has chosen to sing other pieces from the operas. The only really well known arias in the recital are those by Puccini.
She opens with Senza Mamma from Suor Angelica. This reflects another vein which runs through the verismo operas, a strong vein of sentimentality. My first reaction to hearing Fleming singing this repertoire was that she is highly interventionist, each note is individually shaped, pushed and shoved, whilst keeping a sense of line. It surprised me how well this worked. Her upper registers is still free and lovely, something rather necessary in Suor Angelica. She is expressive and her diction is good.
Iris is Mascagni's Japanese opera and in Un di Iris narrates how one day at the temple a priest told her pleasure and death were one! Fleming is attractively urgent here and builds to a good climax.
Puccini's La Rondine is hardly unknown nowadays, though it is less highly regarded than his other works. It is also far from the verismo canon. But in Ore dolci e divine Fleming shows that Magda suits her voice well. Here though, I did think there was some strain on the top. Also, I began to be rather too conscious of the artfulness that went in to the performance.
Flammen, Perdonami from Mascagni's Lodoletta involves the heroine dying in a snow-storm even though the hero is outside as will and seems to be unaffected. Here Fleming is expressive and dramatic, though the tone does get a little squeezed at the top.
Ne mai dunquie avro pace is, rather admirably, NOT the well known aria from Catalani's La Wally, the opera with the rather butch Swiss heroine who saves the hero at one point. By this time I was starting to find Fleming's generous vibrato rather intrusive and a little all to encompassing.
Si, mi chiamano Mimi from Puccini's La Boheme and Donde lieta usci are probably best considered as contrast for the two excerpts from Leoncavallo's La Boheme. In the Puccini arias, Fleming's Mimi is a little too artful and mannered, you are conscious of the swooping voice and breathless tone, but she is affecting nonetheless. She spins a lovely line but never quite tugs the heart strings.
Musette svaria sulla bocca viva and Mimi Pinson, la biondinetta are two charming numbers from Leoncavallo's La Boheme. As anyone who saw the ENO production of the opera, this work is not inconsiderable. But here its weaknesses show, the music is lovely and charming, but tells you far less about the character than Puccini's does.
In the longest track on the opera, Angioletto, il tuo nome from Leoncavallo's Zaza shows Leoncavallo experimenting with textures. The libretto is about a French music-hall singer who leaves her lover because he is married. In this excerpt Zaza sings a big romantic number in dialogue with the child, Toto, who speaks over instrumental accompaniment. Part of the way through Leoncavallo introduces a paino and later a solo cello, thus providing an array of interesting textures and colours. Perhaps because the excerpt is rather longer, Fleming seemed to bring to this the passionate intensity which is missing in the other tracks.
In Sola perduta abbandonata from Puccini's Manon Lescaut Fleming does give us chest tones and strong emoting, but I rather missed the darker vocal colours which other singers have brought to this role. Taken on her own terms, however, this was lovely, the climaxes wonderful and she gives us the original manuscript version of the aria, evidently its first outing on disc.
Zandonai's Conchita set a libretto (based on Pierre Louys) which was rejected by Puccini. Ier della fabbrica a Triana is very much a character number, which seemed to want a tighter less voluptuous voice.
Cilea's Gloria is a rather Romeo and Juliet-ish story set in Sienna and in O mia cuna, fiorita di sogni e di melodi Fleming is convincingly impassioned.
Giordano's Fedora does have a flickering half-life in the theatre, though Troppo tardi! Tutto tramonta, tutto dilegua is not one if its best known numbers. Giordano provides melodic material in plenty but the piece never seems to settle into the big number that it seems to want to be. Here Fleming is wonderfully passionate and intense.
With Tu che di gel sei from Turandot we are back on familiar ground. Here there is just too much artfulness and not enough directness in Fleming's performance. It is admirable and impressive but we are a little too aware of the way the voice has to be controlled. I would hardly imagine this role would be core repertoire for the singer nowadays.
Nel suo amore rianimata from Giordano's Siberia is very short and rather charming.
Finally the set finishes off with Fleming being joined by Jonas Kauffmann for Bevo al tuo fresco from La Rondine I don't know whether I'd want the complete recording but it is delightful.
In all the arias Fleming is well supported by Marco Armiliato and the Orchestra Sinfonica di Milano Giuseppe Verdi.
On this set Fleming shows that her art is about much more than luxuriating in a beautiful voice. Many of these arias need more than just a lovely line, and by and large this is what Fleming gives is. Frankly, she lacks the chest register and the simple, direct gutsy singing that are best in some of these pieces. If I had to choose a single singer than I would prefer someone like Renata Tebaldi. But Fleming shows that she can bring something to the pieces. But in her choice of aria and in her performance, Fleming is refreshingly different and brings something new and interesting. Recommended.
Thursday, 29 October 2009
Review of "Susanna"
My review of Sunday's performance of Handel's Susanna from William Christie and Les Arts Florissants is here on Music and Vision.
Tuesday, 27 October 2009
Review of "Alcina"
My review of ETO's production of Alcina is now on-line here, at Music and Vision.
Friday, 23 October 2009
Salomon Orchestra concert
On Tuesday we went to St. John's Smith Square for the Salomon Orchestra's concert. Conducted by Philip Ellis, they gave the first public performance of John McCabe's Symphony 'Edward II' and Ellis's own concert scenario taken from Prokofiev's Romeo and Juliet
I must confess that I when I saw the full ballet, I had doubts about McCabe's score for David Bintley's ballet Edward II, finding the music too complex and symphonic for the dance especially as Bintley was creating a grand historical ballet in the traditional manner. In 1999, shortly after the first performance, McCabe re-worked the music into his symphony, though in fact the name symphonic suite would be better. The result is 45 minutes of extremely powerful music and it is puzzling why the work had to wait till now for its first public performance. Salomon's account of the work was compelling and dramatic. Granted there was the odd rough corner, but these counted for little against a fine performance of such a taut work.
Ellis's concert scenario from Romeo and Juliet uses the composer's final ballet score as its source and keeps the episodes in the correct order which means that the plot can be followed in the music. The composer's own suites were assembled after the music was first written and preserve the original orchestration in places, but Prokofiev re-ordered the scenes for musical effect. The concert scenario lasted just over an hour, which made for quite a substantial concert. I got the impression that the orchestra might have been tiring a little. The louder, more dramatic movements worked best. Though there were some lovely luminous moments in the quieter passages, the effect was not quite as concentrated as perhaps it could be and one was aware a little of the difficulty of Prokofiev's score.
The concert scenario worked well dramatically and there were only a couple of moments when I felt rather a lurch in the music. But then again, I have become most familiar with the score as a ballet score at the Royal Ballet where I first saw it nearly 40 years ago in a performance with Natalia Makarova (newly defected from Russia) and the late David Blair. In fact it was the first live ballet that I had seen, a wonderful introduction. The piece was performed with projected excerpts from Shakespeare's play along with images from Kenneth MacMillan's ballet, useful if you were unfamiliar with the ballet.
As ever, Salomon delivered a memorable concert with some powerful playing of some strong music.
I must confess that I when I saw the full ballet, I had doubts about McCabe's score for David Bintley's ballet Edward II, finding the music too complex and symphonic for the dance especially as Bintley was creating a grand historical ballet in the traditional manner. In 1999, shortly after the first performance, McCabe re-worked the music into his symphony, though in fact the name symphonic suite would be better. The result is 45 minutes of extremely powerful music and it is puzzling why the work had to wait till now for its first public performance. Salomon's account of the work was compelling and dramatic. Granted there was the odd rough corner, but these counted for little against a fine performance of such a taut work.
Ellis's concert scenario from Romeo and Juliet uses the composer's final ballet score as its source and keeps the episodes in the correct order which means that the plot can be followed in the music. The composer's own suites were assembled after the music was first written and preserve the original orchestration in places, but Prokofiev re-ordered the scenes for musical effect. The concert scenario lasted just over an hour, which made for quite a substantial concert. I got the impression that the orchestra might have been tiring a little. The louder, more dramatic movements worked best. Though there were some lovely luminous moments in the quieter passages, the effect was not quite as concentrated as perhaps it could be and one was aware a little of the difficulty of Prokofiev's score.
The concert scenario worked well dramatically and there were only a couple of moments when I felt rather a lurch in the music. But then again, I have become most familiar with the score as a ballet score at the Royal Ballet where I first saw it nearly 40 years ago in a performance with Natalia Makarova (newly defected from Russia) and the late David Blair. In fact it was the first live ballet that I had seen, a wonderful introduction. The piece was performed with projected excerpts from Shakespeare's play along with images from Kenneth MacMillan's ballet, useful if you were unfamiliar with the ballet.
As ever, Salomon delivered a memorable concert with some powerful playing of some strong music.
And in Poland
Two of my Choruses from Passion (It was for love and If this were your final day on earth received their Polish premieres on 12th September 2009 at a concert at the Cathedral of Christ the King, Katowice. The concert was given by the choir Mieszany Caecilianum directed by Jan Kaleta.
Alternative Views (2)
A less alternative view, but one that remains relatively unexplored, is the relationship between Kurwenal and Tristan in Tristan and Isolde. Generally Kurwenal is portrayed as the older retainer type, movingly devoted to his master. This is probably what Wagner wanted, but if you make him rather younger you can explore different views, including the one that Kurwenal is in love with Tristan (unrequited of course). I have seen one version of the opera, many years ago, where a younger Kurwenal brought this out a little without distorting the plot. Its something I'd like to see explored further, but opera productions in general seem to shy away from this sort of exploration.
How did he do it.
A recent copy of Country Life (which hit our letter box rather late owing to the Postal strike), included an article on demolished London buildings which had been photographed for the magazine. This included a fascinating photo of the chapel of the Foundling Hospital taken from the west end gallery and looking down towards the altar. (The above illustration is the reverse view). The area round the altar (sides and back) is entirely taken up with box pews. Which leads on to the fascinating conclusion, where on earth did Handel put his orchestra and singers when he performed Messiah in the Hospital chapel?
As anyone knows who has been to one of the London Handel Festival performances at St. George's Church, Hannover Square, fitting a chorus, orchestra and soloists for a Handel oratorio into a church is no easy business. By the look of the Foundling Hospital, there is even less space round the altar. So, did Handel dispose of his musicians in an around the box pews? Or did he put them in the gallery with the organ? This latter fitted in with Georgian church music tradition where the west gallery was the place where the choristers and instrumentalists played. But it would have meant that Handel and his musicians were sitting behind the audience, and a gallery is hardly the best space in which to fit the cast of Messiah. But given that the organ was in the gallery, this seems the most likely place.
Thursday, 22 October 2009
Alternative views (1)
In Handel's Flavio the role of Vitige was written for a female soprano (though the role is usually sung by a mezzo nowadays). This means that Vitige has a higher voice then his lover, Teodata. As part of the plot, it is necessary for Vitige to be embarassed about his association with Teodata and not to tell Flavio about it when Flavio expresses interest in Teodata.
Now Handel wrote a relatively small number of soprano male roles, partly because he didn't work with many soprano castrati. Quite often, I find it difficult to appreciate sopranos in these roles because they seem to fail to have the requisite knack of androgyny, so that the come over as feminine; not just physically but vocally. I must add here that Angelica Voje in the recent ETO Flavio was entirely admirable. But this led me to wonder why, with the penchant nowadays for cross dressing, no-one has turned one of the soprano heros into a woman. In the case of Flavio this would work moderately well, it would help explain Vitige's lack of response when Flavio talks about Teodata.
Now Handel wrote a relatively small number of soprano male roles, partly because he didn't work with many soprano castrati. Quite often, I find it difficult to appreciate sopranos in these roles because they seem to fail to have the requisite knack of androgyny, so that the come over as feminine; not just physically but vocally. I must add here that Angelica Voje in the recent ETO Flavio was entirely admirable. But this led me to wonder why, with the penchant nowadays for cross dressing, no-one has turned one of the soprano heros into a woman. In the case of Flavio this would work moderately well, it would help explain Vitige's lack of response when Flavio talks about Teodata.
Wednesday, 21 October 2009
Where the Opera comes from
A careful reading of ENO's new Opera Guide for Feb to July 2010 makes for interesting reading. The Elixir of Love comes from New York City Opera (along with the leading man John Tessier). But the sets were originally constructed by the Royal Swedish Opera, which seems to imply that we are getting this show third hand. One question that occurs to me, have these other companies parted with the production because they have found it unsatisfactory in some way once first produced (i.e. its not really desirable to revive it). Or will ENO have to compete with them for sets if they want to revive it.
And Katya Kabanova is described as a co-production with Teatro Nacional de Sao Carlos, Lisbon and Teatr Wielki-Opera Narodowa, Warsaw. But the costumes were built (sic) by The Dallas Opera Costume Workshop and the pictures of the production come from performances by the Houston Grand Opera. Again this looks like a much travelled production which surely has an impact on scheduling, especially if the production does as well as the recent Jenufa.
And Katya Kabanova is described as a co-production with Teatro Nacional de Sao Carlos, Lisbon and Teatr Wielki-Opera Narodowa, Warsaw. But the costumes were built (sic) by The Dallas Opera Costume Workshop and the pictures of the production come from performances by the Houston Grand Opera. Again this looks like a much travelled production which surely has an impact on scheduling, especially if the production does as well as the recent Jenufa.
Monday, 19 October 2009
Recent CD Review
my review of From the Vaults of Westminster Cathedral, polyphony and chant sung by Westminster Cathedral Choir, is here, on MusicWeb International.
Imaginative and attractive ...
Imaginative and attractive ...
Tristan and Isolde at Covent Garden
The Sunday matinee bug hit Covent Garden again on Sunday when Ben Heppner was taken ill with a viral infection. Lars Cleveman had sung the role from the wings on 15th October and on Sunday he took over properly. Cleveman, a member of the Royal Swedish Opera, had previously sung the role of Tristan with Nina Stemme as Isolde in another staging, so that they had this to build on. Even so, taking on the role in a brand new staging was something of an undertaken, bravely done.
Any staging of Tristan und Isolde by Christoph Loy was bound to have a cerebral element. In this case, the stage was divided into two; the front was a plain 'existential area' in which the main action took place. The rear, hidden by a curtain, was a more naturalistic representation of King Marke's court. The setting was modern day and all the men work evening wear, though Tristan had a black shirt. Isolde started in her wedding gown and then moved to a black dress. Brangane (Sophie Koch) had a red, bob wig and a short, stylish grey dress; she looked bizarrely like Anna Wintour which could hardly be the intention.
I rather liked the idea of the existential area. The opera opened with Nina Stemme wandering through the remains of her wedding party one the rear stage before entering the front stage. The way that the action of Act 1 was intercut with excerpts from the wedding party, so that when the ships sailors sang we actually saw the guests at the wedding on the back stage. Cast members came and went from the Wedding to the main Act 1 action. It sounds confusing to describe, but the result worked well and gave the feeling that the whole of Act 1 was playing in Isolde's mind at the wedding as she tried to come to terms with how she got to where she was.
All this would have worked wonderfully, but the front stage was simply far too lacking in design interest. The walls were grey and the only props were a table and two chairs of a type that could have appeared in any rehearsal room, in fact the front area looked just like a rehearsal studio. When the curtain between front and back was closed, we could only look at the singers in their boring evening wear, no style, no design interest, nothing. This was fatal and meant that the whole production took on a rather cerebral air. It certainly did not help that Tristan and Isolde looked like a middle aged couple from Frankfurt rather than the protagonists of one of the most romantic operas around.
Much of the action in the 'rehearsal studio' took place against the left hand wall which added to the problems, as a large chunk of the opera house could not see it properly.
During act 2, the curtain to the back area opened occasionally, to reveal the wider world around Tristan and Isolde's love and then during the love duet, Isolde draws back the curtain to reveal the courtiers observing them. Finally in act 3 the rear stage revealed not the reality, but a different conceptual space representing Isolde.
In keeping with the general concept, Antonio Pappano's conducting kept the orchestra rather quieter than usual, which helped the voices; but though beautifully moulded, you were never blown away. Similarly Nina Stemme's Isolde is one of the most beautifully sung versions of the role that I have ever heard. She has developed a wonderful gleaming top, but her instrument does not easily dominate the orchestra. She was passionate and impassioned. But the performance seemed slightly at one remove; a feeling that was generated by the distance inherent in the performance. Perhaps I am being a little unfair, but the performance impressed me without overwhelming me.
Regarding Cleveman's Tristan, we should allow him some leeway. It must be admitted that he is slight and short of stature, in complete contrast to virtually all the other Tristans I have heard who have generally been bear like men. His voice in the first half of act 1 seemed small and carefully managed, but he let go during the closing pages. This was repeated in act 2 when he really only seemed to let go during the closing pages of the love duet. His was a neatly sung and well shaped account of the role, his voice does not have excessive wobble which means that he sang with a fine sense of line. But I was constantly aware of the care he was taking and the husbanding of his resources. That said, he got to the end of Act 3 without ever seeming to be overpowered by the role, which means that he has got the measure of his voice. His is a Tristan I would like to see again in less fraught circumstances. His previous relationship with Nina Stemme helped, so that the two of them did develop the sort of rapport necessary.
Michael Volle was a fine, rich voiced Kurwenal. He was allowed some intimate moments with Sophie Koch's Brangane in Act 2. And was profoundly moving in his contributions in Act 3. Sophie Koch turned a beautifully sung and passionate account her role.
Matti Salminen was far more involving as King Marke than I could ever have anticipated. King Marke's monologue at the end of Act 2 has always been a stumbling block for me, few singers seem to be able to bring it off. But Salminen almost had me convinced.
Pappano and the Royal Opera House orchestra were in fine form. As I have said, Pappano seems to have kept the orchestra under quite a tight rein. Not since the days of Bernard Haitink have I heard such a singer considerate accompaniment. I will go back to this Tristan if it reappears in the schedules, especially if Lars Cleveman is given a proper go at the role.
Any staging of Tristan und Isolde by Christoph Loy was bound to have a cerebral element. In this case, the stage was divided into two; the front was a plain 'existential area' in which the main action took place. The rear, hidden by a curtain, was a more naturalistic representation of King Marke's court. The setting was modern day and all the men work evening wear, though Tristan had a black shirt. Isolde started in her wedding gown and then moved to a black dress. Brangane (Sophie Koch) had a red, bob wig and a short, stylish grey dress; she looked bizarrely like Anna Wintour which could hardly be the intention.
I rather liked the idea of the existential area. The opera opened with Nina Stemme wandering through the remains of her wedding party one the rear stage before entering the front stage. The way that the action of Act 1 was intercut with excerpts from the wedding party, so that when the ships sailors sang we actually saw the guests at the wedding on the back stage. Cast members came and went from the Wedding to the main Act 1 action. It sounds confusing to describe, but the result worked well and gave the feeling that the whole of Act 1 was playing in Isolde's mind at the wedding as she tried to come to terms with how she got to where she was.
All this would have worked wonderfully, but the front stage was simply far too lacking in design interest. The walls were grey and the only props were a table and two chairs of a type that could have appeared in any rehearsal room, in fact the front area looked just like a rehearsal studio. When the curtain between front and back was closed, we could only look at the singers in their boring evening wear, no style, no design interest, nothing. This was fatal and meant that the whole production took on a rather cerebral air. It certainly did not help that Tristan and Isolde looked like a middle aged couple from Frankfurt rather than the protagonists of one of the most romantic operas around.
Much of the action in the 'rehearsal studio' took place against the left hand wall which added to the problems, as a large chunk of the opera house could not see it properly.
During act 2, the curtain to the back area opened occasionally, to reveal the wider world around Tristan and Isolde's love and then during the love duet, Isolde draws back the curtain to reveal the courtiers observing them. Finally in act 3 the rear stage revealed not the reality, but a different conceptual space representing Isolde.
In keeping with the general concept, Antonio Pappano's conducting kept the orchestra rather quieter than usual, which helped the voices; but though beautifully moulded, you were never blown away. Similarly Nina Stemme's Isolde is one of the most beautifully sung versions of the role that I have ever heard. She has developed a wonderful gleaming top, but her instrument does not easily dominate the orchestra. She was passionate and impassioned. But the performance seemed slightly at one remove; a feeling that was generated by the distance inherent in the performance. Perhaps I am being a little unfair, but the performance impressed me without overwhelming me.
Regarding Cleveman's Tristan, we should allow him some leeway. It must be admitted that he is slight and short of stature, in complete contrast to virtually all the other Tristans I have heard who have generally been bear like men. His voice in the first half of act 1 seemed small and carefully managed, but he let go during the closing pages. This was repeated in act 2 when he really only seemed to let go during the closing pages of the love duet. His was a neatly sung and well shaped account of the role, his voice does not have excessive wobble which means that he sang with a fine sense of line. But I was constantly aware of the care he was taking and the husbanding of his resources. That said, he got to the end of Act 3 without ever seeming to be overpowered by the role, which means that he has got the measure of his voice. His is a Tristan I would like to see again in less fraught circumstances. His previous relationship with Nina Stemme helped, so that the two of them did develop the sort of rapport necessary.
Michael Volle was a fine, rich voiced Kurwenal. He was allowed some intimate moments with Sophie Koch's Brangane in Act 2. And was profoundly moving in his contributions in Act 3. Sophie Koch turned a beautifully sung and passionate account her role.
Matti Salminen was far more involving as King Marke than I could ever have anticipated. King Marke's monologue at the end of Act 2 has always been a stumbling block for me, few singers seem to be able to bring it off. But Salminen almost had me convinced.
Pappano and the Royal Opera House orchestra were in fine form. As I have said, Pappano seems to have kept the orchestra under quite a tight rein. Not since the days of Bernard Haitink have I heard such a singer considerate accompaniment. I will go back to this Tristan if it reappears in the schedules, especially if Lars Cleveman is given a proper go at the role.
Sunday, 18 October 2009
Saturday, 17 October 2009
Thursday, 15 October 2009
Recent CD Review
My review of the disc of Penderecki's unaccompanied choral music is here, on MusicWeb International.
Despite some very fine singing, rather fragmented and etiolated ...
Despite some very fine singing, rather fragmented and etiolated ...
Broad Ripple Gazette, vol 6. no 21 - Broad Ripple Music Fest 2009
Broad Ripple Music Fest
Saturday, October 17, 2009
(preview shows Thursday and Friday)
Broad Ripple Venues
$10 for festival wristband (good for all but Friday Vogue show)
wristbands can be purchased at the venues or at www.broadripplemusicfest.com
This is the third year for the Broad Ripple Music Fest and it just keeps getting better and better. Here is the schedule and lowdown on this great weekend of music. Several of the shows are free and all-ages. Proceeds benefit Keep Indianapolis Beautiful
Thurs. October 15, 2009
Local's Only - 2449 E. 56th St.
Butler Scion / Twin Peaks Showcase 8:00 / 21+ / FREE
The Right Now
Xenobia Green
Twin Peaks DJ's
Fri. October 16, 2009
Vogue Theatre - 6259 N. College
Nuvo / WTTS Presents BRMF Kickoff!
8:00 / 21+ / $10 adv / $12 door
JOHNNY SOCKO (original lineup)
Mab Lab
Nightjar (Virtual Battle of Band Winner)
Saturday, October 17, 2009
Luna Music Showcase
5202 North College Avenue
All Ages / Free
The show is all-ages, but Luna has a one-day beer permit. Shows at Luna are always great! And there is a good chance you’ll see me there before my Red Key (and possibly during) shift.
Noon - Caleb McCoach
12:45 - Bolivant
1:30 - A Caesar Holiday
2:15 - Holy Ghost Canyon
3:00 - Norman Oak
4:00 - Abner Trio
4:30 - pons
5:00 - Imaginary Friends
5:45 - America Owns the Moon
Indy CD and Vinyl Showcase
806 Broad Ripple Ave.
Noon / All Ages / FREE
There is always fun stuff going on at Indy CD and Vinyl. Look for fun surprises there all day. And you can’t go wrong with Wolfy, Sanuk and Elsinore.
12:00 - Spirit Spine
1:00 - Matt Mitchell Project
2:00 - Wolfy
3:30 - Sanuk
4:30 - Elsinore
5:30 - Mary Claire
7:00 - Eric Radoux
8:00 - The Post Script
Birdy’s, 2131 E. 71st Street
Midwest Emerging Artists Showcase
6:30 / 21+ / $7 (without wristband)
This is a great lineup. You wouldn’t be disappointed if you parked yourself at Birdy’s.
Hey Hey Melodica
Eisenhower Field Day
Beta Male
Elsinore
Stranger Lazy
Harley Poe
Dorsey
Endiana
Tru Nightclub (formerly Seven) - 6235 N. Guilford Ave.
Sidetrack presents the INhouse Showcase
9:00 / 21+ / $6 (without wristband)
I’m a big fan of Jackola – anything he’s involved in is always a blast!
9:00 - Rudy Kizer
10:00 - DJ Starsteady
11:00 – Jackola
midnight- Bryan Jones
1:30 am - DJ Deanne - 1:30am
Locals Only - 2449 E. 56th St.
Transpanther / Joyful Noise / Standard Recording Showcase
Noon / 21+ / $8 (without wristband)
Between the great music and the wonderful food at Locals Only, you could easily spend the whole day there. In fact there is a good chance that I’ll wind up there after my Red Key shift.
12:00noon - Japatucky
1:00 - Stationary Odyssey
2:00 - Light Pollution
3:00 - Lucky Pineapple
4:00 - I Need Sleep
5:00 - Hermit Thrushes
6:00 - Prayer Breakfast
7:00 - Everything, Now!
8:00 - Thunderhawk
9:00 - Marmoset
10:00 - Early Day Miners
11:00 - Prizzy Prizzy Please
12:00 - Dead Beats
1:00am - Jookabox
La Jolla's Wasted Space - 921 Broad Ripple Ave
Indianapolis Songwriter's Cafe
5:00 / All Ages / Free
Join the Indianapolis Songwriter’s Café folks at Broad Ripple’s newest listening room. Can’t go wrong with Cara Jean and Deep Cricket Night.
5:00 - The Weakest Suit
6:00 - Tony Marshall
7:00 - Cara Jean Wahlers
8:00 - Bears of Blue River
9:00 - Deep Cricket Night
and later that night:
La Jolla's Wasted Space - 921 Broad Ripple Ave
La Jolla Showcase
10:00pm / All Ages / Free
Catch Tim Wilsbach in one of his increasing rare projects. His record with Paging Raymond has a permanent spot in my CD player.
10:00 -Sara Myers - 10:00
11:00 - Whoa Tiger - 11:00
midnight - Tim Wilsbach and the Wuss Rock Renegades
Alley Cat - 6267 Carrollton Ave
Dude Fest Showcase
8:00 / 21+ / $6 (without wristband)
I think Dude Fest says it all. And say hello to my favorite Dude, Tom Esterline while you’re there.
9:00 - Drogas
10:00 - Slam Dunk
11:00 - Phoenix Bodies
12:00 - Demiricous
Casba - 6319 Guilford Ave
A Squared Industries / MOKB Showcase
8:00 / 21+ / $5 (without wristband)
Any collaboration between A Squared and My Old Kentucky Blog has got to bring good things! This will be a great mix of DJs and bands.
8:00 - A Squared DJ's
10: 00 - Heavy Hometown
11:00 - Johnny 23
midnight - Ryan Reidy -
12:45 - Andy D
1:30 - Black Heat
Connor's Pub Showcase
6331 Ferguson St
7:00 / 21+ / $6 (without wristband)
A chance to hit Connor’s before last call. Check out Odyssey Favor (and the ever fashionable Jenny Elig).
8:00 - Soft Speaker
9:00 - Alull
10:00 - We Landed on the Moon
11:00 - The Odyssey Favor
midnight - Coolidge
ES Jungle - 6151 N. Central Ave.
Piradical Productions Showcase
5:00 / All Ages / Suggested Donation
You can’t go wrong with this lineup. I’m a big fan of Sanuk and I adored Rodeo Ruby Love when I saw them at the BRMF last year. And The Last Domino is good stuff!
6:00 -The Working Hour
7:00 - Highway Magic
8:00 - Sanuk
9:00 - Rodeo Ruby Love
10:00 - The Last Domino
Northside News Café
Heavy Gun Blog Showcase
3:00pm / All Ages / FREE
Northside News Café is turning in to a hip-hop joint for the day. And there is a Beat Battle too. Pull up a Cuban sandwich and make a day of it!
3:30 - Cyclopean Superhero
3:50 - Deeg of Blank Space
4:10 - Dirty Thirty
4:30 - Beat Battle 1
5:25 - Oreo Jones
5:45 - Com Dot
6:05 - Beat Battle 2
6:35 - The Proforms
7:10 - Beat Battle
7:25 - Grey Granite
7:45 - Yeti One
8:05 - Beat Battle Finals
8:15 - Mudkids
BAR (BR Steakhouse) Showcase
929 E. Westfield Blvd (Next to Boogie Burger)
6:00 / 21+ / FREE
The music will be in the BAR bar in Broad Ripple Steakhouse building. Another stellar lineup!
6:00 - Christian Taylor
6:45 - Jesse Lee
7:30 - Jascha
Monon Coffee Company Showcase
920 E. Westfield Blvd
5:00 / All Ages / FREE
The Monon Coffeehouse is warm and cozy and a great place to enjoy music.
5:00 - Blue Cut
6:00 - J Cameron Hall
7:00 - The Bonesetters
8:00 - The Working Hour - 8:00
Broad Ripple Steak House Acoustic Stage
929 E Westfield Blvd
6:00 / 21+ / FREE
Enjoy a delicious beer and some poppy music goodness.
6:00 - Christian Taylor
6:45 - Sloth Pop
7:30 - Jesse Lee
8:15 - Jascha
Saturday, October 17, 2009
(preview shows Thursday and Friday)
Broad Ripple Venues
$10 for festival wristband (good for all but Friday Vogue show)
wristbands can be purchased at the venues or at www.broadripplemusicfest.com
This is the third year for the Broad Ripple Music Fest and it just keeps getting better and better. Here is the schedule and lowdown on this great weekend of music. Several of the shows are free and all-ages. Proceeds benefit Keep Indianapolis Beautiful
Thurs. October 15, 2009
Local's Only - 2449 E. 56th St.
Butler Scion / Twin Peaks Showcase 8:00 / 21+ / FREE
The Right Now
Xenobia Green
Twin Peaks DJ's
Fri. October 16, 2009
Vogue Theatre - 6259 N. College
Nuvo / WTTS Presents BRMF Kickoff!
8:00 / 21+ / $10 adv / $12 door
JOHNNY SOCKO (original lineup)
Mab Lab
Nightjar (Virtual Battle of Band Winner)
Saturday, October 17, 2009
Luna Music Showcase
5202 North College Avenue
All Ages / Free
The show is all-ages, but Luna has a one-day beer permit. Shows at Luna are always great! And there is a good chance you’ll see me there before my Red Key (and possibly during) shift.
Noon - Caleb McCoach
12:45 - Bolivant
1:30 - A Caesar Holiday
2:15 - Holy Ghost Canyon
3:00 - Norman Oak
4:00 - Abner Trio
4:30 - pons
5:00 - Imaginary Friends
5:45 - America Owns the Moon
Indy CD and Vinyl Showcase
806 Broad Ripple Ave.
Noon / All Ages / FREE
There is always fun stuff going on at Indy CD and Vinyl. Look for fun surprises there all day. And you can’t go wrong with Wolfy, Sanuk and Elsinore.
12:00 - Spirit Spine
1:00 - Matt Mitchell Project
2:00 - Wolfy
3:30 - Sanuk
4:30 - Elsinore
5:30 - Mary Claire
7:00 - Eric Radoux
8:00 - The Post Script
Birdy’s, 2131 E. 71st Street
Midwest Emerging Artists Showcase
6:30 / 21+ / $7 (without wristband)
This is a great lineup. You wouldn’t be disappointed if you parked yourself at Birdy’s.
Hey Hey Melodica
Eisenhower Field Day
Beta Male
Elsinore
Stranger Lazy
Harley Poe
Dorsey
Endiana
Tru Nightclub (formerly Seven) - 6235 N. Guilford Ave.
Sidetrack presents the INhouse Showcase
9:00 / 21+ / $6 (without wristband)
I’m a big fan of Jackola – anything he’s involved in is always a blast!
9:00 - Rudy Kizer
10:00 - DJ Starsteady
11:00 – Jackola
midnight- Bryan Jones
1:30 am - DJ Deanne - 1:30am
Locals Only - 2449 E. 56th St.
Transpanther / Joyful Noise / Standard Recording Showcase
Noon / 21+ / $8 (without wristband)
Between the great music and the wonderful food at Locals Only, you could easily spend the whole day there. In fact there is a good chance that I’ll wind up there after my Red Key shift.
12:00noon - Japatucky
1:00 - Stationary Odyssey
2:00 - Light Pollution
3:00 - Lucky Pineapple
4:00 - I Need Sleep
5:00 - Hermit Thrushes
6:00 - Prayer Breakfast
7:00 - Everything, Now!
8:00 - Thunderhawk
9:00 - Marmoset
10:00 - Early Day Miners
11:00 - Prizzy Prizzy Please
12:00 - Dead Beats
1:00am - Jookabox
La Jolla's Wasted Space - 921 Broad Ripple Ave
Indianapolis Songwriter's Cafe
5:00 / All Ages / Free
Join the Indianapolis Songwriter’s Café folks at Broad Ripple’s newest listening room. Can’t go wrong with Cara Jean and Deep Cricket Night.
5:00 - The Weakest Suit
6:00 - Tony Marshall
7:00 - Cara Jean Wahlers
8:00 - Bears of Blue River
9:00 - Deep Cricket Night
and later that night:
La Jolla's Wasted Space - 921 Broad Ripple Ave
La Jolla Showcase
10:00pm / All Ages / Free
Catch Tim Wilsbach in one of his increasing rare projects. His record with Paging Raymond has a permanent spot in my CD player.
10:00 -Sara Myers - 10:00
11:00 - Whoa Tiger - 11:00
midnight - Tim Wilsbach and the Wuss Rock Renegades
Alley Cat - 6267 Carrollton Ave
Dude Fest Showcase
8:00 / 21+ / $6 (without wristband)
I think Dude Fest says it all. And say hello to my favorite Dude, Tom Esterline while you’re there.
9:00 - Drogas
10:00 - Slam Dunk
11:00 - Phoenix Bodies
12:00 - Demiricous
Casba - 6319 Guilford Ave
A Squared Industries / MOKB Showcase
8:00 / 21+ / $5 (without wristband)
Any collaboration between A Squared and My Old Kentucky Blog has got to bring good things! This will be a great mix of DJs and bands.
8:00 - A Squared DJ's
10: 00 - Heavy Hometown
11:00 - Johnny 23
midnight - Ryan Reidy -
12:45 - Andy D
1:30 - Black Heat
Connor's Pub Showcase
6331 Ferguson St
7:00 / 21+ / $6 (without wristband)
A chance to hit Connor’s before last call. Check out Odyssey Favor (and the ever fashionable Jenny Elig).
8:00 - Soft Speaker
9:00 - Alull
10:00 - We Landed on the Moon
11:00 - The Odyssey Favor
midnight - Coolidge
ES Jungle - 6151 N. Central Ave.
Piradical Productions Showcase
5:00 / All Ages / Suggested Donation
You can’t go wrong with this lineup. I’m a big fan of Sanuk and I adored Rodeo Ruby Love when I saw them at the BRMF last year. And The Last Domino is good stuff!
6:00 -The Working Hour
7:00 - Highway Magic
8:00 - Sanuk
9:00 - Rodeo Ruby Love
10:00 - The Last Domino
Northside News Café
Heavy Gun Blog Showcase
3:00pm / All Ages / FREE
Northside News Café is turning in to a hip-hop joint for the day. And there is a Beat Battle too. Pull up a Cuban sandwich and make a day of it!
3:30 - Cyclopean Superhero
3:50 - Deeg of Blank Space
4:10 - Dirty Thirty
4:30 - Beat Battle 1
5:25 - Oreo Jones
5:45 - Com Dot
6:05 - Beat Battle 2
6:35 - The Proforms
7:10 - Beat Battle
7:25 - Grey Granite
7:45 - Yeti One
8:05 - Beat Battle Finals
8:15 - Mudkids
BAR (BR Steakhouse) Showcase
929 E. Westfield Blvd (Next to Boogie Burger)
6:00 / 21+ / FREE
The music will be in the BAR bar in Broad Ripple Steakhouse building. Another stellar lineup!
6:00 - Christian Taylor
6:45 - Jesse Lee
7:30 - Jascha
Monon Coffee Company Showcase
920 E. Westfield Blvd
5:00 / All Ages / FREE
The Monon Coffeehouse is warm and cozy and a great place to enjoy music.
5:00 - Blue Cut
6:00 - J Cameron Hall
7:00 - The Bonesetters
8:00 - The Working Hour - 8:00
Broad Ripple Steak House Acoustic Stage
929 E Westfield Blvd
6:00 / 21+ / FREE
Enjoy a delicious beer and some poppy music goodness.
6:00 - Christian Taylor
6:45 - Sloth Pop
7:30 - Jesse Lee
8:15 - Jascha
Subscribe to:
Posts (Atom)