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Posts Tagged ‘Chrissie Hynde’

The Rest of December

Posted in Art, Classical Music, Comedy, Contemporary Music, Film, Opera, tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 1, 2020| Leave a Comment »

Contemporary Music

It took a while for me to get into the cinema relay of the Les Miserables staged concert, largely because it doesn’t really come alive until the prologue of sung dialogue gives way to the first act, but when it got going it was superb. The encores of a handover to the next Javert and four Valejeans from the first to the next were inspired, and very moving.

Rufus & Martha Wainwright’s Not So Silent Night continued their family’s tradition of charity Christmas concerts with lots of guests. At the Royal Festival Hall they included Guy Garvey, Neil Tennent, Chrissie Hynde, Sophie Ellis-Bextor, opera singer Janis Kelly and American actress Martha Plimton, who it turns out is a rather good singer. It proved to be a lovely experience, albeit charmingly shambolic at times.

Opera

I think I’ve only seen Britten’s Death in Venice once before, but then again the night I went was only the 23rd performance at Covent Garden in the 46 years since its premiere, so the opportunity doesn’t come along that often. I’ve never considered it up there with masterpieces like Peter Grimes and Billy Budd, but this David McVicar production changed my mind. Mark Padmore was wonderful as Ashenbach, Gerald Finley terrific in no less than seven roles and Leo Dixin danced Tadzio beautifully. It was just about faultless in very way and the full house cheered wildly. Maybe that will encourage The Royal Opera to broaden its programming. We must have had 230 or even 2300 La Traviata’s in the same 46 years.

Classical Music

The LSO Chamber Orchestra Milton Court concert of early music was a freebie for subscribers but it proved much more than that. The orchestra played the Purcell, Handel & Rameau pieces beautifully under the highly enthusiastic Emmanuelle Haim and there were two great soloists too – Lucy Crowe and Reinoud Van Mechelen. Freebie maybe, but a treat nonetheless.

The Sixteen‘s Christmas concert at Cadogan Hall was a delight from start to finish. Normally unaccompanied, this time there was the occasional addition of percussion and harp, the latter absolutely gorgeous. The programme included lots of rare carols, some mediaeval, and ended with Britten’s lovely Ceremony of Carols.

Comedy

I don’t see much stand-up, other than at the Edinburgh Fringe, but made an exception for Jordan Brookes at Soho Theatre after last year’s Edinburgh buzz. I admired the originality and there were superbly funny moments, but it was perhaps too surreal and off-the-wall for me and didn’t really sustain its 70 minutes length.

Film

Knives Out is a whodunit, with its tongue firmly in its cheek, which keeps you guessing, and smiling, until the final scene. I really liked its old-fashioned style and it’s hugely convoluted plot.

Having not read the book, I struggled a bit with the hopping around in time of Little Women, but I eventually succumbed to the charm of a beautifully filmed story.

Art

I went to see Dulwich Picture Gallery’s Rembrandt’s Light exhibition on the morning after an attempted robbery when the gallery had closed, so I had to go back 10 days later to see it without the two paintings that almost got away but are now back with their owners in Paris and Washington. There were some nice pictures and it was well lit – by the man who did Star Wars! – but I have to confess to being a touch underwhelmed. Not a lot of pictures for a high profile exhibition and a lot with subject matter that doesn’t really appeal to me.

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The Rest of July

Posted in Art, Classical Music, Dance, Film, Opera, tagged , , , , , , , , , , , , , , , , , , , , , , , , , on August 4, 2014| Leave a Comment »

Contemporary Music

Within minutes of taking my Choir seat behind even the sound crew, I began to wonder what I was doing at the Pet Shop Boys Prom. I hated the electromush of the 80’s with a vengeance, though I’ve liked some of the PSB’s crossover stuff – the musical, the ballet and the film live accompaniment. As it turned out, it wasn’t bad – a musicals style overture made up of nine PSB songs, another four PSB songs arranged for Chrissie Hynde (in white tails) and orchestra and a suite (?) about the life and loves of Alan Turing. I’ve never much liked narration to orchestral music (c/f Vaughan Williams Sinfonia Antarctica) and there was way too much in this (even if it was Juliet Stevenson), though the rest didn’t seem half bad. If only…..

Opera

Gloria A Pigtale was a quirky, surreal experience, particularly because it was at Covent Garden’s Linbury Studio. The music reminded me of the more manic Kurt Weill and the staging and design (with a sausage curtain!) were great fun. Even though it was only 80 mins, it didn’t really sustain its length and would have been better as part of a double-bill (but with what?). Still, you have to admire an opera with a line of puppet frogs in red tutus!

The Royal Opera House, Covent Garden gave me my third Maria Stuarda in nine months, following WNO and MetLive. It was musically stunning, with Joyce DiDonato at the peak of her extraordinary powers, as she had been in MetLive, but you had to suffer some preposterous stuff in a production which had the two queens in period dress and everyone else in modern dress and Elizabeth without her wig in public carrying an executioners axe! If only it had been the Met’s production and their Elizabeth (who actually shaved her head for the role!) with everything else from Covent Garden. Never trust a French-Belgian production team with British history (even when its written by Italians based on a German play)!

Classical Music

When I booked to see Thomas Tallis at the Sam Wanamaker Playhouse, I was expecting a candlelit concert by The Sixteen. As it turned out, it was a series of scenes from the life of the 16th century composer interspersed with a dozen pieces of his music. In addition to Tallis as a character himself, we got Henry VIII, the young Edward VI, Elizabeth I and Dr Dee amongst others, which illustrated how Tallis’ life and work were caught up in the flip-flopping from Catholicism to Protestantism in Britain at the time. Unexpected, but both biographically illuminating and an aural pleasure.

Dance

I’m not sure what I was doing at Brazil Braziliero, or indeed why it was at Sadler’s Wells (more Peacock Theatre, I’d say). The talent, energy and quality were all there, but the show that purported to present the history of the samba somehow seemed like one of those tourist culture shows they’re often trying to entice you to when travelling. It probably wasn’t helped by the emptiest Sadler’s Wells I’ve ever sat in. There were good individual components, but it just didn’t work as a whole for me.

Film

I broke my 15-week cinema famine by seeing Boyhood, filmed over twelve years as the actors aged and an extraordinary achievement. It fully sustained its 2h45m length and it was a great one for my return!

I enjoyed Begin Again, though it took a while to take off, the time switching was a bit confusing and Mark Ruffalo was initially very irritating. It won me over though with its feel-good story and unpredictability.

Art

David Hockney’s exhibition at Annely Juda contained new charcoal drawings and colour prints from the iPad paintings shown in his RA exhibition a few years back. The colour prints were editions of 25 for sale and all had been sold. I asked the price and then worked out that they would have grossed over £8m. A few days later I photographed the Monument to the Unknown Artist at Bankside whose inscription is ‘Don’t applaud, just throw money’!

The Hayward’s exhibition The Human Factor features sculptures of people, but only a handful impressed me. There was so much modern tosh that the good pieces were in danger of being overlooked. Unimpressed.

It was difficult to enjoy Matisse Cut-Outs at Tate Modern as it was so busy. At first, though I found it vibrant and colourful, I wasn’t convinced of their artistic merit. As it progressed I did warm to it and toward the end was more convinced. I will have to go back at a quieter time, though, if such a thing exists at a blockbuster exhibition these days.

I know I say this every year, but the NPG Portrait Award exhibition seems to have trumped itself again with a terrific selection. I noticed a trend towards realism this year, which in my more conservative view is no bad thing. Also at the NPG, an exhibition about Virginia Wolf brought together photographs, paintings, books and diaries by her and her circle, which seemed like a London who’s who of the first half of the 20th century. I have to confess I had no idea she was so prolific, or had so many famous friends!

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