Given I grew up down the road from Worksop, which is itself a hop and a skip (and a direct train line) from Lincoln, it is a bit of a shame I’ve made it to 41 and never previously made it to Lincoln. And what with a passion for Gothic, and all… After I got back home, I came down with a lurgy (I don’t blame Lincoln!) so haven’t got around to jotting down some thoughts until now, even though my visit was back at the end of July. (more…)
I had expected to hate it. The way it was described conjured up the Royal Opera’s truly horrendous production of Rusalka, or the dull and pretentious Idomeneo. Both of those were in a league apart in terms of clumsy over-conceptual plot-handling and poor visuals. The atmosphere of Tell was well-established by the mud floor and general air of bleak oppression (however difficult it is to project a voice over so unreverberant a surface). On the night I had placed it in that miserable indefinably-somewhere-between-50s-and-70s period, but in fact it was set around World War 1, so my programme tells me. Chairs in abundance, against which much violence was wrought. Visible, hung strip-lighting as well. Baddies in combats wielding guns. It was not entirely cliché-free. (more…)
Last Saturday we caught the opening night of English National Opera’s new production of The Queen of Spades. Not entirely a success, albeit with flashes of magnificence.
Most of the problem was David Alden’s: the production had an air of cheapness about it, not to mention laziness. Present were the trademark harsh side-lighting and oddball extras, as well as much piling up of chairs, not to mention the frankly puerile appearance of a bunch of stuffed carton character heads at one point. Of darkness and tension there was practically none. (more…)
Given my lack of success in seeing her on the Covent Garden stage in the past, it was pleasing to note that Anna Netrebko was indeed present – and then some. As the evening progressed the celebrity sheen was slowly dimmed in favour of her genuine acting talents. Vocally as well, she seemed to ‘free up’ as the performance went on, after a first act in which her vocal voluptuousness threatened to tip over into an excessively mezzo-ish tone with stodgy consonants. Nonetheless, she won me back over as she stood behind the tumbril in act 3 and reacted most movingly to Rodolfo’s changing explanations of why he had left her. At the close, she anchored the death scene with her stillness, matching her vocal beauty to the failing health of the character. (more…)
It’s a tricky one, don’t you find? When you’re struggling to maintain your grasp on regal power because the anonymous, writhing naked men dwelling in the depths of your psyche simply won’t stop distracting you. They become particularly lively, and things reach a particularly feverish and catastrophic pitch, when a so-called prophet rides into town promising all sorts of pleasures…
Thus runs, broadly, the theme (it’s not so much a plot) of Szymanowski’s Król Roger, at least in Kasper Holten’s well-judged production at Covent Garden. At last, a new production at Covent Garden that can be considered a fairly comprehensive success. The monumental head, filling the stage, starts out as some sort of totem of established worship, framed within a galleried set. As it turns, it reveals a metaphorical chamber, with enlightenment above (symbolised by piles of books) and the aforementioned baser elements slithering in the depths. This colossal stage-picture allowed the themes of Szymanowski’s opera to be very well elucidated: pulses of movement in the sensual depths accompanied each hint of King Roger’s seamier psychological undercurrents, until things disintegrated completely and broke free from the central cranium. Knowledge, again symbolised by books, was destroyed in a flaming pyre in the third act, giving way to the pursuit of pure pleasure – except for Roger, who sees a possibility of rebuilding a more meaningful life. (more…)
So if things have been a bit quiet around here lately, it’s one more sign that the 5:2 effect is in full force. I don’t mean the intermittent fasting diet, I mean the five days that pass in a blur of work and commuting, followed by two days in which you frantically try to pack in everything, from self-enlightenment down to mere life admin, not to mention sleeping, reminding yourself you have friends, and just sitting quietly and wondering about it all.
Amidst this frenzy, I’m becoming increasingly aware of my book backlog. Yes, let’s set aside for now the opera DVDs that are unwatched (in the proper sense of actually concentrating on them) and CDs unlistened to (ditto): there’s something about small piles of unread books that can gang together and take on a persecutory air. My partner is a fantastic eBayer and peruser of charity shops. Consequently I have a nicely growing collection of books that are antiquarian, or bordering on it, or otherwise quirky or interesting. A number of them just haven’t made it to being read yet… (more…)
It’s been a hectic old time the last few weeks, so capturing thoughts on performances has rather got forgotten. They’ve been a diverse bunch as well.
So, in brief: (more…)