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I must catch up with some more operatic experiences this year: there was Glass' A Perfect American, whose music was much less absorbing than that of Akhnaten or Satyagraha and whose subject was not very interesting. If Walt Disney had no redeeming qualities, how was the opera going to yield any insights into the human condition? Apart from an entertaining production, the work itself seemed pointless.
Lohengrin in Cardiff was visually depressing - a nineteenth century prison? - but the music won out in any case. Brought back many memories of one of my first tasks at the Royal Opera House when I joined the staff there: coaching the chorus was hampered by constant strikes in those medieval, pre-Thatcher times and it was touch-and-go whether the music could be learnt in time. No such worries with WNO - the chorus were spectacular and so were the cast and orchestra. The clarity and directness of the music when performed well like this are very refreshing in comparison to Wagner's later works.
Wagner Dream by the late, great Jonathan Harvey was, unfortunately for me, impenetrable. Multi-layered, complex and very dissonant. The work was definitely not helped by having the main action spoken by actors, a disappointing decision since too much dialogue, here accompanied by the orchestra, simply shows up opera's weaknesses: better for the music to stop so you can concentrate on the dialogue and the acting. Or you could take the view that the spoken text pales in comparison to the sound of the singing voice - since, after all, we came for the music.
Lohengrin in Cardiff was visually depressing - a nineteenth century prison? - but the music won out in any case. Brought back many memories of one of my first tasks at the Royal Opera House when I joined the staff there: coaching the chorus was hampered by constant strikes in those medieval, pre-Thatcher times and it was touch-and-go whether the music could be learnt in time. No such worries with WNO - the chorus were spectacular and so were the cast and orchestra. The clarity and directness of the music when performed well like this are very refreshing in comparison to Wagner's later works.
Wagner Dream by the late, great Jonathan Harvey was, unfortunately for me, impenetrable. Multi-layered, complex and very dissonant. The work was definitely not helped by having the main action spoken by actors, a disappointing decision since too much dialogue, here accompanied by the orchestra, simply shows up opera's weaknesses: better for the music to stop so you can concentrate on the dialogue and the acting. Or you could take the view that the spoken text pales in comparison to the sound of the singing voice - since, after all, we came for the music.
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Attended the European premiere of this work last night. Another masterpiece from the greatest living composer - and one of the greatest of all time.
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Eventually caught up with The Minotaur at ROH last night. I would hardly call it a pleasurable experience. The opera threw all sorts of other great things at me in abundance; but sheer pleasure was not one of them. Most operas give pleasure and have done so for ages; I guess the relentless atonality - and the largely declamatory style of singing that goes with it - conspired to deprive me of, well, operatic rapture. Why should this be so? And does it matter anyway? It certainly held my attention - it was compelling, awesome you might say - so it must have succeeded. But it was like beholding a brutalist piece of modern architecture which you somehow feel has been built by architects for architects, rather than for ordinary people to enjoy and marvel at. You can't deny the originality or scale of achievement. But it doesn't give you much pleasure.
Can't help but compare The Minotaur with A Flowering Tree (written within a year or two of each other). I reckon AFT would be reckoned by most as quite a 'difficult' modern opera, and in fact it seems TM has received more performances. Both works are original and up-to-date and inventive. But AFT has an additional dimension: the beauty of sound and of singing.
Can't help but compare The Minotaur with A Flowering Tree (written within a year or two of each other). I reckon AFT would be reckoned by most as quite a 'difficult' modern opera, and in fact it seems TM has received more performances. Both works are original and up-to-date and inventive. But AFT has an additional dimension: the beauty of sound and of singing.
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Driving home yesterday, I caught some of the Royal Philharmonic Society's musical awards. I didn't hear it all and my attention was not complete, but I heard a good speech by the classical music popularist Gareth Malone in which he felt that the achievements of British musicians should be shouted from the rooftops. It wasn't particularly insightful, but he was passionate and spoke on behalf of the general music-lover, performer and teacher - all of whom need their advocates. The winners that were then announced are exciting practitioners of contemporary music and I would always find time to listen to their works and follow their progress wherever possible: I heard a choral piece by Jonathan Harvey, John Cage, a Ligeti Étude, and a song from a Spitalfields outreach project. But I couldn't help feeling that these examples would be impenetrable to the public at large. Even Abbado and Pollini receiving awards seemed irrelevant: what need do these masters have of more recognition? It all seemed to inhabit another world, where the difficulties of working with ordinary musicians and appealing to ordinary audiences seemed a million miles away.
Then, in the evening was the finale of the BBC Young Musician of the Year. I don't often like classical music on TV, but, switching on late, I was completely mesmerised by Laura van der Heijden's performance of the Walton Cello Concerto. It wasn't just that she was a consummate artist in every way (aged 16!) but also that her personality exuded wisdom and joy in equal measure. For once, this competition achieved a satisfying conclusion.
Then, in the evening was the finale of the BBC Young Musician of the Year. I don't often like classical music on TV, but, switching on late, I was completely mesmerised by Laura van der Heijden's performance of the Walton Cello Concerto. It wasn't just that she was a consummate artist in every way (aged 16!) but also that her personality exuded wisdom and joy in equal measure. For once, this competition achieved a satisfying conclusion.
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There has been much talk recently of the drought conditions prevailing in this country which have recalled the severe drought of 1976. My memory is not always very good, but I can remember much about that year.
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Recently caught up with the TV documentary Britten's Children. I want to question the values of purity and innocence which are so often quoted in connection with Britten's music. Why is some of his music considered pure? Some of it is indeed beautifully simple: he knows when to turn down the volume, when to stop writing notes and to let the words speak for themselves. But just because the music is song-like, or that children's voices are performing it, it doesn't necessarily follow that the music enters a realm of purity - to which other composers of all eras can only aspire! And for that matter, I don't buy into the notion of innocence either. Kids may be young and hopefully relatively care-free but they surely have strains and stresses - and tantrums! - like the rest of us. Just because someone isn't grown up (or may not have lost their virginity) doesn't mean to my mind that they're innocent, or in any kind of special blissful state: anymore than someone who is grown up (and experienced sexually) doesn't become 'guilty' or impure. I can't help feeling that in the background there's a lot of prudishness going on and, at the least, the view that innocence and purity are somehow wonderful involves looking at childhood through rose-tinted spectacles. Could this only happen in England?
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Heiner Goebbels - this guy's music is so good, so individual; just listening to it again and it's going straight on my iPod. Check out Surrogate Cities and Landschaft mit entfernten Gewandten.
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There's a debate at the Cambridge Union this evening on the motion 'classical music is irrelevant to young people'.
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I don't have much time for musicals since I'm a musical snob. The ones I like are all American: Guys and Dolls, West Side Story, Sweeny Tod, Chicago, and Adam's Ceiling/Sky.
Went to a performance of Guys and Dolls in Salisbury last night. A superb show, great production. I am astounded by the virtuosity of the cast of actor-musicians, who sang, danced, acted and played with absolute precision and tremendous energy. Please note, they played the score from memory: there aren't many professional musicians who could do that in an orchestra pit, let alone on stage. The only thing was they were rather too loud.
I was struck by the directness and simplicity of the music. It's composed without artifice, never over composed, no music for its own sake, the words always dominate. Hence, it's unpretentious and all the more charming because of that.
Went to a performance of Guys and Dolls in Salisbury last night. A superb show, great production. I am astounded by the virtuosity of the cast of actor-musicians, who sang, danced, acted and played with absolute precision and tremendous energy. Please note, they played the score from memory: there aren't many professional musicians who could do that in an orchestra pit, let alone on stage. The only thing was they were rather too loud.
I was struck by the directness and simplicity of the music. It's composed without artifice, never over composed, no music for its own sake, the words always dominate. Hence, it's unpretentious and all the more charming because of that.
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I was interested to see what music Will and Kate had chosen for their wedding.