Yep, the new season looks Baroque/Hallenberg-fabulous.
Saul 16-27 Feb 2018 Arnold Schoenberg Choir ❤
Ottone, re di Germania 24 Sept 2017 Hallenberg
Giulio Cesare 18 Oct 2017 Galou + a very tempting cast in general with Dantone conducting
Publio Cornelio Scipione 24 Jan 2018 Sabata/Mynenko/MP
Giulietta e Romeo 27 Jan 2018 Hallenberg
Armida 21 Feb 2018 Jacobs conducting + Zorzi Giustiniani
Radamisto 20 April 2018 Bardon
There’s also a Maria Stuarda in January for those who enjoy Marlis Petersen (and the Arnold Schoenberg Choir). Could be a fun few days in the middle of winter…
Funny listicle from Tom Service on ze Guardian. My favourites:
An Incomplete History of the Art of Funerary Violin
Individual pieces are one thing, but Rohan Kriwaczek invented an entire genre, a repertoire, a history, and a whole musical subculture, with his 2006 book. Publishers believed it to be a work of studious, historically researched non-fiction. But the fact that the funerary violin is a fake is really beside the point: Kriwaczek’s book is a feat of pseudo-scholarly invention and musical-literary virtuosity that makes you wish that the Guild of Funerary Violinists really did exist.
How Borgesian is that? I must read that one at some point. Imagine if it was about the bassoon.
Haydn’s ‘lost’ piano sonatas
The world of Haydn scholarship was duped in the early 1990s by the supposed discovery of these six masterpieces for solo piano, feted as some of the finest sonatas in Haydn’s canon by the doyen of Haydn-ographers, HC Robbins Landon. But they were revealed to be the work of an extremely clever pasticheur,Winfried Michel. Which – as a New York Times piece from the time says – raises some pretty gigantic existential questions: if these pieces are good enough to be thought to be by Haydn, then aren’t they valuable on their own terms? Or is it only because of the aura of Haydn’s authorship and historical context that they become meaningful? In which case, what is our criteria for judging the immanent qualities of musical works? Why can’t works of brilliant pastiche be as good as the “real” thing, and valued as much by musical culture?
Really interesting questions generated. There’s not enough made of the power of pastiche as yet. We might want to get over the Romantic ideal of supreme originality and have a bit of fun with the known and loved.
Surprisingly effective silly selenar shenaningas with English Touring Opera in the heart of Hackney. Ever been to Hackney Central? No? You’re not missing anything. I used to live on the Bus 254 route and passed by all the time but the shabbiness of the area never enticed me to step inside. Well, my loss. ETO has some clever tricks up its collective sleeve.
Ecclitico: Christopher Turner
Buonafede: Andrew Slater
Clarice: Jane Harrington
Lisetta: Martha Jones
Cecco: Ronan Busfield
Conductor: Christopher Bucknall | Orchestra of the ETO
You don’t often see Haydn operas – yet – so I jumped at the opportunity, especially seeing as how it’s not a big venue (1,275 capacity) and tickets for the Gallery are bargainous. Looking at the cast you might have noticed the parts of Flaminia and Ernesto have been slashed. Boohoo, I told myself, there goes the opportunity for mezzo goatee. But I spoke too soon! Facial hair makes an even funnier appearance 😀
ETO got Cal McCrystal to direct. He’s the chap behind One Man, Two Guvnors, which I have not seen but it’s likewise based on Goldoni, so that made sense. I’m slightly acquainted with Goldoni and what I can say it’s not very high brow humour rather typical 18th century servants and young people taking the piss out of the older, ornery generation. It’s not often I say this, but the best thing about this performance was the direction. If you like slapstick this is the show for you. Also if you like coloratura taken the piss out of – or even better, the two of them done at the same time – you might bust a gut laughing. I don’t know that I’ve seen a production before where coloratura was made to serve humour quite this well1.
Clarice, the young and beautiful daughter of the misogynist miser Buonafede (Goodfaith, eh) has this elaborate aria with lots of coloratura which you can tell is supposed to mock the earnestness of opera seria. Jane Harrington sings rather well, with good attention to detail (roulades) but at the same time manages to trip over and kick (how unladylike!) stairs then knock over and break a statue and finally a topiary bush – which she also lifts back by herself. That on top of taking the piss out of the show-off highs and lows which Haydn gave to the original singer.
It’s a traditional production but really it’s “traditional”. It’s done by this chap takis who you can just tell gets both traditional and regie and will make use of whichever accordingly. McCrystal wanted gags so imagine gags done in a very serious setting. The bit where Buonafede “is looking at the Moon” through the telescope in order to get a lunar peepshow was done with people performing unspeakable things to blowup dolls behind a screen.
Remember I said there is funny facial hair? Well, in slashing the parts of the virtuous couple, the remaining characters inherited some of their business. Clarice takes Hesperus androgyny to new heights. She’s kept her previous 18th century cotton candy hair, part of which doubles as a beard! She’s also wearing the bustle of her dress, without the actual dress (Ecclitico has warned Buonafede that them lunar dwellers have unusual habits and fashions). The bustle is worn sideways, which means the hip-side is sticking out at the front and at the back. At the front there’s a moon-face – for mock modesty – which is being made much fun of during her duet with Ecclitico and keeps poking him. Cecco, who gets to be the Emperor of the Moon, wears a Michelangelo’s David suit, complete with large cod piece. An inflatable planet Earth is hung in the sky and “comets” flash by. There’s more of the same and mostly very funny.
The singing was pretty good, especially from Slater’s Buonafede and Harrington’s Clarice. Nobody was poor but I think the lack of variation in tempi might have hindered all. Most arias as well as the orchestral bits ended up sounding similar, with a few flashes of energy at rather unexpected moments. Martha Jones’ (Lisetta) intensity, for instance, varied even during the same aria. Sometimes it was spot on, other times I was on the brink of losing interest. Christopher Turner (Ecclitico) and Ronan Busfield (Cecco) were hilarious dramatically but I felt the singing missed a certain spark. Generally there was a lack of focus to the sound that kept the musical part from being as enjoyable as it could have been. However, the wedding ceremony ensemble came off rather well and it all ended in much hilarity.
- The coloratura in La fille du regiment does sound like a complete piss take. ↩