|
|
By Alan, on March 21st, 2012
A CD is being released by the British library which is going to contain some of the most famous speeches from Shakespeare’s plays. What is different about the speeches is that they are going to be pronounced in the way that they would have been at the time of writing.
The release of the CD follows a series of productions that were conducted with the language being spoken in the way it would have been at the time. These productions were put on at the Globe Theatre in London as well as universities in Nevada and Kansas in the United States.
The project is being led by Ben Crystal, an actor who was involved with one of the productions involving original pronunciation. He is responsible for recording the speech seen at the opening of Richard III and he says the project is really something that has caught people’s imagination.
He commented, “Shakespeare today has a tendency to be performed with received pronunciation. This can make it difficult for young people going to see the play to relate to and it certainly wasn’t spoken in this socially elite manner when it was written.” The CD is going to be available in early May.
By Alan, on March 20th, 2012
The future of the English National Ballet is in question after a bad year for the company. They toured with the rather dreary production of Strictly Gershwin, which was not met with particular acclaim. As well as this rather uninteresting performance, they were hit with the departure of the managing director, Craig Hassall, and the forthcoming departure of the Wayne Eagling, the artistic director.
Rather surprisingly, the spirit of the ballet has been greatly lifted as they have recently started a new programme which is so innovative it shows that the ENB is simply something that can’t be kept down, even with all the bad news of late.
The new production is a take on The Firebird by Stravinsky and it has been adapted by George Williamson. The production has a vivacity that hasn’t been seen at the ENB for some time and it is an interesting production which is very exotic.
The costumes in the production are fascinating and despite this, they are only a small part of the overall spectacle. The finale of the ballet is particularly impressive and it is set alongside The Rite of Spring, which has been powerfully adapted by MacMillan
By Alan, on March 13th, 2012
 Sergei Polunin, the Royal Ballet star who sensationally walked out last week without explanation, is now no longer able to dance in the UK after the revoking of his work permit.
This latest news places a serious doubt over whether the 22 year old Ukrainian star will be allowed to perform at the English National Ballet’s gala evening next month.
Polunin, who has frequently been compared to the ballet legend Rudolf Nureyev, is believed to have said to the Royal Ballet that he intends quitting dancing altogether, and that the enormous pressure on him was simply too much to take.
He became the youngest ever principal dancer of the prestigious company at only 19, only 6 years after he had arrived in the UK from the Ukraine.
His UK work permit was conditional on him being employed by the Royal Ballet, and a spokesman has now confirmed that as he has now resigned, Sergei has lost his right to work in Britain. Following his walkout, the company was obliged by law to inform the UK Border Agency, who in turn revoked his work permit. The Government body refused to comment on anything to do with Polunin’s case.
It was during rehearsals for The Dream, which has since opened at Covent Garden, that Polunin dropped his bombshell on the director of the Royal Ballet, Dame Monica Mason. Dame Monica has since spoken of her shock at his seemingly snap decision, and said that she desperately tried to change his mind.
It is also understood that the company’s executives smoothed the path that enabled him to dance several days later at Sadler’s Wells. He appeared in the show Men in Motion, which ironically was produced by another former rebel of the Royal Ballet, Ivan Putrov.
The English National Ballet are now working hard to resolve the issues surrounding the performance Polunin is supposed to be giving next month. Wayne Eagling is their artistic director, and he is hoping to interest Polunin in taking a permanent position with his company by offering him the opportunity to train with them. The ENB, however, is unable to offer the kind of salary that he would have enjoyed at the Royal Ballet.
Polunin has, as yet, given no clues to his future plans, and rumours have been ranging from him joining a rival ballet company in either Russia or the US, to him working full time in the tattoo parlour in North London that he co-owns.
All the dancer has said is that he is undecided about his future. He is thought to have become very frustrated about not being able to make guest performances elsewhere and has also spoken out about the treatment of ballet dancers. Polunin has started Tweeting, and the night before his decision he posted on Twitter that ‘he just has to get through one more night then he would make his next move’, his status also changed to ‘principal dancer of ?’
A ballet insider said of his walkout that it was a far from brilliant decision in career terms, as he was given huge backing from the Royal Ballet, and was their biggest star.
By Alan, on March 9th, 2012
 Sergei Polunin shocked the world of dance when he announced on January 24th that he was resigning from the Royal Ballet.
As he was their brightest star atonly 21, it seemed bizarre that he would suddenly just drop out of his position in the spotlight while at the top of his game.
Even more confusing is the fact that Polunin did not offer any explanation for his resignation, which has opened the door for the rumours to start spreading.
His last appearance in a UK performance took place on Sunday in Men in Motion which was presented by Ivan Putrov. The show was highly attended as many feared they would not get to see him in the UK again, since he only had the right to perform in the UK based on his Royal Ballet contract.
The programme was interesting given the fact that it also featured Daniel Proietto from Argentina, Igor Kolk from the Mariinsky Ballet, and Aaron Sillis. The only female in the cast was Elena Glurdjidze from the English National Ballet.
In 2010, Putrov left the Royal Ballet at age thirty without any reason given either. This is significant because just like Polunin he is also Ukrainian and is also considered to be solitary and melancholy at times. When he left the Royal Ballet rumours also circulated that there may have been problems with a female to blame, in the same way that many believe a female is what led to Polunin leaving so abruptly.
Seven months after leaving the Ballet Company Putrov had an appearance in a play, but injured himself and had to leave the cast. In the meantime while he was recovering he raised money and staged Men in Motion. The play was meant to be his statement piece that would bring him back into the world of contemporary dance.
Some might be afraid that Polunin’s announcement would have stolen the thunder and applause out from under Putrov’s nose, but in true poetic justice it had just the opposite effect. Instead, the shocking news helped to make sure that the show sold out allowing Putrov exposure he otherwise might never have received.
Men in Motion aims to highlight male dancers as stars in their own right instead of just an accessory that is used at the side of a ballerina. Kolba opened the play in the role of Le Spectre de la Rose, dancing wonderfully in a rose petal costume that stood out against a gloomy backdrop.
Up next in the line-up was Polunin taking on the role of Narcisse, and he made his last appearance once worth remembering as he demonstrated just what the dancing world was about to lose. With perfect jumps, line, form, and absolute command of the stage it was hard to look away from him.
By Alan, on March 2nd, 2012
 The already dramatic poems of William Muller inspired the ageing Schubert to write a libretto based on their words; a libretto that became one of the composer’s most emotional works, Winterreise.
Muller died before he could hear the finished work – indeed, even before he even knew Schubert was working on the musical piece – and Schubert himself died a few months after completing the masterpiece.
Little wonder that critics at that time were shocked by its morbid sentiments, and that performers ever since have struggled to set the right tone.
Samuel Beckett described it as the best work of art ever created, and some of the most famous voices throughout history have tackled this difficult and disturbing piece. Regarded as a classic recording of Winterreise, the version created by Paul Lewis on piano and tenor Mark Padmore is performed twice a week at the Wigmore.
Different performers give the songs their own individual touches, and nowhere is this more evident in the Padmore/Lewis version than in “Gute Nacht”, the opening number in the Winterreise.
Whereas others have kept this lament for a lost love soft and tender, Padmore and Lewis have built it into high drama, a taste of what is to come. At times, the performance feels over-dramatised; more grand opera than the intimate conversational style that both Muller and Schubert were aiming for.
However, the duo come into their own in the last five songs of the Winterreise, managing to retain the original feel of the piece while putting their own stamp on the performance. “The Inn” which tells how the protagonist is turned away even by the town’s graveyard is sung by Padmore with such despair and genuine emotion that it is hard to forget he is still among the living.
However, fans of either Schubert or Muller looking for a definitive version of Winterreise should enjoy the live performance by Padmore and Lewis, but by the vastly superior recording by vocalist Christian Gerhaher and his pianist Gerold Huber.
By Alan, on March 2nd, 2012
 It has been one month since Sergei Polunin made the announcement that he’s going to be leaving British ballet behind.
This came as a great shock to the Royal Ballet, and the reasons for its departure have not yet been made known.
It has also recently been announced that the English National Ballet’s artistic director is going to be departing; he has also not given any indication as to why he is leaving the Ballet.
There was a recent documentary detailing what goes on behind the scenes at the English National Ballet and this brought the director, Wayne Eagling to a much more prominent position within British ballet. He has said that he will be leaving the ENB when the season finishes in August.
The ENB have not issued a statement about why he is leaving, but they have said that it has been agreed by both parties. Mr Eagling himself has also not been available for comment and he has only said that he is found his time with the ENB very enjoyable. This is the second significant departure of people from the ENB in two months, the managing director, Craig Hassall departed last month.
ENB chairman, John Talbot, has commented, “While Wayne has been at the company we have enjoyed a tremendous amount of success. His contribution has been truly outstanding and we are looking forward to being able to collaborate with him in the near future.”
Interestingly, back in 2010, Mr Eagling said that he wanted to remain at the ENB for at least 10 years, despite having only a five-year contract. In the interview where he made these remarks he did comment that he was frustrated by some aspects of the company.
By Alan, on February 22nd, 2012
 Vladimir Jurowski is known for being a rather contradictory composer and he is currently adapting the Prokofiev series that is being put on by the London Philharmonic Orchestra. One song in the series that he has made particularly unusual is Symphonic Song Op. 57 and it does not seem that the title of the song really applies to how it sounds in his composition.
There are numerous solo strings in the song which seem initially ugly to the listener but after a short while you can see that there is a certain amount of beauty in it. It is also unusual that the tuba gets such a prominent position in the performance and this certainly makes it one of the most provocative pieces that Prokofiev has ever created.
There are numerous juxtapositions throughout the performance from instruments such as strings and the flute as well as the contra bassoon and the oboe. What is unmistakable is the opposition that he utilises between the brutish and the lush. As a listener, it can be sometimes hard to work out what is part of the composition and what is just poor performance however.
This was one of the only disappointments in an otherwise excellent selection of music. The pianist Stephen Osborne did a fantastic job of performing the fifth Piano Concerto. His performance was spectacular and left the audience somewhat breathless. The way he can play the piano with such power and at such speed is remarkable and leaves those listening with a real sense of magic.
Prokofiev’s fifth Symphony previously won the Stalin Prize and in response to this he created a sixth Symphony. This piece of music is set in a post-war situation and there is obviously some sort of countdown to a catastrophe although the audience don’t know what this is.
The piece of music seems more awkward and uncomfortable than it is understandable and overall it is not particularly enjoyable. The performance by the orchestra is wonderful however and they make an incredible job of realising the music and the audience will be bowled over by their performance abilities.
By Alan, on February 22nd, 2012
 Romeo et Juliette is an unprecedented Symphonie Dramatique from Mark Elder and it is a work that doesn’t really re-enact the drama, but it allows the audience to reflect on how pleasant it is to hear it. This is a rather rare experience that Mark Elder has recreated perfectly.
It is a hybrid symphony that is as unpredictable as it is compelling. Throughout the production you won’t know where it is heading even though the story of Romeo and Juliet is very familiar.
The story of the star crossed lovers is incredibly pure and the music that goes with it in this production is just a perfect representation of this.
The production is so well put together that the feeling that he could ever require a script never comes into the mind of the audience. It seems as if the various musical instruments are completely capable of speaking louder than words. The various sounds portray not just the sad moments of the play perfectly but also the exuberance and sumptuous moments.
An example of this would be the music played during the Great Banquet scene. This utilises a tambourine in a fantastic way and the musician using it handles are perfectly. He manages to use this very modern instrument in a way that seems perfectly matched to the setting of the production.
The love scene is probably the most pivotal in the entire play and it seems that not even the words of Shakespeare himself would be able to match the power of the string section of the orchestra. The music being played seems so intimate and touching that it could not be matched in any way by words.
The only part of the entire production that could be criticised is the final scene and the only reason that criticism could be aimed here is because it seems a little bit average when compared to the rest of the production. However, when you consider that the rest of the production is so exceptionally good, the audience won’t really mind. Everyone leaves the theatre having seen this production absolutely elated.
By Alan, on February 18th, 2012
 Currently being performed at the Royal Opera House in London, Francesca Zambello’s classic 2002 staging of Don Giovanni has more than its fair share of spectacular moments – as well as a few that don’t quite hit the mark.
The opera is the first part of a series of three Mozart and Don Ponante revivals being staged by the company, but as the longest and the most slow-moving of the trio on offer, Don Giovanni would probably have fitted in better later in the year, rather than as an opener.
Even the stage design, normally handled so well by the company’s talented designer Maria Bjornson, is either not up to her usual standards or has been altered beyond recognition by forces beyond her control. The burned walls, decorated with scorched crucifixes and flickering candles, may be meant to symbolise Don Giovanni’s descent into hell, but it is hardly a fitting way to remember Bjornson, who will be leaving the company at the end of this season.
And yet the overture promised so much; crisp and conducted with vigour by Constantinos Carydis it suggested that this was to be a Don Giovanni with a real sense of purpose. Sadly, Carydis soon fell into the old trap which has caught many opera composers before him, allowing his singers to dictate the tempo and turning a powerful overture into rather turgid acts.
The women in the cast came out of this performance slightly better than their male counterparts, particularly Katarina Karneus, displaying a previously unknown range in her portrayal of Donna Elvira’s madness.
Matthew Polenzani as Don Ottavio even managed to steal the show from the usually more interesting characters of Don Giovanni and Leporello, thanks to the slow and steady performances by Gerald Finley and Lorenzo Regazzo. There was nothing wrong with either man’s technique, but neither has a talent for the comedic aspects of this opera, which often felt forced at times.
By Alan, on February 17th, 2012
 The Park Lane Group’s annual showcase is a great draw to all young musicians and composers every year, given the fact that the scheme showcases upcoming ensembles and artists that truly are masters of the 21st and 20th century musical scores. Alumni of the performance in previous years include Cilo Gould, The Nash Ensemble, Imogen Cooper, The Belcea Quartet, and Steven Isserlis.
Of course there are thousands of others who never quite made it, but you can bet that they are still hard at work bettering the music of others working as PLG artists or teaching future musicians. The world of PLG is the perfect destination for most serious musicians given the fact that it is both renewable and self-sustaining.
However, composers often have a better standard of living than the actual musicans given the fact that most musicians cannot make a sizable living from playing contemporary music but composers get a cut every time their songs are performed. Therefore, PLG artists have to make sure their renditions of classics are exciting enough that a listener would want to see listen to them again and again. For this reason, most of the music included in the concerts throughout January is exceptionally crafted and performed.
In particular, the first two concerts are worth extra notice because the soulful nature of the musicians is obvious. For instance, throughout David Matthew’s Duet Variations, the flute performance by Rosanna Ter-Berg offers a dark, deep tone that cascades through the heart of the piece.
Also imaginative is the Flute Music with an Accompaniment by Edwin Roxbugh that is even better when paired with the piano played by Leo Nicholson. By the end of the piece most patrons of the orchestra will have chills running down their back; which is just how it should be.
It’s not all about musical instruments however as the beat-boxing workout HandsFree performed by the National Youth Orchestra that used their fingers at points in the performance is quite a thrill to watch.
Given the fact that it’s part Mexican and part tribal, the tune is almost enough to get your foot tapping which is not so traditional for classical music performances. At this point it is all about listening for rhythm and while it may not be the highest level of musicianship, it sure is fun to watch with some great music worked into the compositional piece.
|
|
