Edinburgh 2006 (and a shameless plug)

Sounds like lots of fun, have a good time Tam

I intend to [very big grin smiley]

Though I suppose I should give some thought as to when I may be able to sleep....... [slightly more worried smiley]

regards, Tam

The Radio 3 broadcast schedule is up. All the Beethoven's present and accounted for [very big grin].

http://www.bbc.co.uk/radio3/edinburgh2006/index.shtml

regards, Tam

Just keep away from Rose Street Tam. Or you might not remember seeing anything.

Well, I've only had time to see one of our plays, but 1984 is fantastic (my review can be seen on our website).

Haven't been near rose street since the madness began but.....

regards, Tam

Very sad news tonight. Apparently, this insanity at the airports mean that the Orchestra of St Luke's, who had been due to play under Donald Runnicles on Wednesday, will not now be visiting, as they will not be allowed to take their instruments onto the plane.

Though there is nothing on their website, I assume this also means the cancellation of their Prom on Thursday.

I will refrane from political comment here about the wisdom of this (since I would rather keep this thread devoted to music), but I think if the situation continues it would be a terrible shame.


regards, Tam

p.s. for the concerts themselves, I start tomorrow with a Weill double bill but my brother who was at this evening's performance of Struass's Elektra said it was stunning (which bodes well, since Edward Gardner, the conductor, has just been appointed as music director of ENO and I was concerned that given the shortness of their search they might not have wound up with the best candidate)

Well, it has been a bad few days for cancellations. To add to the St Luke's problem, Troilus and Cresdida had to be abandoned after act one due to mechanical problems with the set (fortunately I'm not going until later in the week, or possibly even next).

I was at a stunning Brecht/Weill double bill (which is running and the Festival Theatre for the next two evenings, approx 2 hrs at 7.15) and I cannot recommend it highly enough. The fact that director Francois Girard is also a film director shows and aides this very much. Indeed, from a production standpoint this is one of the most satisfying operas I have been too.

As a work the Lindbergh Flight is not the most satisfying in the catalogue. Celebrating the first trans atlantic flight, it comes from early in the Brecht/Weill partnership and it could be argued this shows. Brecht's decision to introduce each part with an actor playing him shows that he likes the sound of his own voice rather too much and without enough cause. However, once the curtain rises all such doubts are removed. The set is stunning:



The 'plane' moves in an arc from one side of the stage to the other, in front of the world map, as the drama progresses. There are so many nice touches - the 5 clocks, each an hour faster than the last, all moving slowly round. The countries that make up the backdrop are in fact in front of the rear screen onto which there are some excellent projections. It's well played and sung, but I suspect that with a poor production it would drag. This, however, is a joy to watch.


The Seven Deadly Sins is far superior, both in terms of the text and the music. I am a little reluctant to describe it as an opera, almost more a cross between opera and ballet.

The story tells of Anna I and II (essentially two halves of the same character). II is played by 7 different dancers, each of which goes through a sin as Anna goes on her quest to earn money for her family back in their home state (as she does so their house rises at the back).



There is the bite that on music/lyric that Brecht/Weill has its best. And the Gun-Brit Barkmin is superb as Anna I and the choreography is a joy to watch (and I'm not normally much of a fan of ballet). The libretto is nice too.


Throughout both pieces, the playing of Opera de Lyon under Roberto Minczuk is excellent as is the singing of the chorus. The set design of Francois Seguin also deserves a mention.

This is playing tomorrow and Wednesday and if you are in the area I urge you to go (I may even go and see it again now that I have a night off due to the St Luke's cancellation).

A wonderful start - Mackerras and Beethoven 3 tomorrow [there isn't really a smiley that does a big enough grin]

regards, Tam

p.s. more pics here

Dear Tam, Cool pics..Must have been a memorable night. By the way is that a she-devil with a male member between her legs or is it just my servers low resolution? .. Regards.. Big Brother..

Well before Tam get in with his Makerras eulogy I thought I'd add my tuppence worth.

Tonight it was Beethoven's 3rd symphony with CM conducting the Scottish Chamber Orchestra. It was a one piece program, designed to fill an early evening slot before the main Festival Event. Looked like a full house to me.

I should say upfront this is not my most favourite Beethoven Symphony, I find it a hard piece to appreciate as a whole. Somehow for me the bits don't gel as one - maybe one day.

I begin by saying this was an enjoyable performance. Particularly during the numerous quieter passages where the string playing was done rather differently to what I was used to. The bow was being used to strike the strings as much as being drawn across the instruments. I know there will be a name for this.

Where I felt the chamber orchestra strugged a little was on the very dynamic passages where maybe they were not able to produce a huge, coherent sound. (maybe they too need a hicap !)

I was sitting very near the front and had a great chance to watch the musicians with all their different mannerisms and expressions.

Nr 6 comes up next Tuesday, so it will be very interesting to contrast.

We sure are lucky to live in a city with a festival like this.

Ian

Dear Ian,

While not a hicap, I think not being under the balcony would have made the world of difference given what you say.

I found the Beethoven fascinating. In many ways it was very different from his CD account. A little slower and, in a funny way, with a lot of the orchestral contrast that I raved about with the Davis cycle. Indeed, I think part of this contrast was down to Davis's use of the Dresdeners (superior to Mackerras's RLPO on cd), I think it fair to say that the SCO are in a leauge above what the RLPO managed too - though, again, I think the imperfect, in places, accoustic of the usher hall, make this a not entirely universal assessment.

I find the finale of the work doesn't always hang together but I was bowled over from start to finish.

I'm so glad they're broadcasting these since this combination promises to be one of the most convincing I have heard.

I also feel the 'one work concert' idea works rather well.


After a rushed dinner, I was at a rather disappointing Das Lied von der Erde. It was from the RSNO under someone of whom I'd not previously heard called Reck. The whole thing was just rather cold (though everyone else seemed to have enjoyed it far more than I did) and the conductor didn't really acompany the singers very effectively. He went in for a lot of jumping about on the podium, but when he did it often seemed the orchestra didn't (contrast this with someone like Marin Alsop).

After a somewhat lacking start from Skelton (the tenor), I warmed to him. However, I found Jane Irwin's voice rather lacking in character and emotion (except during a few passages towards the end). Perhaps I have listened to accounts from the likes of Ferrier and Baker too many times and just expect too much


However, the highlight of the evening was !SHOCK! not Mackerras! In a disappointingly sold Bruckner 1 from Oramo and the Finish Radio Symphony Orchestra. I have always been rather fond of this work and they played it to perfection. Oramo's energy on the podium is quite something and the way he held the tension in the work was just wonderful. I strongly recommend tuning in when R3 broadcast it in september (the other Bruckner performers now have a very tough act to follow).


Tomorrow I have exchanged my Runnicles/St Luke's ticket and, so much did I enjoy it, am going to the Weill again! I must be mad!


regards, Tam


p.s. Big Brother - I think I see the picture you mean - good question. I shall look more closely tomorrow but suspect it may be a trick of the light.

Tam - I was in the 4th row from the front for this one - I'm towards the back next week.

Maybe I was expecting too much, expecting to be bowled over and merely enjoyed it very much.

The one piece format does work well if one can schedule around it.

Real shame about the Runnicles which I recall you recommended to me a week or so back. Funnily enough the very next day I was radio channel hopping in the car and came across R. Scot. playing Mozart 'Jupiter' and was grabbed immediately by how good it was - really gripping. Guess who - yep Runnicles/Luke.

Ian

Fair enough Ian - it's been ages, if ever, since I sat that close (so I can't remember how the sound is there). All I can say is that from the dress circle there was no want of clarity in the loud passages.

quote:

Real shame about the Runnicles which I recall you recommended to me a week or so back. Funnily enough the very next day I was radio channel hopping in the car and came across R. Scot. playing Mozart 'Jupiter' and was grabbed immediately by how good it was - really gripping. Guess who - yep Runnicles/Luke.

You recall correctly. Does that mean they have put this onto CD? (I fear more of my money is immenently bound for amazon).

regards, Tam

I have found it (or, at least, track listing not withstanding, I think I have):

http://www.amazon.co.uk/exec/obidos/ASIN/B000096FTR/qid.../026-2527484-3586045

regards, Tam

Well, Sir Charles started as he meant to go on. For the last two days I've had the closing chords of Bruckner 1 ringing in my head (very unfairly given 3 stars in the Scotsman - it seems he had no real complaint with the reading but rather the work itself). Had I not been to that it would certainly have been the Eroica instead. Now I can't get rid of Beethoven's second (and what a wonderful problem that is to have).

Interesting, as I rode the bus from work to the Usher Hall, I couldn't for the life of me recall the work at all (and it isn't one of Beethoven's most memorably tuneful). However, the moment it started I knew exactly where I was and I knew what movements were coming next. However, in one of the hallmarks that separates good conducting in Beethoven from bad, the notes never fell exactly when I expected - Mackerras holds this sort of drama better than any in this repertiore.

The orchestral colour was had the same variety that I mentioned in my review of the third. Interestingly, and this struck me in the third too, Mackerras was a little more understated on the podium than I have seen him. Perhaps this is a sign of just how well he knows the SCO and vice versa.

However, the excitement with which they played this work made it all the more disappointing that the hall was much less full than on Tuesday. Beethoven's less favous works seem to suffer in this regard and as Mackerras shows, unfairly so.

regards, Tam

This evening's second concert was a touch disappointing in contrast. Volkov and the BBC Scottish were on duty for Bruckner two, so I had high hopes as this team have impressed me greatly ever since I first heard them at a festival concert a few years back when they played Bluebeard's Castle.

And they played well tonight - some of the string playing and the woodwind (especially the bassoons) was wonderful. However, as whole, it didn't quite seem to hang together. Perhaps because this was the earlier version (where Bruckner placed the movements andante-scherzo) or perhaps because unlike the four other people I was with, I had not managed to have a glass of wine (or two) before hand. Interestingly though, of the 3 recordings I have, I notice both Jochum and Solti play it the same way with only Tintner choosing the later version. I shall have to have another listen to Jochum some time and see how he pulls the work off.

Certainly, it lacked the visceral excitement that Oramo and his band bought on Tuesday (but, in fairness, I think only part of that was down to Oramo, the rest to Bruckner himself).

Again it was disappointingly sold - I expect because the work is less known - it will be interesting to see how the crowds are for 4, 7, 8 and 9. I hope Runnicles gets a good one for 6 (which is one of my favourites). Then again, there seems to be a strong negative correlation between the size of the audience and the quality of their behaviour!

Tomorrow I venture to theatre to see Troilus and Cressida (Peter Stein is in the directors chair) so it should prove interesting.

regards, Tam

Briefly (since it's not really music), Troilus and Cressida on Friday was enjoyable and I'm glad I saw it (this is actually my first venture into drama at the International Festival). I didn't know the play at all (and judging from someone I know who was also at the performance, this seems to have helped). As I mentioned above, the first night had to be cancelled after problems with the set (a huge mechanical wall that moved back and forwards - back for the Greek camps, forward for the scenes within Troy). This really got in the way, especially given the noise it made (though this was often covered by some really rather effective music). By the end I couldn't see why they couldn't have gone on - except if htere were health and safety concerns, otherwise it seems rather a feeble decision. However, the production did get in the way, especially when a bed was noisily flow in for Helen and Paris to get it on in (indeed, it ruined the end of the previous scene). Helen herself was rather sickeningly thin (I don't find it attractive to be able to see a woman's ribs like that and if this was the face that launched a thousand ships, then I'm the pope!). There was too much nudity in general (I don't really think we needed to see Troilus full frontal).

However, there was some wonderful acting - especially David Yelland giving a wonderfully undstated Ulysess (which didn't convince me initially but then was so clearly the real power and not Agamemon). Indeed, it was almost entirely well acted (save for Troilus playing rather too much to the audience). The major complaint, set aside, would probably be that pacing could have been swifter. Still, if you're in the area, it's at the King's Theatre until the end of the week and worth seeing.

Apparently at the same time in the Usher Hall, the minor Rossini opera (in concert - part of a series Peter Moores has been funding) was deathly dull - with a total lack of chemistry or interaction between any of the singers. Interestingly, at Troilus I ran into a relative of mine who sings in the SCO chorus who are a little put out at having nothing to do this festival (though they did perform something on the fringe, which I couldn't make as I had to fly south for a wedding, which sold out), the job on Friday being given to the Festival chorus despite the fact it was the SCO playing. Apparently this was a political thing as it was felt the festival chorus hadn't enough to do as a big project slated for them had fallen through. However, he said the emotions were a little mix as while they'd like to have been given something, they also were none to keen to be doing another Rossini.


Saturday was something else. Now, I know I have said in the past that the Mackerras Beethoven cycle is my favourite, but if I am being brutally honest, it's weak link (to the exten it has one) is the first movement of the 5th which doesn't quite surprise and in the way the rest does and has rather too steady a tempo. Not so last night. Sir Charles gave a magnificently powerful reading with some absolutely lovely playing throughout. This was the sort of 5th where the whole finale had you on the edge of your seat, jaw dropped and mouth dry. It is the same kind of exhilaration I had when I first heard the 7th from Harding. I put that experience down to the novelty of the symphony but that cannot have been the case here - suffice to say I now cannot wait until next Saturday's 7th.

Another thing that struck me is much you get from a cycle (even if not in order). It struck me that the 5th in some ways mixes sucessful elements from 3rd and 2nd (in many ways, the opening bars are a progression from he eroica, yet it shares the same sort of codas that mark out the finale of outer movements of the 2nd). It was unsurprisingly well sold and (which I thought nice) a lot of (almost entirely) well behaved children. I think one of the real strengths of this format is it opens a concert up to children by providing such a brief programme.


Later in the evening we had Bruckner's 3rd from Herbig and the RSNO. I barely know the work but enjoyed the work very much (even if I am finding the RSNO just too loud in places). I had felt that hearing the cycle might be a problem and things might get samey but interestingly I'm not, indeed, I think it's remarkably illustrative of the way he developed.


Tonight was a real highlight too: the return of the Gustav Mahler Jugendorchester of whom I have often raved, under Philippe Jordan. They started with Webern's 6 orchestral pieces (op.6). I don't know if it's because my tastes (or experiece) for this sort of modern music have expanded, but it eclipsed the RSNO's reading of 3 years ago by some margin and the 4th in particular provided a showcase for the orchestra's percussion (which I always feel is the finest of any orchestra). Only in the 5th minature did I slightly feel that I would have liked a little more on some of the sounds he developed.

Then Susan Graham joined them (I'm sure I either have her on CD or have seen her live but have been unable to place her) for Berg's 7 early songs which I thoroughly enjoyed (though most of my companions had seen these done by Soile Isokoski accompanied on the piano in a chamber recital just a few days earlier and were thus less impressed). In the first song I wondered if the orchestra were a little too loud, but I think this may have been deliberate since in the rest he brought the orchestra perfectly underneath her voice.


In the second half came Mahler's 5th. I am always a little concerned in the 5th because so fine are the first two movements that what comes next can too easily be a letdown. These were played with such energy and elan (with special mention for the first trumpet who performed his solos to perfection) that I was sure it was going to go this way. However, he played the scherzo masterfully (and in a way I've not heard before) gradually taking the tension down until the beautiful adagio seemed the most natural thing in the world (special mention to the first horn was wonderful). They didn't miss a beat as some poor soul in the organ galley passed (though she was revived and seemed okay by the end of the movement and made an exit during a very loud passage of the finale). The finale was wonderful too and it really sat together a piece for me. They seemed to be recording it (though Radio 3 makes no mention of any broadcast - what a pitty).

Jordan had a wonderfully understated style to his conducting (which seems to be rather in vougue these days - Mackerras's has been similar - indeed, I'm told from friends who were in the organ gallary for the 5th that at times he was merely wiggling his fingers - yet one of the special things about the cycle has been to witness the absolute concentration beetween conductor and orchestra - I have never seen an orchestra so obstinately refuse to stand and take applause when Mackerras kept gesturing to them to do so).


All in all, some stunning music and so far this has been a really special year.


regards, Tam


A brief postscript though, on manners. The last two nights I have had to shush people in front of me who were talking. Last night at the Bruckner the woman in question gave me one of the most filthy looks I have ever had. Someone mentioned to me that it was perhaps better to gently tap on the should and then put one's finger to one's lips (otherwise one is almost making as much noise as the offender). Tonight, fed up with the gentleman in front of me who wouldn't stop talking, I tried this, he didn't look round so I was unable to gesture but it did have the desired effect. However, as the applause was dying away he turned and demanded to know if I'd "poked him in the back", he didn't have an especially pleasant expression so I decided it probably wasn't a good idea to explain I'd only tapped him on the shoulder, not poked him. However, I did tell him in no uncertain terms that if he was going to talk during a performance he might expect such treatment. He then, rather threatening told me never to do it again to him or any other person in the audince (actaully, he said not to give him the finger, which I thought was something rather different) ever again, the distinct impression being that if I did some kind of physical violence would be forthcoming. I very politely pointed out that if he sat in front of me again, and talked during the performance again, he might reasonably expect something similar to happen again. I suspect he was all talk as he gave stopped pressing the point and left. However, it did leave me rather unsettled and was extremely unpleasant. It leaves me wondering whether I should genuinely not bother (as I really would not like to get punched in the face or anywhere else for that matter) and just ignore poor behaviour. However, ignoring it only sends the signal that that is okay.

Any advice from forum members (particularly those with cooler heads than mine) gratefully appreciated.

quote:

A brief postscript though, on manners. The last two nights I have had to shush people in front of me who were talking. Last night at the Bruckner the woman in question gave me one of the most filthy looks I have ever had. Someone mentioned to me that it was perhaps better to gently tap on the should and then put one's finger to one's lips (otherwise one is almost making as much noise as the offender). Tonight, fed up with the gentleman in front of me who wouldn't stop talking, I tried this, he didn't look round so I was unable to gesture but it did have the desired effect. However, as the applause was dying away he turned and demanded to know if I'd "poked him in the back", he didn't have an especially pleasant expression so I decided it probably wasn't a good idea to explain I'd only tapped him on the shoulder, not poked him. However, I did tell him in no uncertain terms that if he was going to talk during a performance he might expect such treatment. He then, rather threatening told me never to do it again to him or any other person in the audince (actaully, he said not to give him the finger, which I thought was something rather different) ever again, the distinct impression being that if I did some kind of physical violence would be forthcoming. I very politely pointed out that if he sat in front of me again, and talked during the performance again, he might reasonably expect something similar to happen again. I suspect he was all talk as he gave stopped pressing the point and left. However, it did leave me rather unsettled and was extremely unpleasant. It leaves me wondering whether I should genuinely not bother (as I really would not like to get punched in the face or anywhere else for that matter) and just ignore poor behaviour. However, ignoring it only sends the signal that that is okay.

Any advice from forum members (particularly those with cooler heads than mine) gratefully appreciated.

Dear Tam

This is in a way a small-scale terrorist-problem. Some people want to threaten us physically to give in to their claims. The person in question seems from your description to be rather fanatical. Negotiations considered impossible. There are only two practical reactions: fight against him or give in. You have to consider your purpose in relation to the risk, you run. In this situation I would give in.

Kind regards,

Yesterday I had the pleasure of seeing and hearing Makerras conducting the SCO for Beethoven's 6th Symp. It was great (IMHO). In particular I enjoyed the 2nd movement which was played with great togetherness and emotion. Organic is the word that sprung to mind. Then along came the 3rd movement which was an exciting, gripping rollercoaster ride. Brillant.

I know some folk are not that enamoured by the 6th symph, but I always liked it. It is very accessible to the classical newbie, and rarely disappoints.


... and I didn't get punched in the face !


Ian

Dear Ian,

Glad you enjoyed the 6th.

On Monday I was nearly at Schumann's Manfred, nearly because I'd been feeling poorly all day and only made it through the first half. To be honest, for the first time, I was a little disappointed with the BBC Scottish under Volkov. Not helped by the fact that I am not convinced that the Genoveva overture is his finest work. This was followed by the konzertstuck for 4 horns and orchestra. I will charitably assume that one of the horns dropping out at the last minute (and thus the others having to switch parts) is what accounted for the lacklustre performance and large number of fluffed notes or missjudged entries. That said, those who stayed for the second half reported that Manfed had been well worth seeing.


I must confess that the 6th is probably my least favourite Beethoven. I think the first two movements can drag a little and the best stuff is in the middle. Still, Mackerras played them about as well as I've heard (save E Kleiber on disc). The third movement was quite lovely (especially the bassoons) but I was stolen by the 4th - never have I heard it sound quite so convincinly like a storm all the textures, rain, wind etc., seemed to be there.

For those more knowledgeable I might pose a question. Is Beethoven better with a small band. I think we're hearing things in this cycle due to the different balance between the strings and other groups that one doesn't normally hear with larger groups (save perhaps Davis with the Dresdeners).


Beethoven was followed by Richard Goode, the Budapest festival orchestra and Fischer playing Brahms' first piano concerto. I really should have learnt my lesson from hearing him play one of the Beethovens a few years ago. For the first twenty minutes or so I couldn't decide whether there was something wrong with the piano or his playing. However, occassional he did sparkle (and the piano sounded right) so it must have been him. However, the sound he got was horribly muddled, almost as though he were hitting too many keys or the instrument was slightly off tune. I don't know if this was helped by the fact the orchestra did not tune to the piano. Anyway, were I questing for a word to describe his pianism, hamfisted would probably be at the top of the list. He also seemed to play a lot of wrong notes.

I was also none to well impressed by the orchestra (which bodes ill for the next two nights). I have a sneaking suspiscion the were underrehearsed as a number of important notes (the horns especially) were due to underrehearsal.

Perhaps a schooling on the impossible standards of Gilels/Jochum and Fleisher/Szell doesn't help, but I think there is something in the tone of Goode's playing that I find really uncomfortable and I cannot understand the reviews he gets or the standing he seems to have.

Either way, I am not looking forward to hearing them in Bartok's 3rd this evening (fortunately there is other stuff in the programme).


I'm also wondering if 3 in a night is a mistake. Last night finished with the RSNO and Deneve playing Bruckner 4. It was an obscure edition of the score and, in my view, justly so. I think any performance of the 4th is hard as in some ways the finest tune is the scherzo, still, if that is what you come out humming something has gone wrong.

None the less, it was interesting and I'm very glad to have heard it. More interesting to me though, is how the orchestra played for Deneve. I don't know if he's simply not a Brucknerian, or perhaps the orchestra is getting Bruckner fatigue from its rather heavy schedule but up until last night I was thinking I had them rather unfairly placed 3rd in the list of Scottish orchestras in my head. However, here again there was some rather patchy playing at times (including a very poor trumpet entry and the a flautist who didn't quite seem there).

It also marked an interesting contrast to Mackerras. I may have said above that I don't think I've ever seen an orchestra as ruluctant to take a bow when instructed as the SCO are for him in the Beethoven (a former professional musician I know says they only do this for conductors they like). Interestingly, most orchestras you see go some way in this direction (if not to the SCO's recent lengths). Last night, almost before he had gestured they were on their feet.



Tomorrow is the 4th - one of my favourite Beethoven, the the seventh! All are being broadcast on radio 3 to boot, see link at the top of page.

regards, Tam

p.s. I have not been punched in the face either, which is nice. Indeed, I think I have come to the decision that I am not going to shush or get worked up by bad behavour as it isn't worth the hassel (and in many ways things are more enjoyable as a result).

quote:

For those more knowledgeable I might pose a question. Is Beethoven better with a small band. I think we're hearing things in this cycle due to the different balance between the strings and other groups that one doesn't normally hear with larger groups (save perhaps Davis with the Dresdeners).

p.s. I have not been punched in the face either, which is nice. Indeed, I think I have come to the decision that I am not going to shush or get worked up by bad behavour as it isn't worth the hassel (and in many ways things are more enjoyable as a result).

Dear Tam

I dont know, if I am worthy to mention in this context, but YES I really think Beethoven is better with a smaller band, a question of balance. This is one of my points in my forthcoming reflections over Mackerras´ Beethoven recordings. I look very much forward to the live recordings.

Good to hear that you wasn´t knocked out by some shameless plug.

Kindest regards, Poul

P.S. A little difficult no to get a tad envious, regarding all these musical offerings, you have got access to.

quote:

Originally posted by Tam:
... the opening concert - Strauss's Electra didn't grab me

It certainly grabbed me!

Highlights were Jeanne-Michèle Charbonnet as Elektra, and an absolutely stunning performance by Leandra Overmann as Klytemnastra. It was the first time I'd hear Edward Gardner conduct and the performance promised good things of his time to come at the ENO.

ha - turns out I'm in town after all this weekend and managed to still get a ticket for Makarras and Beethoven's 7th on Saturday.

Does mean I have to go to the ballet with the missus on Sunday tho' - not alway my cup of tea.

Ian

quote:

Originally posted by djc:

quote:

Originally posted by Tam:
... the opening concert - Strauss's Electra didn't grab me

It certainly grabbed me!

Highlights were Jeanne-Michèle Charbonnet as Elektra, and an absolutely stunning performance by Leandra Overmann as Klytemnastra. It was the first time I'd hear Edward Gardner conduct and the performance promised good things of his time to come at the ENO.

From your comments (and those of others I know who heard it) I certainly missed a trick by not booking for this one - still you can't win them all when picking through the programme in April.


Ian - Glad to hear you'll be making the 7th, it should be quite something (the fourth tonight certainly was - will post my thoughts tomorrow as it's been a long night). From what I hear the Ballet ought to be quite something and the company doing it seems pretty highly regarded. That said, it isn't really my cup of tea and I couldn't squeeze it in to the rest of my too hectic schedule.


Dear Poul, always more than worth a mention. Regarding his recordings I really think he has been freed somewhat by the smaller ensemble - watching him conduct them is really quite something.

If you'll permit me to wander a litter from topic, a family member, whom I have converted to the harpsichord by means of the Walcha goldbergs was confessing to me that she felt she ought to try Scarlatti thus, rather than on the piano. I have no idea of any good recordings (since I only have Horowitz) but it occurs to me you might.


regards, Tam

Thursday saw the Beethoven continue with the 4th (unfairly maligned, as a step backwards, among his works). I must say, it's one of my favourites and I don't much agree with the oft printed assertion that it is Haydnesque.

Still, Mackerras and the SCO gave it a wonderfully energetic reading with some stunning playing throughout (save perhaps one slightly fluffed entry from the horns).

Interestingly, I observed above just how restrained Mackerras has been in his conducting (and, I suspect partly due to issues with his arms, his style seems to have changed somewhat), however, he has been getting more dynamic and energetic as the series goes on - it is a remarkable performance from a man approaching his 81st birthday.



This was followed by the Budapest Festival orchestra in Strauss's Josephslegende. I don't think it's a good work, and certainly not Strauss's best. It suffers badly from a kitchen sink style of orchestration - was there really any need for that wind machine? Indeed, there is often so much going on that everything blurrs horribly as a result (making the orchestra appear less good than they are). That said, my impression from the 3 concerts I have heard them give is that they are not an especially well balanced ensemble (the brass and also the basses being among the weak links). I also feel that they are to some degree on autopilot and don't seem to respond to the conductor's movements quick as sharply as others.


However, 9:30 and Bruckner was wonderful. I think with the 5th we are into the area of symphonies I really love. The Rotterdam Philharmonic played wonderfully for Ingo Metzmacher and I was glad to be a little further back (some of these Bruckners have gotten so loud my ears have hurt ever so slightly). I love the way Bruckner builds this work and the way that torwards the end so many of the themes from earlier movements make a return. If I had a criticism it would be that some of the pauses could have been held a little better - there was perhaps not the absolute tension that sometimes is there. Still, after the 1st of Oramo, I have enjoyed this of the cycle most. I cannot wait for Runnicles in 6 this evening.


Last night was the world premier of Stuart MacRae's new opera the Assassin Tree. I rather enjoyed it (but for those who don't like modern classical music it would be tedious). Some of those I was with found the production over-laboured but I thought it worked well (the three made up of lights and the digitally projected moon were very good). The words of Simon Armitage were not quite as audible as necessary and reinforce my view that even in English, surtitles are no bad thing.

Still, it's always nice to see new opera (and go to a new venue - the Lyceum - I must go there more often) and only one person walked out!


regards, Tam

Mackerras and Beethoven's 7th tonight. Tam will no doubt be along with some well observed details later but I'll start off with - WOW. I was captivated from the first bar to the last, with my hair standing on end for a fair chunk of the performance. Without doubt one of the best classical concerts I've ever been too (but that only in the tens not in the hundreds like some here).

I loved the soulful cellos at the start of the second movement and the finale was stunning.
I played C. Kleiber/VPO record this morning as a warm up but I can see I'm going to have to spring for the Mackerras Beethoven CD set after these three concerts. I'm sorry to be missing the 9th next weekend!

Ian