A Midsummer Night’s Dream: Not so great Britten

Adrian Hamilton says that ENO’s recent production which put paedophilia into a Midsummer Night’s Dream was a step too far.

Independent classical podcast:  Ronald Corp

Ronald Corp discusses his work with the New London Orchestra.

Dietfried Bernet obituary

Austrian conductor was admired at opera houses throughout Europe.

Ticket allocation at Salzburg and Bayreuth Festivals examined by auditors

Festivals are being criticised for their ticket allocation system, as members of the public find it extremely difficult to obtain tickets.

L’elisir d’amore – review

4 star review of the Glyndebourne production.

Independent classical podcast – Nico Muhly and Craig Lucas interview

Edward Seckerson interviews Muhly and Lucas about the much anticipated premiere of ENO’s Two Boys.

Classical Music well represented in Queen’s Birthday Honours List

Founder of Streetwise Opera Matthew Peacock is awarded with an MBE, and Managing Director of the LSO Kathryn McDowell is awarded a CBE.

Castaway? Patriotic public choose Vaughan Williams for their top Desert Island Disc

The Lark Ascending has been named the favourite by the 25000 people who voted in the special programme Your Desert Island Discs.

Edward Gardner interview for Simon Boccanegra

The ENO’s versatile director has more than lived up to expectations, but he’s now under pressure. Rupert Christiansen speaks to Edward Gardner.

Set The Piano Stool on Fire

Film-maker  Mark Kidel on filming Alfred Brendel and his apprentice, Kit Armstrong.

“Opera Challenge” outreach project returns to Holland Park

Opera Challenge makes 800 tickets available for Opera Holland Park’s production of Mascagni’s L’amico Fritz.

Nicholas Collon

BBC Music magazine meet Nicholas Collon, the newly appointed assistant conductor of the London Philharmonic Orchestra.

The Royal Ballet travel to the O2

Barry Wordsworth, Music Director of the Royal Ballet talks to Classic FM about the challenges of putting on a production at the O2 Arena.

I was looking for any interesting books focussing on the role of social media in a B2C environment – something I am keen to know more about as social media is rapidly becoming more integral to what we do as a company. The first book I stumbled across had an average rating of 3 stars. On closer inspection this average was from just two reviews. The first was a 5 star review, the second a meagre one star with the damning comments “350 pages of the totally obvious”, and “if it was well written, funny or interesting it may get away with its lack of ideas and originality. Unfortunately, it is not”.

Strangely, despite the 5* reviewer being flagged as one of Amazon’s “Top 100 Reviewers” and the reassuring Amazon affirmation that the review was penned under the author’s real name, it was the negative comments from the person who has only felt compelled to review this one book that instantly made me close the window and search for something else.

This made me wonder how reviews affect our opinions of music, both live and recorded. Specifically, do we respect the opinion of the “expert” journalists in the national papers and music magazines (my use of quotations is to avoid offending very intelligent non-journalists, not to suggest that the press are not experts in their field), or is a review from a friend, peer or even stranger online more influential?

I have changed my mind on numerous occasions about purchasing a CD after a friend of mine has said they did not enjoy it (and vice versa – bought something I may not have considered after someone has sung its praises). The same is true for live performances – I have been to see a concert because someone on facebook or twitter has assured me that the performer is worth me spending my money on.

And though I find the opinions of reviewers in the newspapers very interesting – it is not that often that I am convinced to go (or not go) to a live event. Perhaps the reason for this is that many classical reviews are from one-off concerts, rather than a long tour or run, and on the occasions where there is an opportunity to see the concert again, it has been sold out for months already, so it isn’t possible for me to go, even if I now wanted to.

I can think of two big exceptions to this, however. The first being ENO’s 2010 production of Don Giovanni (see our video blog about that here), which outraged the press to such an extent that I felt that I simply had to go and make my own mind up about it (and I loved every minute!). The second was not a review, but a recommendation. Andrew Clements’ “The best classical music for 2011” made me rush off to various websites, yelling “GET ME A TICKET FOR THAT” – his concise list of 2011 highlights was varied and appealing and instantly had me reaching for my bank card.

So what affects your ticket and CD purchases? Do you prefer to listen to feedback from your friends on facebook or the people you follow on Twitter? Or does the printed press send you running to (or from) the concert hall? And what is more powerful at influencing our opinions – 20 positive reviews, or one negative one?

The Daily Mail have slated director Rufus Norris for presenting the lecherous Don Giovanni as a serial rapist, something which is perhaps implied in Mozart’s opera.  Of course, this would never have been put on the stage in 1787 when the opera was first premiered, but this approach to the character of Don Giovanni can be justified by Donna Anna’s cries for help in the first scene, rather than simply being labelled a gross misinterpretation.  Indeed, in artistic interests a fresh take on the opera should be encouraged, in order to ‘push the boundaries of how Giovanni’s character can be interpreted.‘ - Rob Sharp, Independent

PHOTO: Neil Libbert

Clearly the Daily Mail did not share this view.  Reading some of the comments added by Daily Mail readers, it did make me wonder how many of them have been to see the opera to enable them to form such damning opinions. One reader mentions the regular portrayal of violence against women on television, going on to say that they are “deeply disappointed that the ENO should stoop to such a thing”. Why is the audience more accepting of violent crimes on the modern medium of television, but outraged when they appear in the traditional medium of theatre and opera?

Perhaps the cheapest criticism is that ENO are simply using the shocking scenes as a way to attract a larger audience – I’m sure if you put this to the opera’s director he’d have something to say about it: does his artistic vision count for nothing in a world where apparently all that matters is bums on seats?

In my opinion, ENO’s Don Giovanni is one of the most exciting operatic productions I have seen in a long time. I thoroughly enjoyed it and my only criticism would not have been of their depiction of the lead character, but of the moving set and the commotion it created on stage, which sometimes distracted the audience’s attention from the singers.

In the face of serious budget cuts for the arts, organisations are going to have to look for new ways to build up their revenue and appealing to a new audience is going to be the best way to achieve this. ENO’s translation, set, costume and direction all had a modern flavour which portrayed the comedic and serious moments of the opera in equal measure. If anyone left the production thinking “gang rape is cool and fun” (as Arkley Barnet suggests ENO are trying to get their audience to do) they probably were not in the right frame of mind in the first place.

English National Opera should be praised for trying something that is outside of the comfort zone of the stereotypical opera-goer.  Their under 30s scheme Access All Arias is clearly a roaring success, as (on the evening we went, at least) a huge percentage of the audience were in their twenties, and the comments I heard from more senior audience members were also ones of intrigue and, on the whole, praise.

So what would Mozart say? Mozart’s operas (unlike his money-making piano concerti) were his true artistic outlet, and when it was premiered Don Giovanni would have shocked and frightened the audience with the dramatic depiction of Don Giovanni being dragged to hell. I imagine Mozart would have enjoyed seeing someone pushing boundaries and challenging their audiences.

To commenters such as Elmartino (“The producers might consider this trash “pushing the boundaries of opera”, I see it rather as trivialising and debasing one of the greatest of operas. A work of genius turned into tacky sensationalism.”) and Diana Pohlmann (“[I] Fail to see how this offensive production ‘breathes new life’ into opera. It just the result of juvenile youths indulging in the modern cult of violent sex for the sake of it. Certainly not a production that would win favour with either Mozart or those who appreciate his music.”) I’d suggest you buy a ticket and make you own mind up, not just react to sensationalism in the press. You never know, you might enjoy it.

PHOTO: Alastair Muir

Alternative musical experiences over the last few years have often proven to be very popular.  OperaUpClose’s production of La Bohème at the Cock Tavern pub theatre in Kilburn was so successful that it now boasts the accolade of the longest continuously running opera in history.  And Charles Hazlewood’s recent outdoor Classical music festival ‘Play the Field’ saw thousands of people enjoying orchestral music in a relaxed atmosphere, in Charles’ Somerset farm near Glastonbury.

One of the great cellists of our time, Alban Gerhardt is no stranger to experimenting with alternative performance venues.  Similar to ENO and Punchdrunk’s production of The Duchess of Malfi in an office block, in July 2010 Alban performed at the Radialsystem in Berlin, a former water utility plant.  Here Alban played a marathon of Bach’s Cello Suites from four different locations within the hall to an audience who were encouraged to relax on the lounge furniture, sit casually on mats on the floor, and listen outside on the terrace or in the bar whilst drinking a glass of wine.

For his new, exciting project with WildKat PR starting today, Alban will be continuing his exploration of unusual performing spaces.  Every day listeners will be encouraged to phone in to a local radio station in Germany to suggest unique locations in which they wish to hear Alban play; maybe a classroom, maybe a department store, or even a yoga class!  Alban will be visiting various German cities throughout the week, performing to the people of Rostock today, Stralsund on Tuesday, Kiel on Wednesday, Lübeck on Thursday and Hamburg on Friday.

Alban is interviewed by Radio Lohro in Rostock

Your reaction to Alban’s new project may be one of surprise, curiosity or amusement.  Yet musicians have been pushing the boundaries of what we consider as conventional Western performance venues for decades.  In the mid-twentieth century Pierre Boulez called to burn down all the opera houses and Stockhausen suggested that the traditional concert hall should be replaced with a new spherical concert space with loudspeakers placed against the walls.  Since then composers have been constantly experimenting with different venues for musical performance, such as sending a string quartet to play in helicopters in Stockhausen’s Helikopter-Streichquartett.

With this in mind, in 2010 is it still controversial to play music that would normally be found in a concert hall in an alternative space?  Why is it that audiences still find it so fascinating?  Is it because the concert hall tradition remains so strong in our society that alternative musical experiences are still regarded as surprising and unusual?

Or is it the permanent element of chance, spontaneity and uncertainty that keeps this concept alive?  Is it the consistent sense of the unexpected that keeps the unconventional performing spaces idea an exciting and relevant one?

In Alban’s performances this week, this excitement will be enhanced further by WildKat PR’s new twist; putting the audience in charge of where Alban performs. Not only does the immersive musical experience adjust the audience’s role, it is also a challenge to the performer.  Commenting on his performance in his blog entry link ‘Bach Marathon’, Alban Gerhardt declared that due to the constant changing of lights and locations throughout his performance at the Radialsystem, more energy was required from him than in a conventional concert.  He explained; “I felt obliged to live up to their expectation in a different way, almost like a story-teller in an Arab market where the audience is longing for his unbelievable stories, and when he loses his thread or can’t come up with something really exciting, the people will walk away, so he has the pressure on him to provide some constant spark.”

With this need for a ‘constant spark’, the immersive musical experience is both a challenge to musicians and audiences alike, making it perhaps more relevant today than ever before.  And with Tom Service noting that concerts such as the Orchestra of the Age of Enlightenment’s Night Shift are successful in preserving ‘the best of the traditional classical concert – the great performances – with a genuinely accessible informality’, the unconventional concert is capable of bringing music to a wider audience without sacrificing musical quality.  Through these attempts to bring music out of the concert hall, musicians such as Alban Gerhardt are creating a new cultural practice for our generation.

For more information on Alban Gerhardt’s performances, visit his website.

What? The Mosaic Ensemble

Where? The Forge – our favourite venue!

When? Sunday 12th September 2010 (click here to purchase tickets!)

• Mozart Oboe Quartet Op.370,
• Stich (Punto) Horn Quartet,
• Devienne Bassoon Quartet in C Major Op.73, No.1,
• Stamitz Clarinet Quartet in E Flat Op.19, No.1

Mosaic Ensemble was founded in 2009 by a group of exceptional young musicians who met as members of Southbank Sinfonia, Britain’s young professional orchestra.  They formed with a view to exploring the expansive repertoire for mixed wind and strings, making full use of the breadth and versatility of the chamber music repertoire from Nonets to Trios.  Members of the ensemble have performed chamber works together as part of the Royal Opera House lunchtime chamber music series and at the Anghiari Festival in Tuscany. This small ensemble in an intimate, up and coming venue promises to be a huge success!

What? Artemis Quartet

Where? Wigmore Hall

When? Tuesday 14th September 2010 (click here to purchase tickets!)

• Beethoven
• String Quartet in A Op. 18 No. 5
• String Quartet in G Op. 18 No. 2
• String Quartet in E minor Op. 59 No. 2 ‘Razumovsky’

The distinguished Berlin-based Artemis String Quartet, which recently celebrated its 20th birthday, brings the Wigmore Hall’s Anniversary Season Opening Celebrations to a close with the continuation of the complete Beethoven string-quartet cycle, charting Beethoven’s development across 30 years of composing in a form that demonstrates his great innovations in expressive development. A classic programme in a prestigious venue – most enjoyable!

What? La Bohème

Where? Wilton’s Music Hall

When? 16th & 18th September 2010 (Click to here purchase tickets!)

Featuring: Co-Opera-Co, Stephen Higgins (Conductor), Michael Scott (Tenor: Rodolfo), Mariya Krywaniuk (Soprano: Mimì).

Quite an obvious choice, Puccini is the master of Italian operas and I would never miss an opportunity to see the romance unravel between Rodolfo and Mimì, and like most operas ending in death. A company called Co-Opera-Co puts on the opera and the venue is also the world’s oldest Music Hall. Wilton’s Music Hall is a truly magical and beautiful venue that offers so much more than a performance but an experience. (The English National Opera are also putting on a production of La Bohème at The London Coliseum, October).

What? Max Richter performs ‘infra’

Where? Cadogan Hall

When? Saturday 17th September 2010 (click here to purchase tickets!)

For one night only, this unique performance comes to Cadogan Hall. Originally conceived as a Royal Ballet-commissioned collaboration between composer Max Richter, choreographer Wayne McGregor and artist Julian Opie, Max Richter’s gorgeous score to ‘infra’ was written in autumn 2008 and premiered in November of the same year at The Royal Opera House in London. Expanded and extended from the original piece, it comprises music written for piano, electronics and string quintet. Richter’s work on the ballet came initially from McGregor’s invitation, a request for 25 minutes of music for his piece, inspired by T.S. Elliot’s ‘The Wasteland’. The process of collaboration between the two men was filmed for a BBC documentary. An active collaborator in other media, Max received The European Film Award last year for his work on ‘Waltz with Bashir’, Ari Forman’s Oscar-nominated animated documentary. Without a doubt, this is a must see!

What? The Pearl Fishers (Les Pêcheurs de Perles)

Where? Royal Opera House, Covent Garden

When? 4th & 7th October 2010 (Click here to purchase tickets!)

Featuring: Royal Opera,  Antonio Pappano (Conductor), Nicole Cabell (Soprano: Leila), John Osborn (Tenor: Nadir).

Bizet is one of the most famous French composers of opera, his two most successful works being Carmen and The Pearl Fishers. The most famous work from this opera being the duet of friendship Au fond du temple saint between Zurga and Nadir. Not only is the music captivating and but the Royal Opera company whose production this is has to be one of the most prestigious in the world. The performers are guaranteed to give a phenomenal evening.