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HtoHe
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« on: 17:10:46, 23-01-2008 » |
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this looks unmissable. With Mr Bostick and Ms Churchslapper being directed by Mr Frankenstein, the result can only be either fantastic or disastrous. The Barbican is being a bit frugal with the details, though. I know it's a long way off but they must surely know whether it's a concert, semi-staged or fully staged event (I know the last is unlikely given the venue, but they could let us know). There's a big difference between £11 & £35 and I, for one, would want to avoid paying top whack for a concert. I will, though, if that's the only way to get tickets - which seem to be on sale already according to this: http://www.barbican.org.uk/music/event-detail.asp?ID=6803 |
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Reiner Torheit
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« Reply #1 on: 20:38:53, 23-01-2008 » |
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Ta for the advance notice, HtoHe  |
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
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oliver sudden
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« Reply #2 on: 20:44:24, 23-01-2008 » |
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(Cherryslapper actually)
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Ruth Elleson
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« Reply #3 on: 21:04:03, 23-01-2008 » |
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(Cherryslapper actually)
Not if you spell her name right  |
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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Martin
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« Reply #4 on: 21:09:18, 23-01-2008 » |
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(Cherryslapper actually)
Not if you spell her name right Oi, speak up you lot, we can 'ardly 'ear you over 'ere. |
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Ruth Elleson
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« Reply #6 on: 21:26:59, 23-01-2008 » |
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The lovely Ms Kirchschlager is certainly the most frequently misspelled performer I can bring to mind (not counting those where transliteration is involved). Publicity material seems to get it wrong more often than right...
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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Ruth Elleson
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« Reply #7 on: 21:31:10, 23-01-2008 » |
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...and by the way, I've already booked for this concert, despite its likelihood of being quite odd |
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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HtoHe
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« Reply #8 on: 21:50:50, 23-01-2008 » |
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The lovely Ms Kirchschlager is certainly the most frequently misspelled performer I can bring to mind (not counting those where transliteration is involved). Publicity material seems to get it wrong more often than right...
Can't say I've noticed it, Ruth. The Barbican have got it right here, surely. I know they got it right when I saw her with Mr B and Herr Quasthoff at the Concertgebouw a couple of years ago because I READ it wrongly and my Dutch friends had to correct my feeble joke by pointing out that she wasn't a cherrybeater but a churchslapper. In this performance, of course, she is singing Jenny, who is arguably just a.... ...and by the way, I've already booked for this concert, despite its likelihood of being quite odd So you know it's just a concert, then Ruth? If so I'll tell the relevant person there's no need to go for expensive seats. Don't suppose you know any more of the cast, do you? |
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Ruth Elleson
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« Reply #9 on: 22:37:56, 23-01-2008 » |
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Sorry, I used the word "concert" in its loosest sense. I'm not sure what it is, to be honest.
Yes, the Barbican generally do spell Kirchschlager's name correctly, but if you flick through the front bit of last year's Proms programmes you can find, only a couple of pages apart, the Wigmore Hall and Shell Classic International ads. The Wigmore Hall ad gives Angelika's surname enough consonants; the Shell Classic International one doesn't (and the latter is for the concert I'm attending next Wednesday, so I hope they get it right on the programme).
I know it's mere pedantry, but I am looking at this from the point of view of somebody whose surname gets misspelt by default - often even after I have spelt it out in full. It can be quite annoying...
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« Last Edit: 22:40:41, 23-01-2008 by Ruth Elleson »
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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HtoHe
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« Reply #10 on: 23:14:51, 23-01-2008 » |
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Sorry, I used the word "concert" in its loosest sense. I'm not sure what it is, to be honest.
OK. I just wondered if you had inside knowledge as you do move in privileged circles sometimes. I'll just tell our ticket buyer to use his own judgement - then we can blame him if he gets it wrong! I know it's mere pedantry, but I am looking at this from the point of view of somebody whose surname gets misspelt by default - often even after I have spelt it out in full. It can be quite annoying...
No need to be apologetic about it, Ruth. There are few excuses for getting someone's name wrong when you're producing literature for public distribution. People sometimes get my name wrong too as , like yours, it's one letter away from a more common one. But I'd get a bit annoyed if someone did it on the paperwork for a public event - even something as mundane as an industry conference. |
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Reiner Torheit
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« Reply #11 on: 23:22:41, 23-01-2008 » |
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HKG is to be found as Olim on the London Sinfonietta/Markus Stenz recording of SILBERSEE, btw.
I can't say I greatly liked his performance of Weill songs with the BBC Singers in this year's Proms, though.
I know Ian Bostridge has his many admirers on this board - but I don't see him as Macheath in a million years, I'm afraid.
I think that if this were being staged, or semi-staged, they would be shouting it from the rooftops, along with the name of the person responsible for staging it?
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
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HtoHe
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« Reply #12 on: 23:53:00, 23-01-2008 » |
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HKG is to be found as Olim on the London Sinfonietta/Markus Stenz recording of SILBERSEE, btw.
Do you recommend that, Reiner. I don't have a commercial recording of Silbersee so maybe I should look out for it. One of our party still talks with great enthusiasm about Gruber's Proms 'Mahagonny'. Alas, I wasn't at that prom. I can't say I greatly liked his performance of Weill songs with the BBC Singers in this year's Proms, though.
I was in the (very sparse) audience that night and I have to say I enjoyed it, though some of the singing was a bit ropy. 'Frankenstein', as a piece for live performance, impressed me far more than I thought it would; but I'm not sure I'd want to buy a recording of it. I know Ian Bostridge has his many admirers on this board - but I don't see him as Macheath in a million years, I'm afraid.
I'm one of those admirers and even I don't see him as Macheath. I do, however, have a great deal of confidence that he'll know what he's doing. I think there's at least a 50:50 chance it'll be a triumph. |
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Reiner Torheit
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« Reply #13 on: 12:33:17, 24-01-2008 » |
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Do you recommend that, Reiner. I don't have a commercial recording of Silbersee so maybe I should look out for it. One of our party still talks with great enthusiasm about Gruber's Proms 'Mahagonny'. Alas, I wasn't at that prom. I think it's as good a performance as SILBERSEE will ever get. It's a rather flawed work, with a dreary tub-thumping libretto and spoken dialogue that goes on for hours and hours. Thankfully they have axed most of that, and what's on the two disks is the best of the musical material from the show. There are some excellent numbers, including "Fennimore's-Lied" (a rather beautiful thing, a lament on the vicissitudes of being born poor) and the famous "Caesar's Death", which caused such a storm at the premiere (it strongly hints that Brutus & Co did the right thing in bumping-off an autocratic tyrant - no-one can have missed which moustachioed madman was being referenced). There's also "The Dance Of The Bananas On Forks" which has a cheerful surreal lunacy all its own. Against that there are quite a lot of "Oh, how terrible it all is!" ensembles which don't quite work as they should. Did anyone else see John Eaton's staging of the piece for Abbey Opera in the 1980s?? Probably one of the best things Abbey ever did, although I believe they lost a small fortune on it. I was in the (very sparse) audience that night and I have to say I enjoyed it, though some of the singing was a bit ropy. 'Frankenstein', as a piece for live performance, impressed me far more than I thought it would; but I'm not sure I'd want to buy a recording of it.
I was kindly given a recording of the event by a fellow-boarder, as I have an interest in FRANKENSTEIN!!! anyhow. I'm not sure that the Weill material worked for an unaccompanied chorus. Given that they had the BBCSO sitting there anyhow, there were lots more choral things they might have done - THE ETERNAL ROAD, for example - or RAILWAYS ON PARADE (one of Weill's USA-era period pieces, a paean to the Amtrak Rail network . I hope the DREIGROSCHENOPER is a success, anyhow - it's one of those pieces which people feel irresistible urges to tinker with, usually and invariably it's not better as a result? But full marks to anyone who tries, anyhow |
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
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HtoHe
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« Reply #14 on: 14:17:39, 24-01-2008 » |
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It's a rather flawed work, with a dreary tub-thumping libretto and spoken dialogue that goes on for hours and hours. Thankfully they have axed most of that
Not the most coherent piece, I agree. The only time I’ve heard it all the way through was at the Proms in 1996 and that was in English and memorable for Maria Friedman’s outrageous vamping (particularly in the banana dance you mention). I saw MF in ‘Lady in the Dark’ at the National a year later and rather regret not seeing some of the other stuff on her CV here: http://www.aboutmaria.com/silverlake.html#3I’m familiar with the individual songs you mention and have a great deal of affection for Ute Lemper’s versions of them (which won’t impress the KW foundation, but there you go). I'm not sure that the Weill material worked for an unaccompanied chorus. It wasn’t wonderful, though, as I said, I contrived to enjoy it. Ironically, one major reason for choosing this prom was that I understood ‘Zu Potsdam unter den Eichen’ to have been written originally for unaccompanied male voices. It was rather a disappointment as I find Ute Lemper’s version or Dagmar Krause’s version much more compelling. But the rest of the Prom more than made up for this disappointment. I keep hoping R3 will repeat the 2000(?) Mahagonny because I didn’t even hear it, let alone go to the Prom; but if they have done so I must have missed it. |
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