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Author Topic: THE BURIAL AT THEBES - Heaney/Le Gendre opera to premiere at Globe  (Read 345 times)
Reiner Torheit
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« on: 13:01:57, 13-07-2008 »

The Guardian reports:

http://music.guardian.co.uk/classical/story/0,,2290686,00.html
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Don Basilio
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« Reply #1 on: 13:15:54, 20-07-2008 »

It will be interesting to see how they use the space at the Globe.  It will have to be a chamber instrumental ensemble - there is no room for anything like a full orchestra.

The good thing about the Globe is that there is no one stage picture - wherever you stand you are getting a partial view.  (The off putting thing about the Globe company is their inability to play a thing -even Lear my spies tell me - without some mugging and playing for laughs.)

Getting a Nobel prize poet (ie D Walcot) as your director is a bit of a coup.
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To every thing there is a season, and a time to every purpose under heaven.
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Reiner Torheit
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« Reply #2 on: 18:28:35, 20-07-2008 »

"An authoritative source" Wink tells me you can easily fit 10 or even 12 musicians into the Musician's Gallery - although issues of both HIP, and - more persuasively - budget have dictated that this number have but rarely been gathered there.  However, I wouldn't greatly like to be involved in taking any large instruments (harpsichords, chamber organs etc) up the tiny wooden staircase that leads there.  I dare say they could probably be humped up there with determined effort, which would theoretically make it possible to stage Purcell pieces there.  However, I doubt this chimes with the artistic vision of Mr Drumgoole.

There is, however, a second auditorium within the Globe's set-up - but it's never been put into commission.  The original plan included a replica of a Jacobean indoor theatre.  Whether the Globe have plans to open it (it was shelved in the "Phase One" plans, in the interests of getting the main house open to schedule and to budget) I don't know - or whether the space is still available in that piece of prime real-estate down there? (Quite apart from the niceties of historic dramatic practice, the idea was to give the Company somewhere to perform in wintertime).  It was being spoken of as a serious and practicable auditorium as recently as last year to my certain knowledge...  there'd been a projected rather glamorous production of Monteverdi's L'ORFEO there for the 400th anniversary of the (1607) piece,  and moreover it was scheduled to tour all over the place (including, ehem, Moscow).  However, for reasons to which I wasn't privy this never happened, and the project fell into an Underworld of its very own senza ogni speranza.

Who knows - maybe THE BURIAL AT THEBES is scheduled for the second stage?  I rather doubt it - the money needed to get it to performing condition is enormously out of the reach of a company struggling to balance the books as it is Sad
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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"
George Garnett
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« Reply #3 on: 18:56:42, 20-07-2008 »

I wouldn't greatly like to be involved in taking any large instruments (harpsichords, chamber organs etc) up the tiny wooden staircase. I dare say they could probably be humped up there with determined effort.

Tommo, Martle, don't even think it.
« Last Edit: 19:02:14, 20-07-2008 by George Garnett » Logged
Ron Dough
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« Reply #4 on: 19:01:03, 20-07-2008 »

Makes a change from bikes, GG.
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Reiner Torheit
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« Reply #5 on: 21:29:56, 20-07-2008 »

Ah well, at least we know what happened to the space for the Jacobean Indoor Theatre:

http://www.shakespeares-globe.org/tourexhibition/venuehire/underglobe/
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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"
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Don Basilio
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« Reply #6 on: 10:28:19, 02-10-2008 »

We'll be standing in the arena.  Anybody else going?  Any clues as to what to expect for the music?
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time_is_now
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« Reply #7 on: 15:50:38, 02-10-2008 »

We'll be standing in the arena.
When are you going? Am I right in thinking there'll be standing tickets at £5? If so, the evening of Sat 11th looks like a distinct possibility for me and the other time.

Quote
Any clues as to what to expect for the music?
Not really, I'm afraid. She had a piece done at the ROH last year which got good reviews but I didn't get to it.
« Last Edit: 16:00:05, 02-10-2008 by time_is_now » Logged

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Don Basilio
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« Reply #8 on: 15:55:33, 02-10-2008 »

Not on top of your quotes, today, eh tinners?

We will be there at 2pm on Sunday, and therefore miss you.  Pity.

It is likely I will have attended four operas in seven days by Thursday 16.  This is a record.
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To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
time_is_now
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« Reply #9 on: 16:01:05, 02-10-2008 »

It is likely I will have attended four operas in seven days by Thursday 16.
Same here, although three of them will have been the same production of Don Giovanni. Wink

Quotes sorted!
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
Don Basilio
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« Reply #10 on: 16:47:27, 12-10-2008 »

Just got back.  Glorious sunshine, enabling me to follow the words in the programme, although I did not know how it would end.

Conductor Peter Manning in a hole in an extension at the front of the stage.  Orchestra of 13 in full length of gallery above stage.

One continuous act, based on Sophocles' Antigone.  Four soloists as the Greek chorus, (nominally Creon's cabinet ministers.  The women was full bodied with a tight dress with an 88 pattern.  Fortunately Sancho only ungallantly pointed this out to me afterwards, murmuring "Eighty eight, two fat ladies.")

I can't really remember Dominique Le Gendre's music in its own right, but it seemed to make long speeches much more interesting to me than when declaimed as speech.

The two messangers were speaking parts, the first one the comic turn.

Martin Nelson was magnificent in his one entrance as Tiresias.

Idrit Arad as Antigone and particularly Brian Green as Creon were dramatically powerful.  I leave others to judge of them as singers.

I'm very glad to have seen it.
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To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
Don Basilio
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« Reply #11 on: 19:33:00, 17-10-2008 »

But Erica Jeal in the Guardian would disagree with me.

http://www.guardian.co.uk/music/2008/oct/13/classicalmusicandopera2
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To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
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