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time_is_now
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« on: 12:56:35, 23-09-2008 » |
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I hope I might be allowed a small "shameless plug" of my own - not my production but that of someone very close to me, and which I'm confident is going to be very good indeed ... Hope some of you can make it! (I'll be away on the last night, unfortunately, but expect to be at all three other performances.) 
"Hundred in Tokyo, Milan the same number,
But here in London, fresh from the catwalk, one thousand and three!"
The Don's famous 'catalogue of conquests' shows an impressive number of models that his charms have swept off their Jimmy Choos - and he has returned to London, ready to add a few more ...
Opera on the catwalk: Zerlina strutting her stuff, Leporello lurking backstage, Donna Anna pregnant (but who's the father?). Artistic director Jorge Balça's vision has transformed Mozart's masterpiece into a hip, fresh and dramatically striking show. With a cast of exciting young singers and a team including conductor Jessica Cottis, author Marike van Aerde and award-winning fashion designer Nuno Reis, this promises to be a Don Giovanni of the highest quality.
A truly unique opera show in the heart of Bloomsbury.
VENUE
Goodenough College
London House Great Hall
Mecklenburgh Square
London WC1N 2AB
Nearest tube: Russell Square
PERFORMANCES
19.30 Friday 10 October
15.00 Sunday 12 October
19.30 Thursday 16 October
19.30 Saturday 18 October
TICKET PRICES
£10 (£5 members)
box office 020 7837 8831
www.goodenough.ac.uk |
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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
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Reiner Torheit
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« Reply #1 on: 14:18:19, 23-09-2008 » |
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Wishing Jorge and his cast the best of success - a titanic task lies ahead of them, but I'm sure they are equal to 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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Stanley Stewart
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« Reply #2 on: 17:05:17, 23-09-2008 » |
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Really intriguing. Good luck to 'em!
I've just received a low budget DVD set of Don Giovanni, Cosi and Le Nozze di Figaro which was
favourably reviewed on Summer CD Review a few weeks ago. De Nederlandse Opera productions
in modern dress which look rather fetching at a quick shufti. Opus Arte label.
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Antheil
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« Reply #3 on: 18:08:55, 23-09-2008 » |
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Best of luck to Jorge and his cast from me too. Sounds fascinating. Hopefully some of our London contingent will be able to make it??
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Reality, sa molesworth 2, is so sordid it makes me shudder
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time_is_now
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« Reply #4 on: 18:27:00, 23-09-2008 » |
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Hopefully some of our London contingent will be able to make it??
I hope so too! Thanks for the good wishes, you three.  |
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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
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Ron Dough
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« Reply #5 on: 19:16:03, 23-09-2008 » |
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Best wishes from here, too: no chance of seeing them, sadly.
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Robert Dahm
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« Reply #6 on: 01:17:17, 24-09-2008 » |
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Good luck to Jorge for everything. I'm sure it'll be fabulous. And Derek Welton is a name not unfamiliar to us...  |
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Lord Byron
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« Reply #7 on: 10:25:36, 24-09-2008 » |
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Don Basilio
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« Reply #8 on: 17:32:31, 27-09-2008 » |
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Whose Jimmy Choos?  |
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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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Don Basilio
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« Reply #9 on: 10:29:14, 29-09-2008 » |
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I've booked up for Thursday 16th. Whatever am I going to wear? Honestly, I just haven't got a thing. Hope I can slip in a trip to Harvey Nick's in time.
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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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time_is_now
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« Reply #10 on: 22:09:00, 08-10-2008 » |
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Just a reminder: opening night on Friday ... |
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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
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Eruanto
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« Reply #11 on: 17:56:40, 14-10-2008 » |
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I will also be there on Thursday [edit] Praps I should mention that I haven't seen the "jenyu-wine" (not that this isn't) article yet, an interesting way to come to it? |
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« Last Edit: 19:28:30, 14-10-2008 by Eruanto »
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"It is not our part to master all the tides of the world, but to do what is in us for the succour of those years wherein we are set"
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Don Basilio
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« Reply #12 on: 21:58:59, 14-10-2008 » |
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It used to be my least favourite of the three Da Ponte operas. (Did you know Lorenzo Da Ponte ended up running a store in New York?) But I saw it at the Hackney Empire in the spring and suddenly realised it is wonderful.
There can never be a definitive performance of it - it is a work of endless fascination.
(I just realised that I like Figaro because it is the opera nearest to a P G Wodehouse novel - country house intrigues with the servants calling the shots.)
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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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time_is_now
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« Reply #13 on: 00:34:06, 15-10-2008 » |
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There can never be a definitive performance of it - it is a work of endless fascination.
I think this is probably true - I thought about this in the course of the two Don G performances I saw at the weekend, having spent most of last week studying Hamlet, which is also bottomless and endless, but a very different kind of work. This production is rather different from the original, not least by being in English and set in 21st-century London (although some parts of the action are less tied to a specific temporal setting than others, I'd say). Somehow this seems to me to focus attention more strongly on the essential lineaments of the plot and structure underneath the surface aspects of character/setting/etc.: by half-way through Sunday's performance I was becoming very aware of what seems to me the basic message of Mozartian opera - that every relationship between two people is in fact a relationship between three or more. Really pleased eru can come too - hope some others may also make it, although I'll only be there on Thursday myself (I'm away on Saturday). I should mention that I believe Thursday is already nearly sold out, so best to arrive early, although the hall can accommodate a few extra seats and I understand they're likely to put more chairs out rather than turning people away. |
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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
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Don Basilio
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« Reply #14 on: 13:57:12, 15-10-2008 » |
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that every relationship between two people is in fact a relationship between three or more.
Or even a thousand and three. Last performance I saw was in English and set in early C20 Spain. |
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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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