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Mary Chambers
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« Reply #15 on: 18:54:38, 10-09-2007 » |
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I just want to know whether Thomas Ades stayed for the second half, and if so what he thought of it. I bet he didn't - it's hardly the Aldeburgh Festival, is it? If anyone was sitting near him, please let me know how long he stayed!
I thought Joshua Bell and Anna Netrebko did just what was expected of them very well, and I liked the unpretentious speech, too. It's just the messing up of the Sea Songs that I object to, and I'm not keen on the patriotic thing, but I see it as historical.
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Bert Coules
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« Reply #16 on: 19:02:37, 10-09-2007 » |
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Sorry Bert, this board has taken to referring to the "official" BBC board as "the other place" ( TOP ) Ah, thanks. Actually, having found this place originally via a web search and having, therefore, come straight here rather than through a more general overall hosting site, I've been under the impression that this was the official board. Bert |
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« Last Edit: 19:05:28, 10-09-2007 by Bert Coules »
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BobbyZ
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« Reply #17 on: 19:09:14, 10-09-2007 » |
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Bert, this is the link to the official board http://www.bbc.co.uk/dna/mbradio3/There is yet a third, run by the Friends of Radio 3 but I don't have the link to that one to hand. All of the boards have strengths and weaknesses I guess !! |
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Dreams, schemes and themes
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David_Underdown
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« Reply #18 on: 19:10:10, 10-09-2007 » |
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Mary,
Ades did stay throughout, but he pulled some mighty fine faces during the "insertions" into the Sea Songs. He was apparently a prommer in his younger days, so it probably wsn't his first attendance at a Last Night
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David
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Bert Coules
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« Reply #19 on: 19:17:46, 10-09-2007 » |
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Bert, this is the link to the official board... Thanks very much; I'll take a look. Are the Friends friendly about R3 as it is, or as it used to be, I wonder? Perhaps I'll take a look there, too. On the whole I rather enjoyed the last night, and I imagine that my main thoughts on it are entirely unremarkable: the regional contributions are horribly intrusive and totally muck up the Sea Songs, and - real grumpy old man stuff, I fear - I can recall when the audience participation bits were far more disciplined and therefore, for me at least, far more enjoyable. The last time I went to a Last Night, Colin Davis got everyone into the hall during the afternoon for a rehearsal, for heaven's sake; I can't see that happening now... Bert |
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« Last Edit: 20:46:19, 10-09-2007 by Bert Coules »
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Mary Chambers
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« Reply #20 on: 21:43:03, 10-09-2007 » |
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Mary,
Ades did stay throughout, but he pulled some mighty fine faces during the "insertions" into the Sea Songs. He was apparently a prommer in his younger days, so it probably wsn't his first attendance at a Last Night
Thank you, David - I really did want to know. I just can't imagine him singing "Land of Hope and Glory", somehow. His "Tempest" prelude sounded wonderful at Covent Garden, I thought, but didn't seem quite right on the Last Night. It didn't surge enough - could be the sound reproduction, though. I wasn't there. |
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time_is_now
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« Reply #21 on: 21:54:45, 10-09-2007 » |
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Really? I didn't think it surged enough at Covent Garden, actually (first time or second time around).
Glad someone had a different experience with it.
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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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Mary Chambers
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« Reply #22 on: 22:06:35, 10-09-2007 » |
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I can't say I much liked the rest of "The Tempest" though, t-i-n. I must give it another try some time.
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martle
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« Reply #23 on: 22:13:09, 10-09-2007 » |
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I found that second version a severe disappointment too. It was a damp squib at the first opera production (due to hasty writing?); but it should have packed a lot more punch on revision (he's capable of that after all).
Best thing about the opera, Mary? The setting of 'Full Fathom Five'. Exquisite.
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Green. Always green.
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time_is_now
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« Reply #24 on: 10:20:49, 11-09-2007 » |
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I found that second version a severe disappointment too. It was a damp squib at the first opera production (due to hasty writing?); but it should have packed a lot more punch on revision Erm, I hate to break this to you, but the second run wasn't a revised version (aside from a few bars snipped/extended here and there). There were bits I liked very much - especially some of the duets and ensembles. I had problems with Ariel (why were her first 5 minutes all above the stave and then the proportion of super-high to 'normal' writing seemed to alter significantly after that?). I found the harmonic rhythm in the Storm very odd - it seemed to limp rather than bluster - but I did wonder if it was intended to sound somehow contrived, as if to emphasise that it was a storm unleashed on human command rather than a natural phenomenon. |
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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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martle
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« Reply #25 on: 10:26:32, 11-09-2007 » |
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I'll take your word for that, tinners - I thought he'd revised the storm especially, but thinking about it I can't remember there being much difference. Very much agree about limping not blustering; and surely a storm unleashed by Prospero should have a kind of manic/ shamanic power and intensity that transcends the 'natural'? That's what I'd have aimed at, any road.
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Green. Always green.
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George Garnett
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« Reply #26 on: 10:36:17, 11-09-2007 » |
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Apparently intense, real and dangerous but actually completely harmless and a trick?  |
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« Last Edit: 11:59:38, 11-09-2007 by George Garnett »
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Tony Watson
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« Reply #27 on: 00:43:26, 13-09-2007 » |
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Apparently intense, real and dangerous but actually completely harmless and a trick? Most, if not all, music depicting a storm could be so described, perhaps? It was interesting to compare the Ades music to introduce the Tempest with Sibelius's, which was also played at the Proms. I found the latter too drawn out. At least the Ades only lasted about three minutes. |
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smittims
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« Reply #28 on: 09:43:51, 13-09-2007 » |
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To be fair, Sibelius' was written to accompany the first scene in Shakespeare's play, which lasts a lot longer than 3 minutes,as ,presumably did the storm it is meant to convey.
I always think Sibelius' storm,at least in a good performancce such as Beecham's, best coveys the terror,the fear of structural damage, which is the chief feature of storms for me,e..g the Christmas Eve one in England about eight years ago . ;
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oliver sudden
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« Reply #29 on: 09:52:46, 13-09-2007 » |
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Apparently intense, real and dangerous but actually completely harmless and a trick? Most, if not all, music depicting a storm could be so described, perhaps? It's not actually a storm but the flying music in Strauss's Don Quixote manages to get across quite well the idea of something very convincing which doesn't actually happen: all these surging transformations of Quixote's theme, wind machine and all, but all the while a big grinding pedal D in the bass helpfully pointing out that they never get off the ground... |
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