|
|
Post by julesd68 on Sept 29, 2014 21:49:10 GMT
Anna Dmytrenko - Piano
St Martin in the Fields
Prelude and Fugue no 13 in F sharp - Bach
Prelude and Fugue no 16 in G minor - Bach
Preludes Op 23 - Rachmaninov
A return to a packed St Martins for another lunchtime concert, this time in their 'Pianists of the World' series. Fantastic to see their concerts getting such consistent audiences now.
If ever a concert was a 'game of two halves', to borrow a football term, this was it. Let's see what Mr Shostakovich had to say about the Bach works -
'A great piece of music is beautiful regardless of how it is performed. Any prelude or fugue of Bach can be played at any tempo, with or without rhythmic nuances, and it will still be great music. That's how music should be written, so that no-one, no matter how philistine, can ruin it.’
Well that's entirely apt on one level as Ms Dmytrenko certainly didn't seem to find much in the music to save it from a slightly robotic, passionless presentation, mostly starved of dynamics. Of course some of this is in the inherent structure of the music. Whether it was the clavichord, harpsichord, or organ these works were originally written for, I'm not sure, but we can be 100% sure they were not written for the modern pianoforte, and perhaps that robbed the work of some of its natural timbre and atmosphere. It didn't really work for me and it felt a slightly strange choice of opening. After all, you are there to showcase your talents to a wider audience as a young performer and you don't want to give people the opportunity to walk out! Somehow I sensed that the audience was somewhat underwhelmed, as I was, and predictably a few people shuffled out quietly. This turned out to be erroneous on a grand scale, as they missed out on something rather special …
Vladimir Ashkenazy has long been my favourite interpreter of Rachmaninov by some degree and I have his Decca recording of all the Preludes as a yardstick. But this performance was magnificent, of that there is no doubt. The first two Preludes set the tone for the full gamut of emotions you are to witness. The first features languid, cascading rhythms like a coastal ebb and tide, with the right hand marking out gentle, wistful melodies. The second immediately throws you into an emotional maelstrom, which proceeds to return with varying degrees of intensity like a tortured soul wandering in time, searching for a lost partner. Some of the Preludes seem to offer hope whilst others reach an absolute fever pitch of frenzied outpourings of unanswered angst. It's a journey that is so full of memorable motifs and melodies and at the same time is highly demanding of both the listener and performer, but ultimately so rewarding. Ms Dymtrenko remained entirely assured throughout and rarely let the tension slip. I really got the sense that she didn't just inhabit these tumultuous works, she owned them.
|
|
|
|
Post by MartinT on Sept 29, 2014 22:18:42 GMT
Wow, it sounds like two different pianists! I wonder why she chose to play the Bach pieces at all?
Great review, Jules, you really put us there.
|
|
|
|
Post by julesd68 on Sept 29, 2014 22:44:17 GMT
Thanks Martin, much appreciated.  You couldn't find much more of a contrast of tone than the Bach to the Rachmaninov, and I think that's why she chose it. I admire her for not starting with a 'safe' choice like a Beethoven Sonata (yawn) but the Bach wasn't right either ... |
|
|
|
Post by MartinT on Sept 30, 2014 7:51:59 GMT
Bach done well is simply wonderful and unlike any other composer. Perahia is always sounds good to me.
|
|
|
|
Post by Pinch on Oct 5, 2014 12:07:44 GMT
|
|
|
|
Post by MartinT on Oct 6, 2014 6:10:40 GMT
They played Richter's recomposed version of Four Seasons I'll bet that was good! |
|
|
|
Post by julesd68 on Nov 25, 2014 19:08:06 GMT
Philharmonia Orchestra with Paavo Jarvi
Viktoria Mullova - Violin
Royal Festival Hall
Haydn: Symphony No.82 (The Bear)
Beethoven: Violin Concerto
Nielsen: Symphony No.1 in G minor The Beethoven is a violin concerto that I have ignored for some years such is my general indifference to the composer. I had only listened to a few recordings and had never heard it live. Whilst I’m not sure it will quite reach my absolute ‘A’ list of concertos, I now have to say that it is a very fine work indeed and is consistently enjoyable from start to finish. It has great depth and for that reason I am certainly looking forward to exploring it further on vinyl and in the concert hall. I had previously seen Viktoria Mullova perform the Brahms at the Festival Hall a couple of years back, and her performance convinced me that she would be eminently suited to the Beethoven - she has an exquisite combination of power, poise and nobility to bring such works to life. Ms Mullova took to the stage wearing a radiant long red and gold-trimmed gown and looked every inch the international soloist that she is. But I have to say that it was her performance, not the dress, that meant that I barely took my eyes off her over the entire concerto. There’s quite a wait at the start of the concerto before the soloist makes their ‘entrance’ and perhaps for that reason I thought that she took a few minutes to really hit her stride. There were a few initial issues with pitching and timimg but once she settled, it was a performance of fearsome fluidity. There are some not insubstantial technical challenges to the work that never flustered Ms Mullova and her confidence meant that I could just relax and enjoy the music. There were many moments of inspiration in her performance, but if I had to pick one it would be the start of the second movement - Larghetto. With the string section engaged in hushed pizzicato, Ms Mullova treated us to a wonderfully delicate and plaintive tone which took me somewhat by surprise I have to say. And how nice it is to achieve great feeling in her playing without excessive use of vibrato! Her committment never faltered, and with this tour de force over, the soloist received an entirely deserved extended applause and finally came back for a short encore in which we were treated to one of the ubiquitous Bach Sonatas - no great surprise there … Finally, a word about the Philharmonia who gave tremendous support under the unwavering encouragement of Paavo Jarvi - I could sense that they really enjoy playing for him. He’s an engaging performer in his own right and can be a bit of a character too - I remember him raising his shoulders up and down in time with the music at one point, which was rather amusing…The refinement of the woodwind at the start of the Beethoven was really something special and also great credit goes to the timpanist who both myself and my friend noted was exceptional! The Haydn was what you would expect, nothing more, nothing less and mildly diverting. Nielsen is a composer I have never really explored and his symphony was played with great vigour and zest; it has a few themes of interest but it’s not a work I would seek out or one that lingers in the imagination for me. The performance of the ever vibrant Viktoria Mullova, however, will stay with me for some time.
|
|
|
|
Post by julesd68 on Dec 3, 2014 19:54:58 GMT
Kyung Wha Chung - The return to London.Royal Festival Hall
Kyung Wha Chung, violin & Kevin Kenner, piano
Wolfgang Amadeus Mozart: Violin Sonata in G, K.379
Sergey Prokofiev: Violin Sonata No.1 in F minor, Op.80
Johann Sebastian Bach: Chaconne from Partita No.2 in D minor, BWV.1004
César Franck: Sonata in A
This was always going to be a big ask for Kyung Wha Chung - returning to the very same stage where she made her European debut 44 years ago and then nearly being forced into early retirement by an injury to her index finger 12 years ago. The lady herself explains in this specially made short film, featuring some lovely performance footage, both new and old - The Festival Hall was nearly at full capacity and one could clearly sense a real atmosphere of anticipation amongst a very cosmopolitan crowd. Ms Chung and her pianist, Kevin Kenner took to the stage to enjoy a warm welcome. However, I think it’s fair to say that the concert didn’t quite get underway as planned. The Mozart is a jaunty little trifle, but in spite of Kenner’s wonderfully light and expressive piano, Chung just couldn’t relax and find her rhythm and range. Her pianissimo felt very hesitant; she seemed to embellish the work with excessive vibrato when there was clearly no need and there wasn’t a satisfying flow to the music. It was a ‘warm up’ piece in every respect and whilst one would have hoped for it to have been better executed, one felt that the best was yet to come. Sadly things were to take an unexpected turn for the worst. At the end of the first movement, the audience took the opportunity to have a round of winter coughing. Chung initially took it in her stride and saw the funny side, but as the coughing continued, the smile was soon to vanish. She suddenly turned to her left and fixed a scowl on an unfortunate family whose child was apparently still coughing. A bizarre kind of stand-off ensued as Chung's glare remained fixed on the offender. I then thought I heard Chung tell them to 'get a glass of water.' Furthermore, it has sadly been reported that she said 'don’t you think you should bring her when she’s a bit older?' If that is indeed true, personally I would consider that inappropriate. I have read one critic asking her to apologise for this behaviour. It certainly cast a gloom over the hall, and yes, you could have cut the atmosphere with a knife as ripples of tension spread through the hall. With her experience she should have been able to cope with the incident better. Fortunately this is first time I have ever seen such an outburst and I hope it is the last. So as the Mozart finished I wondered if she was going to recover from this upset - was the fire still burning or were we witnessing the final glowing embers of a stellar career? If anything, the incident seemed to fire her up as she attacked the rigours of the Prokofiev with feral intensity. She started to take us on the journey only a true virtuoso can as she showed a wonderfully pure control of the upper registers, marrying her undoubted power with the required precision. Most startling was the aggression with which she tore into the extended pizzicato sections. It’s the first time I have heard this enigmatic work performed, and I found much to admire that will repay further investigation. As we reached the interval, I came to the conclusion that Ms Chung needs a work with emotional depth and perhaps, melancholy, to bring out the very best in her. After the interval Ms Chung returned to take the stage by herself and treat us to a simply stellar Bach. For me, this was a masterclass in bowing that I found entirely convincing. Again, she seemed to reach deep into her soul with a display of dynamics that didn’t just change bar to bar, or note to note; it was an exercise in 'micro-dynamics' where she often played notes with great power to let them hauntingly decay into the ether within the same stroke of her bow. It was an unashamedly romantic interpretation, that was perhaps not to everyone’s taste but was certainly to mine. A scintillating exercise in virtuosity. Ms Chung seemed to go from strength to strength, with the memory of the earlier incident thankfully banished from my mind; the music making requiring my undivided attention. The impressive Mr Kenner returned to the stage for the familiar and deservedly popular Franck Sonata. The soloist struck the most gloriously sweet and pastoral tone for this work, with a purity that I have rarely encountered. I allowed myself to close my eyes and the plaintive reminder of halcyon days briefly brought my late father to mind, before the emotional turbulence of the second movement returned me to the hall. There eventually followed a reception that I have not previously witnessed - a standing ovation that seemed to bring at least half the hall to their feet. As ever, some people started to leave the hall during the applause which I always find distasteful and rude. For once, however, justice was done as they proceeded to miss not one, or two, but three delightful encores featuring Schubert and Elgar I believe. Was it a perfect performance? No, but it was an unforgettably intense experience for reasons both good and bad. It will linger long in the memory because when it was great, it was supremely eloquent and moving. I know not everyone will agree with me, as we all have our preferences, but when Kyung Wha Chung is on form, I feel she is the greatest living violinist we have. She returned a legend, and left, an immortal. 
|
|
|
|
Post by MartinT on Dec 4, 2014 6:59:25 GMT
Great report, Jules. I'm in two minds about people not taking care over coughing during concerts: they could try covering their mouths, for a start! Some people seem to think it's their right to cough out loud, exhibiting incredibly selfish behaviour. I would half choke and get myself out of the auditorium before upsetting others if I possibly could. As for children, again I do wonder at families who bring children too young to appreciate such an event. Others have paid steep ticket prices and don't want to hear some brat coughing or crying - the fault is with the parents. The same goes for restaurants in the evening - the children should be in bed! Rant over  |
|
|
|
Post by julesd68 on Feb 12, 2015 14:59:17 GMT
An *astounding* Sibelius Violin Concerto last night with Leonidas Kavakos and the Berlin Phil ...
Full report on the three night Sibelius cycle to come, final night tonight!
|
|
|
|
Post by MartinT on Mar 2, 2015 6:48:46 GMT
Duruflé Requiem, Debussy La Damoiselle, Fauré Palleas et Melisande, LSO, LSC, David Hill
What a fantastic performance and what a brilliant (chance) change of conductor. David Hill clearly knows the Requiem intimately and conducted his large forces very well indeed. The superb LSO and LSC performed it faultlessly. This music gets right to my heart so to have heard it so well performed a second time is a real gift. A thoroughly well enjoyed evening preceded by a rather fine early dinner at Attilios in Farrindgon.
I have worked out that the only way to get decent sound in the Barbican is to sit closer than I normally would: in this case, the fourth row (see photo). This maximises the horn effect of the stage and minimises the overall woody soupiness of the venue. Pity, then, that nothing could save the utterly feeble organ, the pedals of which were all missing in action.
If only I could construct a London venue consisting of the Festival Hall with the organ from the Albert Hall. Now that would be something! |
|
|
|
Post by julesd68 on Mar 4, 2015 13:39:21 GMT
Sounds like a great night out Martin - did you prefer this performance to the one we saw a while back at the Festival Hall?
|
|
|
|
Post by julesd68 on Mar 4, 2015 14:27:32 GMT
Berlin Philharmonic with Sir Simon Rattle at the Barbican
Feb 10-12
Sibelius Symphonies
Sibelius Violin Concerto with Leonidas KavakosIt is fair to say that the Berlin Phil are often feted as ‘The Best Orchestra in the World.’ But how would they cope with Sibelius, which for this orchestra isn’t exactly what you might call a ‘home banker’ if you’ll forgive a football parlance … And so began a three-day extravaganza of Sibelius, showcasing the entire cycle of symphonies and the Violin Concerto - a wonderful chance to really get under the skin of Sibelius. The Barbican had sold out so long ago, I cannot remember when I bought my tickets. Television and radio teams were there in force, so what kind of artistic vision would Sir Simon offer us? The First is certainly one of the lesser performed of the seven and so it was good to get reacquainted with it in the concert hall. There is much to enjoy in it, but it’s fair to say that at this point, the composer had not really found his true voice and symphonic identity. Much of it is derived from quite obvious 19th century dramatic and romantic roots, with obvious nods to messrs. Tchaikovsky and Bruckner. For the most part, this works well for the first three movements. The opening clarinet solo was handled with the utmost security, commitment and confidence, which in technical terms set the tone for the rest of the evening. Under Sir Simon’s baton, they set about the work with an almost feral intensity, with some really quite startling swoops of dynamics that endowed the work with a really fresh and dramatic appeal. The final movement meanders rather aimlessly and really lacks cohesion, but there’s nothing any orchestra can do about that! What did impress was the overall commitment and vigour – ‘turbo-charged Sibelius’ was a rather apt description that I noted from one critic! So during the interval the question came to mind of how would they handle the second symphony, where Sibelius is really finding that unique Scandinavian voice. Well it turned out that the Second was delivered in the same turbo-charged way as the first. Subsequently I found that the work was somewhat robbed of its true essence and character, and we weren’t really allowed to appreciate the development in the character of the music between the two symphonies. From the opening minutes of this symphony, you should be already able to close your eyes and enjoy a tour of the Nordic landscape – flowing brooks, craggy, austere outlooks and the inspiration of cool, starry nights. When this symphony is explored to the full, you should just start to feel this development of a Finnish national identity in the noble themes of the music, married to the aforementioned pastoral outlook, which are both wrapped up in this pantheistic universe. This is the majesty of Sibelius for me but it was sadly undermined by the unrelenting ‘full-throttle’ approach, which in turn perhaps created the biggest problem for me, the string tone. The massed Sibelius string tone is something unique for me in classical music. It should have an awe and majesty about it that ties directly into the themes I have latterly mentioned. To use a hi-fi term, I found the string-tone too ‘forward’ and sometimes it slightly grated on the ear. I wanted a slightly warmer but still full-blooded tone with a more lyrical, expressive outlook. I wanted magic. One could not accuse Sir Simon of not delivering an idiosyncratic or cohesive performance, as the great orchestras and conductors do; it was just idiosyncratic and cohesive in the wrong way for me. Under Von Karajan, the orchestra were sometimes criticised for sounding too polished and lacking in ultimate emotional depth, but I can’t help but wonder if he would have wrought more out of the essentially earthy atmosphere in the Second. To hear this work and Sibelius at its best I need to hear something akin to ‘woodland magic’, a rush of that pantheistic energy lighting up the Nordic skies. This is what I missed. The finest moments for me came from the superlative woodwind section who had many opportunities to shine as individuals. They were all immaculate and played with the utmost poise and finesse. Indeed, it was most refreshing seeing Sir Simon congratulate them individually whilst taking the long and sustained final applause. It was richly deserved and as I scanned the faces of the orchestra it was plain to see a great collective sprit and an obvious commitment to Sir Simon’s vision for this cycle. They played for him entirely as one, which is all you can ask for. However, the undoubted star of the show was Greek violinist Leonidas Kavakos. In some ways he is the antithesis of someone like Heifetz or Szeryng – he walks on stage dressed entirely in black with loose shirt, long hair and beard, and is refeshingly understated. When he’s not playing, he often has his back to the audience whilst he watches the orchestra. I saw him play this work with the LSO in the same hall a couple of years back, and whilst I enjoyed the performance, I didn’t find it overwhelming, so wasn’t quite sure what to expect here. And darn it, he starts the concerto in exactly the same way as before! Where’s David Oistrakh when you need him? Because there was nearly zero atmosphere in the opening bars in which traditionally the soloist looks to immediately set the tone . But this time I understood why he does it and it works perfectly. By starting in a very cool fashion, he gradually and deliberately ratchets up the tension and becomes more and more effusive. I wouldn’t hesitate to say that this was the best performance of this work I have seen, and there have been a number … There were so many moments of inspiration and magic, that I couldn’t begin to detail them all. But a particular memory is how he handled his pianissimo with such total precision and confidence, yet endowing it with such emotion; it was a masterly display. For this reason, the achingly beautiful second movement brought me close to tears. Such is the utmost technical security of the soloist that he is free to revel in this masterwork and for me, it all went by too quickly, engrossed in its charms as I was. This was a different level to his previous display with the LSO – whether he has grown in stature as a soloist or it was just the occasion with the Berlin Phil, I cannot say. Mr Kavakos enjoyed a warm and rousing applause and it was lovely to see how generous he was to the conductor and orchestra – many hugs were exchanged! He then proceeded to play the most immaculate Bach encore – ‘Gavotte en Rondeau’ was quite wonderful artistry.  I had heard there was going to be a cd signing with the soloist, so I decided to investigate. There wasn’t a recording of the Sibelius but I found a nice looking recording of the Brahms with Chailly that I wanted to give to my son, who recently told me he would like to learn the violin. My son is half Greek, so I thought he would appreciate this. I greeted Mr Kavakos in Greek which pleasantly surprised him I think, and he proceeded to write a very nice dedication for my son in Greek. Absolutely no pretence at all, he comes across as a sincere and genuine guy. My thanks to him indeed, as my son was really excited to receive this gift and I hope he finds some inspiration in it for his own musical journey. Sadly, little of the remaining symphonies stood out in any notable way for me. Surely the mighty Fifth would win me over I mused but sadly it went the same way as the Second. A word about the sparse themes of the Fourth. What you might call traditional symphonic themes just don’t develop and it’s the antithesis to 2 and 5. The first time I heard it, played by the same orchestra and conductor at the Proms I just didn’t get it all. And it’s rather difficult as a standalone work but when heard in sequence, it makes all the more sense. Just when I feel it’s about to lose me I get hooked into its glacial charms. Overall, whilst this was a wonderful opportunity to hear all the concertos in order, I feel it was truly a missed opportunity. This was not the conductor / orchestra combination to take our appreciation of Sibelius to another level. Polished to perfection and with many fine soloists, they spent too much time on the surface of the works without really digging down to find the roots of what makes them truly special and unique. The best orchestra in the world? I don't know who that is, but on the basis of this outing it cannot be the Berlin Phil under Sir Simon.
|
|
|
|
Post by MartinT on Mar 4, 2015 15:11:10 GMT
did you prefer this performance to the one we saw a while back at the Festival Hall? Equally magnificent, I would say Jules. I am lucky to have heard two such great performances of one of my desert island discs. |
|
|
|
Post by MartinT on Mar 4, 2015 15:22:24 GMT
Jerry said something similar elsewhere, about Rattle and the BPO. He seems to swing between wonderful and dull depending on which music turns him on. I don't have a single opinion because his Mahler is truly special but he likes a lot of what I would call non-music like Berg and Webern, which I would never choose to listen to. At his best he is great, though. I rather think that the LSO is going to suit him a lot more; we shall see.
|
|
|
|
Post by julesd68 on Mar 28, 2015 18:56:20 GMT
Midori Christian Tetzlaff - Queen Elizabeth HallJohann Sebastian Bach: Sonata No.2 in A minor for solo violin, BWV.1003 Johann Sebastian Bach: Partita No.2 in D minor for solo violin, BWV.1004 Béla Bartók: Sonata for solo violin Johann Sebastian Bach: Partita No.3 in E for solo violin, BWV.1006  Sadly Midori was unwell for this concert which was a great shame as I have never seen her play live and was intrigued to see how she would handle the Partitas. The good news was that the replacement was the world-class Christian Tetzlaff, who I have the pleasure of hearing play several concertos over the years. The atmosphere in the Queen Elizabeth Hall felt a little bit flat - perhaps due to the fact it only appeared perhaps two-thirds full. Mr Tetzlaff made a change to the programme, introducing some Bartok to the proceedings. Naturally I was keenest to hear how he would handle the immortal Partita no 2. Tonally, it wasn’t as aristocratic and sombre as Heifetz and not as romantic as say, Perlman. It lay somewhere in between, with a light and lyrical feel that was the polar opposite of the fireworks and swings of dynamics that Kyung Wha-Chung produced in the Festival Hall a little while ago. With Tetzlaff, technique is never going to be in question, he is pretty much unshakeable. But I must say, I found much of Partita No 2 a little too light for my taste, I was searching for a little more nobility, dynamics and weight. Of course the soloist has this in his formidable armoury! The way he ferociously went about the cleverly chosen Bartok showed that he was it was simply his personal interpretation of the Partita no 2 that didn’t quite chime with me. The Bartok must be a fiendishly difficult work for the soloist to master but here Tetzlaff felt totally ‘at home’ and it proved to be an excellent foil for his virtuosity. I noted at the time that perhaps he felt more of an affinity with this work than the Bach. The second part of the concert I found much more engaging - in addition to the Bartok we had a perfectly judged Partita No 3, featuring the lovely 'Gavotte en Rondeau' that I never tire of hearing when played to perfection like this... |
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Mar 29, 2015 19:44:34 GMT
Kyung Wha Chung - The return to London. I have a terrible confession. During my final undergraduate year in 1977, I took a young lady to see a young Kyung Wha Chung at the Guildhall in Southampton. In the lead up to finals, I was totally knackered and fell asleep. I feel ashamed to this day. Craig |
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Mar 29, 2015 19:55:03 GMT
Although we are close to London, in South Oxfordshire, we tend to use London for theatre rather than music. We have seen some outstanding music (and ballet) at Convent Garden over the years though. But we have some fine music in and around Oxford.
We have become supporters of Longborough Festival Opera though, and have seen some outstanding performances there. Run by a Wagner nut, the long term project was to perform a full Ring. The worked their way through Das Rheingold twice, Die Valkure, Siegfried and Gotterdamering as separate performances (all of which we saw) and culminated two years ago with three performances of the full Ring. Only UK opera house to stage a full Ring during the bicentenary of Wagner's birth. Astonishing. I have progressively converted my better half, Carole, to Wagner - she was in tears during Wotan's banishment of Brunnhilde, and Gotterdammerung.
This year we have the treat of Tristan, and also for light relief Don Pasquale.
|
|
|
|
Post by julesd68 on Mar 29, 2015 21:00:27 GMT
Kyung Wha Chung - The return to London. I have a terrible confession. During my final undergraduate year in 1977, I took a young lady to see a young Kyung Wha Chung at the Guildhall in Southampton. In the lead up to finals, I was totally knackered and fell asleep. I feel ashamed to this day. Craig That is indeed a most heinous crime, Craig, for which I cannot imagine a punishment of suitable stature ... I would so have loved to have Ms Chung in her prime but I am grateful to have seen her perform at all. A truly stellar talent ... |
|
|
|
Post by julesd68 on Mar 29, 2015 21:15:22 GMT
Although we are close to London, in South Oxfordshire, we tend to use London for theatre rather than music. We have seen some outstanding music (and ballet) at Convent Garden over the years though. But we have some fine music in and around Oxford. We have become supporters of Longborough Festival Opera though, and have seen some outstanding performances there. Run by a Wagner nut, the long term project was to perform a full Ring. The worked their way through Das Rheingold twice, Die Valkure, Siegfried and Gotterdamering as separate performances (all of which we saw) and culminated two years ago with three performances of the full Ring. Only UK opera house to stage a full Ring during the bicentenary of Wagner's birth. Astonishing. I have progressively converted my better half, Carole, to Wagner - she was in tears during Wotan's banishment of Brunnhilde, and Gotterdammerung. This year we have the treat of Tristan, and also for light relief Don Pasquale. This is all very interesting Craig! I am interested to know which part of Oxforshire you live in - it's an area I have a great deal of fondness for, as I was born in Oxford and grew up there in truly idyllic circumstances on Boars Hill for the first five years of my life. Here is my confession - I cannot abide Wagner, or indeed opera, full-stop ... My mother is a Wagner addict of truly *epic* proportions. She will go just about anywhere in the world for the Ring cycle ... She goes to Glyndebourne and Longborough each year to feed her addiction. I think she still harbours some hope of 'converting' me, no matter how much I disdain I show for the music. Of course you must have so many fine music opportunities in and around Oxford. As an ex-chorister I would love to go to some of the College performances / services at Magdalen or New College; I really need to find time to do that ... |
|
