Archive for December, 2021

An opera-lover writes again

December 31, 2021

First a little background. When I learnt piano as a boy, I did a piano exam each year. This was common and indeed such exams still occur.

Historically, it’s very much a British empire kind of thing, rather on the model of the University of London as an examining body. A number of these bodies are based in London, and there has long been a local outfit, the AMEB (Australian Music Examination Board) which was originally a kind of condominium of the various state conservatoriums and music faculties.

Looking back, it was a funny little world. But with these exams you knew where you stood. I remember looking up in awe at T, the elder sister of a friend of my elder sister, probably aged about eleven or twelve. She was doing fourth grade. Only recently my sister told be that T hated piano lessons and exams and gave them up as soon as she could.

The justifications for exams are many, and not uncontroversial. Some are that this way learners can have a goal to meet, which includes getting a group of pieces up to a reasonable and simultaneous level of finish. They get to play for someone other than their teacher – which is an indirect check on the teacher. The syllabus provides guidance on pieces in a graded sequence and there is a kind of canon-formation project involved. Parents often seem to like exam results as a validation of what they have been paying for.

After a number of grades the whole edifice culminates in a series of diplomas.

In truth, these days, with the proliferation if not over-proliferation and prolongation of tertiary level music study, these diplomas are pretty well meaningless save as badges of honour for talented high school students (or even younger wunderkinder). When standards were lower and playing the piano still had a vestigial life as a (feminine) accomplishment, they probably served as some kind of a distinction/accreditation for suburban and rural piano teachers, though the AMEB always disclaimed that the exams were a test of any teaching ability. (Later it introduced some teaching diplomas but maybe these have fallen away.)

My friend ST, opera- and music-lover, has sent me extracts from the AMEB 1980 and 1985 piano syllabuses for eighth grade and the associate diploma. Below are my rather blurry pictures of the 1980 pages with his annotations, in red.

ST , persisting with or returning to the piano as a kind of unfinished business after he left school and into his twenties, did his 8th grade exam at this time and also tackled pieces for the Associate diploma. I think the latter eventually proved a bridge too far. He explains his annotations as follows:

Crossed items are composers dropped. Some other reductions, & the very few composer additions are marginally noted,

Particularly irksome were are the dropping of whole sets (exclamation marks) like the “Sarcasms” (all five) & the opus 111 Fantasies (all three).

In summary, 15 8th g. composers & 24 Assoc composers dropped with respectively 4 additions & 5 additions. Why so? (Debussy & Ravel go from list C to list D).

Why indeed? I myself played a Prokofiev Sarcasm for my AMusA exam in 1976, so I feel a little wrench – slighted, even, by its banishment from the list.

ST adds:

These changes, notated herewith, made me angry in the early to mid 80s. That emotion was never resolved but by sharing it now, that resolution is thereby achieved.

All good, then.

Journalism/content creation on “our ABC”

December 28, 2021

The Stephen Spielberg “remake” of West Side Story opened in Australian cinemas on Boxing Day.

On the same day, ABC “Music & Pop Culture Reporter Mawunyo Gbogbo” published Your guide to West Side Story: The history, background and controversy.

As the title forewarns, the hook for Gbogbo’s piece is that (cf the film version of Cats) the new film has had a less than stellar run at the US box office. Easiest to quote Gbogbo’s article here, in case it gets taken down or amended:

It did badly at the US box office, could that be repeated here?

When West Side Story opened in the United States, the box office results in its opening weekend were disappointing.

The movie cost Disney and 20th Century Studios $US100 million ($140 million) to make.

It only made $US10.5 million on its debut, and therefore stands to lose millions.

This may have been because people have been reluctant to get back to movie theatres because of the pandemic.

It may also, in some part, be because of controversy.

Ah yes, controversy. A bit of a weasel word, really.

It turns out that allegations have been levelled against Ansel Elgort, who plays Tony. The allegations were made and denied online in now-deleted posts on both sides. But they have an afterlife in comments in a youtube post of an interview between Elgort and Drew Barrymore to which we are helpfully directed.

Viewers of the segment, however, haven’t held back in discussing the allegations in the comments section.

The ABC has reached out to Disney for a response on the allegations, but is yet to hear back.

Talk about a kiss of death. Is this where critical discourse and journalism have got to these days?

Gbogbo was seemingly undeterred from assuming the role of guide by not having seen either the (1957) stage musical or the (1961) film. She does offer a cursory review: worth watching though drags a bit at the beginning; laden with stereotypes; not so sure it’s aged well [probably hard to be sure if you haven’t seen any earlier versions]; Elgort well cast; other standout Anita. No mention of Bernstein, Sondheim, the songs, the dancing, or why the show might ever have been thought worthy of a remake.

I have “reached out” to Gbogbo about her piece but am yet to hear back.

Able was I

December 26, 2021

I picked this up on Christmas Eve. It was the cheapest available.

Our pudding was from Aldi (albeit, just a bit pathetically, their aspirational “curated” range). Why splash out on any of that Napoleon stuff just to make brandy butter/hard sauce and fuel the ritual flambé?

Not that (as you can infer from the level in the bottle) some of it did not also get drunk. My standards are low.

Maybe I’m the last person to notice this, but the piss-take brand name also took my fancy.

Coming soon to a venue near you

December 14, 2021

This is a kind of double sequel post.

The above picture is from my 2017 post about an unexpected reunion between two of my late father’s paternal cousins. All six cousins (including my father and his brother) are pictured above circa 1932-33.

Yesterday I received a call from Jx, daughter of R (the girl at the front in the photo) to let me know that R died on Saturday.  She also told me that she had just discovered that the other girl in that photo, M, died a few months ago.  They were 93 and 94 respectively. R’s brother, the last surviving of the boys in the photo (the second from the far end), died three years ago aged 92.

I last spoke to R in August and to M (both living in Perth) in July.  Last week I was unable to get though to M when I tried her direct number at the aged care facility – an ominous sign. R’s birthday is in December and I had thought I might follow that up with her when I called her. M never married or had children and her “nok” at the aged care facility were probably her brother’s step-children. I guess they weren’t greatly focussed on M’s blood relatives. Jx said that R had not been told anything.

In a post last December I wrote about two journeys – the proposed trip by YYX, partner of my sister, YY, from London to Lancashire in the then-proposed Christmas “window” to see his parents and D’s longed-for trip to Shanghai to see his mother.

In the end the Christmas “window” was cancelled.

D’s trip never happened.  His mother died mid-October, aged 91.  For hours every day for more than a year leading up to that, D was at her bedside via Wechat facetime-equivalent.  As her condition deteriorated this became more and more fraught and hung heavily over our lockdown life. 

D was eventually able to get permission to leave Australia (just before this restriction was lifted) but a visa to enter China only came through on the day of or the day after his mother’s death. He participated in the funeral via a phone held up by one of his nieces. 

There is one obsequy to come on the winter solstice. For that D would have had to have flown out by the last week of November in order to serve the requisite quarantine/isolation. In the end it was too hard and prohibitively expensive even if he could get one of the very limited tickets.

In mid-November, YYX’s father, J, went into hospital for a major heart operation.  YYX drove up to Lancashire to take J into the hospital and then drive his mother (who no longer drives) every day to visit him.  

Last Friday night YY called.  J had been discharged a couple of days before after 3 weeks in hospital, but over his first day home he deteriorated rapidly.  YYX called an ambulance at 2.30 am which didn’t arrive until about 6 am.  J was taken first to the hospital where the ambulance came from, and then to the more distant hospital where he had previously been.  Along the way, he had a number of heart attacks and was eventually in an induced coma with multiple organ failure.  It was unlikely he would regain brain function. 

When YY rang me (actually she’d spoken to D the night before when I had been out), YYX, his mother and brother were on their way to the hospital. The medical people had prepared them to take the decision to turn the life support off.  As YY was speaking to me, there was a call on her other phone.  “I’d better take that,” said YY.  Next morning I saw an email, sent just after.  That was YYX.  There had been no need to take any decision. J had just died, all by himself.  It was his 81st birthday.

There’s a lot of it about.

Platée

December 13, 2021
KB as P, from Pinchgut twitter

On Wednesday last week with D to Angel Place for Pinchgut’s production of Rameau’s Platée.

Were I flusher with funds or Pinchgut able/willing to offer cheaper tickets I would have gone more than once.  At the last minute Pinchgut released cheapish tickets for a filming session on Tuesday but by then I was already committed to Midsummer Night’s Dream at NIDA with the Con.  And then they released cheap seats for the last night – but that’s when I was going anyway.  The main loss to me was that the exuberant score whizzed past me without the opportunity of familiarity to savour more particularly its many delights.  Oh well, them’s the breaks.

It’s twenty years since I went to Pinchgut’s first production – not strictly an opera but a staged performance of Handel’s oratorio Semele.  It has become customary almost every year since for loyal Pinchgut followers to announce that “this is Pinchgut’s best yet.”  In line with that tradition, Pinchgut itself allowed themselves on facebook the following:

“Did you hear? Platée is being hailed as Pinchgut’s best opera yet!”

If they had in mind Peter McCallum’s review in the SMH, what he actually wrote was:

“Theatrically, Armfield’s unflagging production is, for me, the best in Pinchgut’s 20-year history.”

That’s a slightly different claim. 

For me, the notable thing about this production is how covid-inflicted autarky, throwing the company back on its Australian resources, may have yielded some opportunities (who knows if Neil Armfield would otherwise have been available?  or Cathy di Zhang, driven back here from Europe in 2020?) and has confirmed the company’s strengths (especially the orchestra, the availability and return of Cantillation, and a special nod to David Greco, practically brought up by Pinchgut as he himself acknowledges).

And, of course, Kanen Breen in the title role.  The (wafer-thin) plot entails a cruel trick played on Platée, a marsh-swamp naiad led to believe that Jupiter will marry her, when the whole point is that Juno will realise that Platée is so ugly that Jupiter could not possibly be intending to do so.  As Peter McC also wrote:

“the evening belongs to Kanen Breen as the swamp queen Platée, for whose vocal and burlesque talents the role could well have been written 276 years ago. … Breen’s Platée is a towering performance, not just for the high-heeled, thigh-length pink boots from which he dispenses this cavalcade of queenly kitsch, but for his indefatigable vocal and physical litheness, stamina and wit. Right at the end, just as one imagines la commedia e finita, Breen introduces a disturbing new tone, throwing body, soul and voice into a remarkable epilogue of scorned intensity.”

I can definitely endorse that.  But there is more.  Passed over by PMcC in this account, the heart of the opera was as Platée entertained dreams of impending connubial bliss.  That hinged on directorial touches by Armfield, but also on Breen’s characterisation of Platée’s vulnerable delusion.  Not really self-delusion because all were conspiring against her.  This was deeply poignant.

D and I are fans of KB. We treasure the memory of a post-performance encounter some time in the noughties (actually 2012; he was the Prince of Persia in Turandot) when KB energetically cycled by bound for Elizabeth Bay or wherever as we ambled at a more leisurely pace up Macquarie Street to our then Phillip-Street-south favourite parking spot. 

Awards schmawards. Surely this must snare Kanen a fourth Helpmann award.

Finally, what a treat to see an actual musette! I missed it on its first outing last year for the Charpentier Messe de Minuit. This is an instrument you learn of as a pianist because of various keyboard pastiches (starting with JSB in the Anna Magdalena Notebook and an English suite). You are told that it is like a bagpipe, which it is, but sweeter and quieter.

Let’s go to an opera

December 13, 2021

Last Tues to the NIDA Playhouse for a performance of Britten’s Midsummer Night’s Dream.

This was a joint production between the Conservatorium and NIDA.  Performers (onstage and orchestra) were from the Con; NIDA provided the venue and everything else.

In my opera-going life, Opera Australia has had two excellent productions of MSND.  First, the Moshinsky production first seen in 1978 with James Bowman as Oberon soaring in from the wings on a trapeze, and then the Baz Luhrmann “British India” production with the orchestra on a bandstand and the fairies creeping out from beneath it.  I see I was a bit underwhelmed on its last return in 2010, but that did not diminish my love of the work.

Opera is a difficult art.  With a student production you have to adjust your expectations and there will often be some necessary compromises.

The biggest compromise in this production was that instead of a chorus of children for the fairies (Britten wrote for boy trebles but it could well now be done with a “co-ed” group so long as there is an upper age/vocal maturity cutoff for the girls) this time we had five adult women as Mustardseed, Peaseblossom, Cobweb and Moth (as per the book) and a fifth, “Ariel” (on loan I suppose).  They seem to have been re-thought as dryads and glided around the stage in a stately tree-like way.

Practically speaking the reasons for this are obvious.  The Con opera and vocal tertiary program is in the business of providing parts for its (adult) students.  But it did have musical and dramatic consequences. 

Musically, an axis of comparison to the ethereal, other-worldly world of the chorus of fairies was weakened.  (There was also a cut of the “tongs and bones” number where the children play recorders and percussion while Bottom demonstrates his reasonable good ear in music.)  With five adult produced voices taking the chorus vocal lines it was also very difficult to make out the words for most of the songs.  I also felt the tempo of the final chorus, maybe tempered to the different nature of the ensemble because of the fairy rethink, was too fast with a big loss of lilt.

Dramatically, there was also a mismatch: it was difficult to make sense of Titania’s directions to her fairies to “skip away.” Bottom summons the named fairies to various errands and tasks to which they each in turn respond “Ready!”  (There is a running gag with Moth constantly being cut off.) You could imagine them waiting attentively and springing forth as bidden, but here they glided in at their own pace, more “When I’m ready.”  When Titania sends the fairies away, they sing “One of us stand sentinel” but nobody did.

Basically the whole scherzando aspect of the fairies was lost.

The other compromise of a sort is that the NIDA theatre is fundamentally unsuited to classical music because it is CARPETED.  This is hard on the singers and was especially hard on the counter-tenor singing Oberon. 

I didn’t mind other compromises such as the substitution of an electric keyboard for the harpsichord and celeste – there probably wasn’t room in the pit for them.  Sometimes the “harpsichord” was a bit implausibly loud but not overwhelmingly so.

Maddeningly, on Tuesday, after a delay of about 20 minutes (“unforeseen circumstances” we were told – putting me in mind of “accidental circumstances”), we were subjected to a school-concertish speech from Neal Peres da Costa before the beginning of the performance.  He even duplicated the welcome to country and acknowledgement which we had already received over the PA.  I said to my neighbour “Will there be a quiz on this?”  I wish I’d had the nerve to call out more loudly “Is this going to be in the exam?”

The upshot of all of this is that although I was glad to have gone, I didn’t come away with the glow that I might have expected to take away from the first live performance I had been able to see since June.

All the same, when on Thursday my friend U offered me a spare and free ticket for the final performance on Saturday afternoon, I accepted.

A friend I ran into on Saturday expressed some incredulity that I would want to go twice. I am glad I did, though I doubt if I would have paid to go a second time.  I enjoyed it more second time around.  I expect the performance had improved over the run, but mainly I had adjusted my expectations.  In the second half I also found a spot (in one of the boxes on the side) which gave Oberon more of an acoustical fighting chance.  And, small mercy, we were not subjected to a speech at the start.

It looks as though the Con (they like to call themselves SCM) and NIDA are planning on continuing this collaboration.  There are a lot of pluses for this theatrically.  The carpet will continue to be a very big negative.  I would prefer that NIDA in future conformed to operatic conventions in limiting admissions of latecomers to appropriate breaks in the performance.

In a program note by Kate Gaul and Stephen Mould (stage and musical director respectively) referring to musical treatments of MSND, Purcell’s Fairy Queen did not rate a mention even though Britten was described as “the first great composer for the opera stage [in England] since the age of Purcell (roughly contemporaneous with Shakespeare).”  OK:  1659-1695 (Purcell) and 1564-1616 (Shakespeare).  You could equally say Purcell is roughly contemporaneous with Mozart (1756-1792).

All of this seems a bit negative.  Actually, and especially in the very trying circumstances of this year, it was a terrific achievement to have mounted this production, whatever its imperfections.  There were some promising performances by the singers (the better ones were those with better diction) and the orchestra competently realised what must be a tricky score.