Anna Netrebko – I Puritani – (Vien, diletto, e in ciel la luna)
Natalie Clein: ‘You rarely find a selfish cellist, we’re so sociable’
A leading player who features prominently is Crouch Hill-based Natalie Clein, who told me recently “it’s a cliché that the cello is the closest any man-made instrument comes to the human voice, but true. The range of notes is much the same. And whenever I work with singers – as I will during the “Unwrapped” season – I always feel that my bowing arm is related to the way the singer breathes.
“Of course I’m biased, but I think this human quality is the reason why composers are often inspired to write their most heartfelt music for us. For virtuosity they go to the violin, but for sincerity it’s the cello”.
Ideals aside, though, there’s another explanation she advances for the clubbability of cellists: the “shared trauma”, as she calls it, of travelling with an instrument almost as big as yourself.
“Everyone knows the stories, but I can’t tell you how stressful it is, endlessly turning up at airports and being faced with problems – even when you’ve booked a second ticket in the name of Mr Cello and think it’s sorted out.
“My cello once ended up in the cockpit with the pilot, because the plane was overbooked. Appealing to the pilot is often the only way to get yourself and the instrument on board. I’ve been through it all, time and again. And only another cellist really understands what it’s like. No wonder we stick together”.
“Cello Unwrapped” opens at Kings Place, Jan 7 at 7.30pm, followed by a late-night performance of Kodaly’s monumental solo sonata at 9.45pm. Series continues 11, 13, 14 Jan, and into the year.
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Kristine Opolais -”Tu che le vanita” – DON CARLO
Rachvelishvili and Aladashvili Musically Understand Each Other
To say that Rachvelishvili is impressive only because of her extremely powerful voice, or her uniform yet extended registers, is to ignore her keen musicality, attention to detail, and her delicately coloured and engaging interpretation. She grabbed the attention of the sometimes prickly La Scala audience the moment she first opened her mouth and they stayed in her grasp until her last note; no one was rushing out to get their coat this time.
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Andrew Garfield on What He Loves (and Hates) About Acting
When asked during the roundtable what his favorite and least favorite thing was about acting, Garfield actually offered the same response. He explains, “I just like knowing everything I can. I love the fact that I get to train for a year as a Jesuit priest and then train to be a cop and learn how to make a rocking chair. I want to know everything about everything, and that’s not possible and it won’t be possible. I’m not ever going to reach it. Neil Young has a recurring dream where he has the perfect melody — and he wakes up every time and can’t remember it. And that’s what it is for me. There’s something to aspire to always, there’s somewhere further to go. And the thing that I hate about acting is — well, everything I just said. (Laughter.) The longing is so fucking painful sometimes.”
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Recital Sondra Radvanovsky (2016/17) – “Vissi d’arte”
5 Ways to Make Opera More Appealing to Young People
1. Stop Taking Cues From Movies.
The era of flashy movie musicals is over. The Great Gatsby closed us out, we’re done. La La Land is adorable but it’s not fantastical. We don’t want so much glitz and glamour in a movie because it’s just not in the zeitgeist now.
2. Instead, Take Cues From The Internet.
If you’ve never attended a Metropolitan Opera livecast, it’s a pretty great time. Sitting in a dark theatre with a bunch of opera fans, applauding at the same time as the New York audience is applauding… this is what technological dreams are made of. You can see an opera in the chicest opera house in the world wherever you live. It’s perfect.
3. Strike a Balance Between Modern and Classic.
We all know that pretentious art or dance troupe that must do an updated (or “reimagined”) version of everything. No classics, no standard fare. It’s a good way to look edgy, hip and aware. It probably draws a lot of donations from folks hoping to look like they’re “with it.” But this is a terrible strategy when it comes to drawing in newcomers to the art form.
4. Loosen The Grip On Merch.
If you visit a show put on by Broadway Across America, you can’t escape how much merchandise is for sale at every stop. There’s pillows, sweatshirts, knickknacks or every sort and sometimes even luxury goods. It’s capitalism at work. Merch is tastefully tucked away when you go to the opera. Whenever there is a gift shop, it’s usually tucked away inside the building. It’s easy to miss it coming out. They’re trying to be classy, God bless them.
5. Beg Regularly, And You Won’t Have To Cry Out.
NPR’s annual pledge drives are pretty famous by now. You know you’re going to get that call, and you know they’re going to recite all the stats about how important public radio is to the community and the world. You feel bad, you give money. It’s over.
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