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Saturday, July 05, 2008

One thing after another!


As I opened the door to go to the opera there, standing on the threshold, early, far too early to be home from work was Toni!

Not one to allow me to revel in exciting life changing moments in isolation he has joined me in the experience of being sacked!

My first instinct was to suspect the long arm of The Owner being in some way involved, but then I considered that such a response would show that I had taken too much of the everyday paranoia of my ex school into my ordinary life!

Whereas my dismissal was always on the cards, Toni's fall from grace was far more unexpected. His misery is somewhat lessened by the fact that, due to the quaint unemployment laws in Spain, and the fact that he has got a reasonable number of years in work to look back on, he should get a reasonable amount of money to luxuriate in days of idle richness. Though I have to say that this is one of those things that I will believe when I see it!

With both of us out of work we are back to those halcyon days of exactly a year ago when we arrived in Castelldefels: funny how cyclical life can be!

Talking of cyclical I have to report that the devil is among us!

He is alive and well and setting out his satanic wares in PC City. The fruit may have become less 0rganic and more technological, but this Son of Adam still stretched out his hand and did eat.

In my defence I would aver that only the basest form of scoundrel could pass by the new Eee PC series of mini laptops on the other side of the road.
It's cute little 7” screen and its tiny keypad which is not really made for my spatulate fingers: it is, simply put, a Needful Thing so I now have one and I feel that I can call on the moral support of that great technophile from the past, King Lear in dismissing carping criticism with the stern injunction, 'Argue not the need!'

The kind people in PC City set up the machine for me and offered to put all the basic software on the machine in an hour. I therefore departed for dinner.

The fish menu in the Basque restaurant was excellent with fish soup, cod with beans (how Bostonian!) and the sort of chocolate cake that, after one spoonful you feel like dropping your face onto your plate as the only adequate compliment to the confection. As the table was outside the restaurant in a colonnade next to the market and there were numbers of people passing I managed to resist. But only just!

Collecting the diabolical delight now bursting with its newly installed software, I took it back to the car in the Ramblas car park. The Basque meal having, as it were, completed its gastric journey I entered the car park toilet. And left it almost immediately as it was insole deep in what I hope was overflow from the cistern.

I decided to repair to the altogether more salubrious surroundings of the Teatre del Liceu.

Meditating in the spotless and marble acccommodation afforded to bourgeois patrons of the opera I heard a gentleman of advanced years come in to avail himself of porcelain relief.

I can only hope that the opera gave him as much pleasure as the emptying of his bladder. If I had been a marker of porn films I would have signed him up on the spot! In the time it took him to complete his business he enacted aurally the sound effects of a complete and graphic 'little death!'

The opera was 'Luisa Miller' and a thoroughly nasty little tale it is. The censors did not allow Verdi and Cammarano to stick too closely to Schiller's original conception which was much more political than the tragic melodrama which finally resulted which means that this fatal love story seems grotesquely morbid and self obsessed.

The ending is a piece of morbid philosophizing which is thoroughly repulsive. The son of a murdering count has suppressed his memory of his father's guilt until his own philandering becomes exposed and he uses his knowledge to ensure his father's compliance in not imprisoning his peasant lover. As you can see it is not the most sophisticated of story lines.

A sorry tale of intrigue ends with the count's son poisoning himself and his lover (while not omitting to murder the rascally lascivious henchman before he dies) leaving the count to look on the pile of bodies and rue the destruction of all his dynastic plans.

The tenor lead of Rudolfo was sung inadequately by Aquiles Machado who lacked the necessary bravura to being off this impossibly melodramatic role.

His father, Count Walter was adequately performed by Giacomo Prestia looking as though he had stepped out of a John Singer Sargent portrait, while his dastardly lieutenant, Wurm, was sung by Samuel Ramey with a rocking vibrato which was either crass characterization or poor singing. The unrewarding role of the unfortunate duchess was given a nasal performance by Irina Mishura. The old soldier and father of Luisa, Miller was sensitively portrayed by Roberto Frontali.


The star of the evening and a singer whose stage presence and glorious voice stole the show, Nino Surguladze, almost made the evening comprehensible. She was controlled, dramatic and exact – a joy to listen to!

The production (Gilbert Deflo) was interesting. The stage was undulating and (memories of WNO's 'Cunning Little Vixen') was visually exciting though it did let dropped hats roll and the soldiers stood at a slant.


The visual 'idea' of the production was to have the proscenium converted by black curved flat so that the audience saw the action take place in a sort of semi circular bubble. It gave the effect of an old fashioned print and at the same time it made the action look as though it were taking place in one of those glass bubbles which you turn upside down to create a snow storm.

I am sure that there were ideas of artificiality and contained societies knocking about in the concept but I was happy with the fact that it looked good!

Musically I found the sound of the orchestra somewhat cramped. It reminded me (disastrously) of the acoustic of the New Theatre in Cardiff – a boxed sound that I thought I had left behind forever!

At times I found the balance unsettling and the orchestra sometimes swamped the singers, but that might have been a reflection on the singers and not the band!

As an opera I found 'Luisa Miller' a join the dots Verdi: there was more bluster here than raw power.

Perhaps it's unfair to look at 'Luisa Miller' and think of 'Otello' – but it's a free world and I did and I was left unsatisfied, but I enjoyed the production.


Who could ask for more!

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