Cultural challenges?

 

 

Well, a second viewing of Aida in the Liceu last night has not changed my opinion of the production – though musically (orchestra, chorus, and soloists) it was as good as my first experience.

     As my second viewing was with friends who were seeing the production for the first time, I kept my negative views to myself until the interval when I was able to add a certain amount of my sored and repressed venom to the general rejection of what the director, Shirin Neshat, had presented.

     The irritation with the front-of-curtain processions, the appearance and inexplicable nature of the veiled characters in black, the one-note moral argument, and the static quality of much of the stage work, all came in for fully justified criticism – while the music producers were as justly lauded.

     This time around I felt much more irritation about the use of film projected onto the blank surfaces of the hollowed out rotating cube that constituted the scenery.  It seemed to me that the director was caught between metaphor and reality and did not give any sort of coherent argument for the differing portrayals of action on stage or indeed on ‘screen’.

     The March of the Zombies, that comprised the last of the front-of-curtain processions before the final scenes, did not provoke the slow handclap and boos that accompanied my first view of this charade, and the conductor was not called on to quell incipient mutiny by the audience with a hard stare.

     Musically this production is redeemed by the quality of the music produced but not justified!

 

 

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Our second foray into the music scene is due to be a lunchtime performance in the Palau, but our plans may be derailed by bad weather.  If it is only a spot of rain, then I couldn’t care less, but some of the downpours that we have had recently have been tropical in their intensity, and given the lunatic level of driving normally, I do not want to be on the road in challenging conditions with The Driving Death Cult!  We will see.

 

 

-o0O0o-

 

 

In my Huxley research, the second researcher that I have contacted with a view to looking through the Chatto archives in the University of Reading, has explained that she is fully booked until some time next year; so back to the drawing board.  Though I do have a list of further names of people centred in the area who are contactable, so all is not lost.  Yet.

     The irony of a wide-ranging research project focussing down to a single footnote, which will be used as the basis for an entire research paper, is not lost on me.

     The problem of having a topic so narrow is that the information that is central to my ‘thesis’ and that will be the original element, is contained in an archive that is not readily accessible to me, though it would be just a car drive away were I still living in Cardiff.     

     Well, that is something that I should have thought about when I was doing the original research all those years ago – like half a century ago!  Dear god, it does seem extraordinary writing sentences like that, and even more so when I unearthed my original research and started reading through extensive notes made by someone I barely recognized as myself! 

     I am sure that there is a moral lurking somewhere in those last sentences, but I can’t be bothered to tease it out!

 

 

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With all the apocalyptic talk of hurricane-level storms for tomorrow, outside, now, there is bright sunshine and the temperature is a more-than-acceptable 23C.  And we are preparing to go out for a menu del dia – something I feel I deserve given the demands of an evening performance of a Grand Opera last night.

     As I am now used to going to the opera for the Sunday afternoon series (and therefore getting out of the theatre at a reasonable time) it was a shock to the system to find myself hours past my bedtime before head finally hit the pillow.  And, to make matters worse, it took me some time before I finally got off to sleep, so I felt more than justified ignoring the raucous interruption of my reveries by my mobile phone urging me to gird my loins and get to the pool for an early morning swim.

 

 

-o0O0o-

 

 

     Everyone is entitled to a leisurely day from time to time, and this is one of mine.

 

 

 

Aida boxed?

 

 

   

 

Dozens of Ukrainians protest in front of the Liceu for the presence of Anna Netrebko at the inaugural 'Aida'. ARA

I could hear the Liceu before I saw the doors.  This was not music permeating from the inside, but a demonstration outside.  A group of protesters were (loudly) making their views know about the Liceu’s choice of Russian singer to take the lead in their production of Aida.

     Anna Netrebko is alleged to be fairly closely aligned with Putin, and although she has made various statements about the present situation, those protesters felt that neither she, nor the Liceu had taken strong enough action to show their rejection of the on-going conflict in Ukraine, and also of the accused war criminal and murderer Putin, in his continuation of the war.

     I did speak to one of the protesters and expressed my sympathy for his position but also said that I would be going inside and be a part of the audience.  I said that I would speak to a manager to make my attitude clear, but I felt that I was acting with the cost of my seat in mind, and not with the prompting of my conscience.

     I suppose the trouble is that all of we ‘right thinking’ people have made our positions clear: we do not support Putin in his invasion and his war, and we want to see the conflict resolved as soon as possible.  But, apart from expressing opinions, what have we actually done?

     I did speak to a member of the management, who said I should speak to Public Relations and that somebody would be available at the end of the show.  And that was enough to enable me to enter the theatre, having done (that word really should be in inverted commas) more than most, merely by voicing something to somebody!  Not much, but more than nothing.

     As I sit in the front row of the audience, I get an unobstructed view of the orchestra and as Aida is one of the grand Grand Operas, it was encouraging to observe a very full pit and know that there would also be on-stage and off-stage musicians swelling the sound.

     The Prelude was brilliantly played by an on-form orchestra conducted by Antonello Manacorda, and the curtain rose to reveal the set designed by Christian Schmidt: a gigantic white revolving box which slowly rotated, showing static tableaux of various figures.  The box had different sides and opened out during the performance and had projection shown on it, but the basic stage form for this ‘grand’ opera was fundamentally stripped-back tedious.

     The Egyptian and Ethiopian setting of the piece was both referenced and ignored.  We were invited to view the spectacle through a twentieth century perspective with soldiers dressed in unforms and fatigues, but were also presented with priests who wore costumes that suggested Christian Orthodox or Coptic influences, while the Priestesses suggested something Islamic.  The waving of a large black flag at one climactic point in the production and the singing of praises to the Egyptian goddess Isis also made me think that it was a reference to ISIS!

     I have no objection to updating a classic piece of operatic repertoire, but I like to have a certain coherence in the directorial viewpoint, and Shirin Neshat did not give me that in her presentation of events.

     What conflicts were we supposed to be following?  The violence on stage and on film was neither engaging in a narrative sense nor gripping in theatrical terms.  There was a confusion between the literal and the figurative and we were left wondering what was real and what was metaphorical in theatrical terms.

     This confusion was shown best in the final scene of the opera when Radames and Aida are locked in a claustrophobic tomb – which was presented in a large open space carved into the cube and Aida’s presence was ‘revealed’ by the opening of a circle of unexplained black veiled figures, who, after the reunion made their way off stage via two convenient doors.  Why didn’t Radames and Aida follow them? 

     But this was just one instance when the logic of the stage was not followed.  In the scene with Radames being revealed as a traitor there were enough characters on stage (and at hand) easily to stop the escape of Aida and Amonasro, and to capture them.

     Ritual and stagecraft, reality and convention constantly clash in this vision of Aida, but not productively.  The scene changes were done behind the curtain and the exposed apron strip was occupied by a procession of characters from soldiers, through priests to what appeared to be corpses – in the performance I saw the latter got a slow handclap form some members of the audience and scattered boos as by that point in the opera we had all become irritated by the self-indulgence of the director.  The conductor had to turn around and give a stern look into the darkness to quell the mutiny!

     But the music was excellent.  The playing of the flute solo at the beginning of Act III the prelude to the Nile scene was superb; the six on stage fanfare trumpeters was electric, and the wall of sound that came at the most triumphant moments was almost overwhelming.  Indeed, I did feel that at times the balance between an enthusiastic orchestra and gutsy singers was a little too much in favour of the instrumentalists rather than the soloists, but overall, it was an exceptional music performance, conducted with precision and a close attention to detail by Manacorda.

     Netrebko commanded the role of Aida, though I thought her quasi-balletic movements were more stylized than they needed to be, given the apparent realism of the depictions of conflict, but she was confident in all registers, and her extended high notes were breathtaking.

     Ivan Gyngazov as Radames was a more than equal partner to Netrebko, as was Artur Rucinski as her father Amonasro.

     Ekaterina Semenchuk as Amneris was excellent, though her voice is not entirely one I feel comfortable with as it has a harsher element in it to my ear.

     Moises Marin as the Messenger made the most of his set piece with a voice that had power, lyricism and depth.

     I felt that George Andguladze as the King was slightly under-sung, but he had some stiff competition on stage!

     The Chorus was excellent, but they were not asked to do very much in theatrical terms, and were more static than necessary, unless that was part of the ‘idea’ in some way.

     This was an excellent musical performance inside an indifferent production, where the inherent difficulties and contradictions in an ill thought-out or perhaps over-thought producer’s vision detracted from making this a truly satisfying evening.