Goodbye to all that

 

Who would have thought that Prime Minister of the (presently) United Kingdom of Great Britain and Northern Ireland would turn out to be such a fire-brand radical.  Those of us who thought of her as merely the malicious bitch of the “zero tolerance” policy which continues to poison the workings of the Home Office, could not have imagined that her mindless destructiveness in support of the continuance of the hopelessly divided and self-regarding Conservative Party would espouse the most left-wing anti-imperialist views about the destruction of empire! 

But today, after her capitulation to fellow minority politician leader, Prime Minister Sanchez of Spain, she has signed away the concept of nationality as it relates to an overseas possession.  Gibraltar, whatever the mendacious May says about it, has now lost its British character as it becomes in future subject to a foreign country deciding aspects of its existence.

Let us not forget, too, the fact that Northern Ireland and Scotland also voted for Remain and the Brexit self-harm is making these countries’ futures inside the laughably “united” Kingdom more precarious.  Whatever happens now, the divisions inside the country are not lines of demarcation but gigantic fissures that no amount of mealy mouthed platitudes from a letter to the British people by a desperate and increasingly irrelevant “Prime” Minister of nowhere will be able to bridge.

It is supremely ironic that the party of Empire and National Unity, a party in whose title is the concept of conserving what is excellent in the past, has turned out to be the modern wreckers of the institutions that they formerly maintained they existed to serve.  They have placed party politics above national interest and, including the most fanatical of doctrinaire Brexiteers, they know and have admitted that the country is going to be worse off with Brexit, a price they say is worth paying for the freedom and liberty for our country to advance into the unicorn filled grassy uplands of future long-term prosperity. 

 

As someone rightly said, in the long-term we are all dead, and in the medium to short term most of us do not have the millions safely stashed away in European funds, like the ever-odious Rees-Mogg, to make the difficult times ahead just a little more manageable.

Realizing that Brexit is a disaster is not rocket science and there are politicians on all sides who know this.  I do not paint the whole of the Conservative Party in one colour, there are people in the party who must be desperately worried that their party is going to be accused of national destruction in the future, and they know that the present policy is not one that will benefit the people of Great Britain – to say nothing of Northern Ireland.  I also know that there are Brexiteers in the Labour party, some, like fox-hunting Kate Hoey (who to me seems to have no place in the party) and others who, with some justification, are deeply suspicious about the workings of the EU.  But, as with democracy (a questionable quality in many aspects of EU governance) so with the EU, it is not ideal, but it is better than the alternatives. 

 

And remember, my father and grandfather fought in World Wars, both started in Europe, and I am of the generation that has not had to suffer that obscenity.  Unity in Europe has been tenuous enough and has not eliminated wars on the continent, but the situation is not going to be made better by a major country in Europe withdrawing to its insular boarders.

Today the minsters of the EU will sign the “agreement” and then May will have to go, metaphorical begging bowl in hand, to try and get support for a document that does not seem to settle any of the major questions that make leaving the EU so problematical.  It has been suggested that May has already been stooping to dangling knighthoods in front of those MPs who might be tempted to change sides and support this insupportable agreement.  The next few weeks are going to be catastrophically unedifying - and those are two words that I have never had occasion to put together before.

I am fed up with being a citizen of a country that is now regarded with bemused contempt by those who have bothered to look at our mare’s nest of a national situation.  I am fed up with having to try and explain why my country is doing things that are absurdly out of kilter with rational thought.  And I am fed up with my situation as a British Citizen living in an EU country being used by MY government as a negotiating chip in a no-win game at MY expense.

It is at times like these that I wish I could use the “Delete all and insert” approach of General Body meetings in my University, where one motion could be amended to its opposite by the “Delete all and insert” gambit.  The trouble is for that to work today for the absurdity of Brexit, there would need to be an addition to those four words – the word “forget” between “all” and “and”, so that the revised amendment would be “Delete all, forget, and insert”.

In real life, unfortunately, amendments like that don’t work.  However absurd and dangerous Brexit actually is, we seem to be stumbling, blindly towards our doom.  And even if, by some miracle, we were able to reverse the absurdity, there would still be the corrosive memory of what has been said and done during these two years of governmental paralysis.

Whatever happens, Britain has changed and there is no going back.  My only hope in the chaos that I foresee in the near future, is that something positive will be salvaged by politicians who finally realize that their responsibility is to the country and not to their parties.  Hoping for politicians to “do the right thing” is, clearly, desperation! 

 

But, I am an eternal, if cynical, optimist and the historical precedent of the Conservative Party of Peel and the Repeal of the Corn Laws shows the way!

Do your duty!

Pet Hates

When you are as contrary as I tend to be, ‘Pet hates’ as a title is far too wide-ranging to be meaningful.  So much irritates and annoys me that one has to compartmentalize the discomfort.  So, today I will be concentrating on those elements which disturb my enjoyment of the swimming pool.  Here is the first dozen or so that spring to mind!

My Swimming Pool Hatreds

1     People who do not put their clothes away in lockers in the changing room, but leave them hanging up on hooks over the benches.  These people have what amounts to an ostentatiously proprietorial attitude to a public space.  And they limit space for changing too.

2     Other swimmers in my lane.  I know that it is inevitable that a pool with five lanes, is going to have more than five swimmers are popular times – especially when the two outer lanes are taken up with older folk doing exercises for their health or families with babies and therefore the lanes are not available for real swimming.

3      Children.

4   Single long hairs in the water.  In our pool it is obligatory for all swimmers to wear caps, except for some extraordinary reason in the summer time when the roof of the pool is open to the elements, but it is easy for the hairs to escape.  This is not resentment because I am follically challenged, and I do not really blame anyone for the hairs, it is just the disgust at feeling a hair wrap itself along your face or find its way between your fingers.  Not really logical, but the revulsion is real.

5      Clumsy swimmers splashing me.  I loathe this in a way I find difficult to explain.  The spray from another lane is a constant irritation.  This morning was a more than appalling example, where the swimmer appeared to be digging his way through the water and flinging handfuls on me!  Ugh!

6      Children.

7     Taking up too much of the bench on which towels are place before your swim.  This is a simple case of selfishness and poor consideration.

8     Children (of all ages) hanging on to and pushing the lane float line.  If you have an energetic stroke having your fingers hit the plastic floats is actually painful.  My nail ends are in a parlous enough state as it is without having the abrasion of floating plastic making them worse.  There is also the effect of clunking the buttons of your smartwatch and therefore negating the information being collected on your swim.  Information, I might add, that I do nothing whatsoever with when it is collected – but that is not the point.

9    Invading my lane.  This is mostly having to deal with people who have no idea whatsoever about when to make a move if they want to pass through a lane.  They do not seem to be able to judge speed and proximity.  They should learn!

10   Ambient music.  I am more than content with the sound of the bubbles breaking against my ears and the music of my own thoughts!

11  Men peeing with the door of the toilet open.  Do women do this in their changing room?  I think probably not.  Is this a macho sort of thing?  Whatever.  Stop it!

12  Over equipped swimmers.  Unless you are a professional (in which case you probably shouldn’t be doing your training at our pool) the only equipment you need is: costume, goggles, cap, slip-ons, towel, ear plugs.  Anything else is mere ostentation.  Some people have water bottles, plasticised sheets of their regime, flippers or fins, hand thingies and other bits and pieces.  No.

13  Cold showers.  I’ve done the exercise, I deserve the pleasure of a warm shower not the punishment of something more befitting one of the more vicious old English public schools.

14    Children 

15    Swimmers chatting in the pool at the lane end.  Pools are for swimming not talking.

16    Men who wear anything other than brief swimming costumes.  That sounds more overtly sexual than I meant it to sound.  I was only making a practical point about practical swimwear for serious swimming.  One person this morning was wearing shorts that came down to mid shin!  What next?  Full dress costume and the re-emergence of Victorian bathing machines?

And I better stop there (though there’s more, much more) because you probably get the idea!  And probably too clear an idea of my character!

Far more pressing and disturbing is the fact that our select class of language students was hit with the unwelcome news that we have an examination a week today.  That did not go down well.  Our attendance is patchy.  There should be as many as twenty students in the class, but we have never had more than a dozen at best.  I can’t imagine that the examination will encourage them to creep out of the woodwork for the ritual humiliation that attempting to speak a language you do not know brings.

To be fair our examination is only (sic.) on the first two units of the course book and has some fairly basic stuff in it – but it confuses the hell out of us anyway.  Today, for example we were doing an exercise where we had to add the ‘from’ bits to show where someone was, well, from – and we were hit with the definite article scam.  It is always amusing to hear those of a foreign inclination refer to The Big Ben having been seen on their trip to London.  In our explanations we tell the hapless non-English speakers that “We don’t say that.”  We then explain that The Houses of Parliament but Buckingham Palace; The London Eye and The Tower of London, but Piccadilly Circus and Wembley Stadium.  And we hope that clears things up!

I have now been paid back in my own coin as we have been told that India, in Catalan is actually The India and therefore the way you write things like, “He is from India” in Catalan has to include the definite article, so it becomes “He is from the India”.  O Dear!

 

Well, we have a week to get things organized in our minds before the sudden onset of bits of paper with other bits to fill in is suddenly upon us.  As I always say at this point, this week should be one of revision, of bringing to the surface those elements of language that have been drilled into my subconscious.  Real life is not like that.  There will be a week of frantic learning so that the devastation of the red marker pen is not scrawled too thoroughly on my tear-sodden paper.

-oOo-

In an act of nasty minded viciousness, someone or other has thrown a black plastic bag of rubbish into our neighbour’s front garden.  Cats and other vermin have been at the debris and it looks unsightly and insanitary.

We have no access to the garden, and our neighbours are not in residence, so I took the extreme measure of phoning the rental company to Do Something About It, as they own the building and they must have something like a duty of care.  I was assured that they would at 10.00 am this morning.  It is now 5.00 pm and the rubbish is still there.  I will keep track.

-oOo-

I feel as if I am in an R D Laing poem, where there is something I should know that I have forgotten.  I am fairly sure that there is a part of the domestic shopping list that I have not filled, but I am damned if I can remember what it is.  And there is nothing worse that endlessly going through the litany that my mother used when she was trying to remember what groceries she needed.  She always started the list with “Butter, lard, marge, sugar, eggs . . .”  And that has stayed with me. 

Its usefulness is limited as we don’t buy the first four items on the list and Toni is fully paranoid about eggs and checks the dates and is scrupulous about staying within the time limits.  I, on the other hand, am probably more flexible that I should be with sell by dates and best by dates.  Toni has never really recovered from going through my cupboards and finding items that were years out of date.  And he was insistent on his sharing his astonishment with me at each new archaeological discover that he made.  For the sake of a quiet life I allowed him to bin stuff that I would never have thrown out and would quite happily have used today.  I mean dried pasta is dried pasta – what can go off.  And anyway, some pasta is naturally green!

I have been hoping that typing will prompt my fingers in an unconscious sort of way to suddenly become possessed by the Spirit of Domesticity and reveal the item.  But, nothing!

Himself will soon be home and I am sure that as soon as he steps over the threshold it will come to me with a bump.

I can always aver that my mind is now consumed by the looming examination and I have no time for trivial things.

REVISION STARTS TONIGHT.  Unless there is a decent film on.  NO!  I will dedicate myself to the acquisition of the rudiments of the language.  I will.  I will!  A bit.

Janacek - Katia Kabanova - Liceu

Janacek, Katia Kabanova, Liceu.  Buy a ticket and see it tomorrow, it’s your last chance!

I know that is not the conventional way to start a review, but after the performance that I saw last night, I am not only going to start by review with that injunction, but also end with it as well!

With a stripped-back, sparse staging comprising intersecting planes enlivened by projection and lighting it becomes a gaunt setting to highlight the singing of what is one of the most complete ensemble productions of an opera that I have seen.

I have come to expect orchestral playing of the very highest order from the Orquestra Simfònica of the Liceu, but last night’s performance conducted by Josep Pons took their playing to another level.  They emphasised that the music for this opera is the equivalent of a concerto for orchestra and the whole band would have been fully justified in taking a bow on stage for the meticulous and nuanced playing that they produced.

The soloists were dazzling with the signal exception of Aleksander Teliga playing the boorish uncle Saviol Prokofievitx Dikoi, wearing an absurd furry coat with top hat and cane and failing to reach the level of professional fullness of his accompanying cast.  Perhaps his cartoonish appearance and stilted acting was intentional as many of the other characters appeared more suited to melodrama or Expressionism than naturalism.

A case in point would be Rosie Aldridge’s chilling portrayal of the domineering mother-figure Marfa Ignatievna Kabanova, presented as a stage villain in tight fitting black bombazine and sung with the sort vicious relish that meant that when she came on stage at the end of the performance to take her well deserved ovation there were boos for the Mother’s character mixed with the enthusiastic applause for her superlative singing and portrayal!  A true accolade! 

Her character had been fleshed out by an interlude with the Saviol character where she showed herself as a hard drinking, straight from the bottle dominatrix, at one point straddling Saviol, threatening him with his own cane and producing gurgles of delight from the prone character as the curtain fell!

In another staging detail, this production chose not to include the iconic moment at the end of the opera where, after the suicide of her daughter-in-law, with the drowned body at her feet, Marfa bows to the workers who had searched for the corpse.  In this production she remains still until her right hand shoots out, demanding the hand of her grieving son, whom she then leads away from his dead wife into the darkness of the wings.  An electric - and truly horrible moment too.

Tikhon, sung by Francisco Vas, as the ineffectual and mother-dominated cypher of a husband, was initially disconcerting because of his resemblance to William Rees-Mogg, another ineffectually destructive character: lean rectitude masking dark forces!  He sung the role with the confused passion exactly matching his confused, damaged character, expertly juggling the contradictory complexities that he is too weak to surmount.

But the evening belonged to Katia, sung by Patricia Racette, who claimed the role for herself singing with the sort of confidence and assurance that allowed her, paradoxically, to portray the self-destructive repression and lethal freedom, the sensitivity, sympathy rejected and half-understood, the full passion and hesitancy with a range of expression that was breath-taking in its scope and effortless delivery.

The recipient of her love, Boris Grigorievitx, nephew to Saviol, sung by Nikolai Schukoff, was presented as a spiv-like, gigolo, Latin lover, smooth, cigarette smoking, spoilt “rich” boy who can’t get his hands on his inheritance, frustrated and bored in a provincial small town – certainly not a man to lose your life over, but superficially attractive – and brilliantly sung and confidently acted.  The attraction between Boris and Katia was convincingly displayed and the scene of the assignation when Katia takes off her coat and reveals that she is wearing an evening dress with butterfly-like gauze ‘wings’ emphasised the incongruity of the match, and perhaps the inevitability of the fatal attraction as she was caught, insect like by her investment of the light of love in Boris.

Vania Kudriaix, the other lover in this opera, sung by Josep-Ramon Olivé, is a contrast to Boris.  Vania is a writer and finds beauty in nature and expresses himself in folk song, you feel that he has more authenticity than Boris will ever have.  Olivé possessed the role and through excellent singing, spirited dancing and a rounded performance made the character appealing and real. 

 

He was matched in singing and acting by his lover Varvara, sung by Michaela Selinger, who portrayed a repressed semi-adolescent at last breaking free from the tyrannical hold of her adopted mother with élan.  These two had some of the most lyrical sung moments in the opera and were a delight to watch and listen to.  Her first appearance, returning from Church, was accompanied by a (real) small dog on a lead – an interesting coup de theatre in a live opera, and I suppose it was to show that she was a more expressive character, to prepare us for the love affair that had already started.  But would Marfa have allowed a mere dog as a plaything, something so purely decorative and useless in such a regimented household?  I am not sure, and anyway, I think that for the dog to be introduced, it should have had some sort of continuing role as a living metaphor at other points in the drama.

The chorus has a small, but essential role in this opera and their spectral voices added to the music richness of the music.

As the sets were so stark, the lighting played an essential scene setting character.  At times the use of shadow reminded me to Murnau’s 1922 film of Nosferatu with characters throwing looming outlines, large and threatening.

The climactic suicide of Katia throwing herself into the Volga was a true spread-eagled jump – no walking down hidden stairs here on the far side of the set but a full body, break taking leap.

For me, this is the sort of production that justifies opera as an art form, a true combination of music, drama, spectacle.  The production played straight through with no intermissions, and lasted a doable one hour, forty-five minutes.  A triumph.

Janacek, Katia Kabanova, Liceu.  Buy a ticket and see it tomorrow, it’s your last chance!