It was the title of the concert that first caught my eye, a pun and a gratuitous film reference joined in unholy wedlock, with no objections raised from my pew. Then I noticed the performers. The Guildhall Ubu Ensemble are apparently no mere youth orchestra composed of Guildhall students, but “the musicians of tomorrow playing the music of our time.” I would condemn the arrogance and dubious accuracy of that statement, were I not too busy praising the superb choice of name and happily envisaging a future where all musicians pretend to be influenced by seminal proto-Surrealist literature.
Articles by Gabriel Kellett
This is the first of a series of London Sinfonietta concerts to be guest conducted by Adès over the next month, including touring performances outside London where his piano concerto In Seven Days is coupled with a different Reich piece, Music for 18 Musicians. It was less than 18 months ago that the Sinfonietta performed that work at the Southbank Centre with a live relay open to all in the foyer, which proved very popular; rather than have to match that performance, I think they have made a canny programming choice by enticing some of the potential new audience gained by that concert with a less famous piece by the same composer. The combination of two Biblically-inspired pieces in this concert is also arguably a more interesting and appropriate pairing.
The first Thai winner of the Palme d'Or after its world premiere at the Cannes Film Festival last year, and so far seen mostly in Europe, Uncle Boonmee is about to get a limited release in New York City, while the Region 2 DVD is released in March. Here in the UK it was first shown at the London Film Festival in October 2010 before going on general release (i.e. in London and perhaps a few other big cities) a month later. I belatedly caught up with it on the day it was excluded from the Oscar nominations for Best Foreign Language Film, a decision that I can now say seems quite understandable – for reasons not of quality, but of cinematic style.
his latest ROH Rosenkavalier has so far had middling reviews, many focusing their criticism largely on the production, which originated in 1984 under the late John Schlesinger and here directed by Andrew Sinclair, which they believe to be showing its age. It has been revived many times, and therefore probably dulled by overfamiliarity for some, but to this first-time viewer it seemed understandable that the company would wish to extract the maximum mileage from it—perhaps a lull before an exciting new production comes storming in to mark the opera’s 100th anniversary in 13 months’ time?
The recent news of Angela Gheorghiu’s impending divorce from Roberto Alagna may give some clue as to why this performance, part of the South Bank’s second ‘International Voices’ season, was postponed from its planned date of 2nd October. In the interim she has also, in the role of her accompanying tenor, swapped the American up-and-comer James Valenti, due to co-star with her in next year’s Covent Garden La Traviata, for her compatriot Marius Manea, who she has performed with several times already this year. The conductor Ion Marin made it three out of three for Romanians in the principal roles of the evening, here conducting the Philharmonia.