A round up of Local News in Redcar and Cleveland for Tuesday 8th November 2016.
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A round up of Local News in Redcar and Cleveland for Saturday 5th November 2016.
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A round up of Local News in Redcar and Cleveland for Thursday 3rd November 2016.
A round up of Local News in Redcar and Cleveland for Wednesday 2nd November 2016.
A round up of Local News in Redcar and Cleveland for Tuesday 1st November 2016.
A round up of Local News in Redcar and Cleveland for Monday 31st October 2016.
A round up of Local News in Redcar and Cleveland for Saturday 29th October 2016.
A round up of Local News in Redcar and Cleveland for Friday 28th October 2016.
A round up of Local News in Redcar and Cleveland for Thursday 27th October 2016.
A round up of Local News in Redcar and Cleveland for Wednesday 26th October 2016.
A round up of Local News in Redcar and Cleveland for Tuesday 25th October 2016.
A round up of Local News in Redcar and Cleveland for Monday 24th October 2016.
A round up of Local News in Redcar and Cleveland for Saturday 22nd October 2016.
A round up of Local News in Redcar and Cleveland for Friday 21st October 2016.
A round up of Local News in Redcar and Cleveland for Thursday 20th October 2016.
A round up of Local News in Redcar and Cleveland for Wednesday 19th October 2016.
A round up of Local News in Redcar and Cleveland for Tuesday 18th October 2016.
A round up of Local News in Redcar and Cleveland for 24th November 2015.
A round up of Local News in Redcar and Cleveland for 23rd November 2015.
A round up of Local News in Redcar and Cleveland for 21st November 2015.
A round up of Local News in Redcar and Cleveland for 20th November 2015.
A round up of Local News in Redcar and Cleveland for 19th November 2015.
A round up of Local News in Redcar and Cleveland for 18th November 2015.
A round up of Local News in Redcar and Cleveland for 17th November 2015.
A round up of Local News in Redcar and Cleveland for 16th November 2015.
A round up of Local News in Redcar and Cleveland for 14th November 2015.
A round up of Local News in Redcar and Cleveland for 13th November 2015.
A round up of Local News in Redcar and Cleveland for 12th November 2015.
A round up of Local News in Redcar and Cleveland for 11th November 2015.
A woman has been left with head injuries following a robbery yesterday evening in Eston.
When Annalise Scott walked down the aisle to marry partner Kev Wilson on his 52nd birthday, there was not a dry eye in the house.
Tipped as THE must-see documentary of 2015, Middlesborough Cineworld, in association with Sheffield Doc/Fest and Film Hub North, presents a pre-release screening of 'We Are Many' on Sunday 30 November at 4pm.
Enterprising students from Redcar and Cleveland are backing a global campaign to demand access to school for every child around the world.
Redcar & Cleveland Borough Council is finalising plans to introduce payment of the living wage for many of its employees after its Personnel and General Purposes Committee approved these measures at a meeting earlier this month.
Redcar Constituency MP Ian Swales has today praised those who took part in the campaign to stop a wind turbine being built at Turners Arms Farm near Yearby.
An economic summit held yesterday has highlighted the developments made thanks to Redcar & Cleveland's regeneration master plan.
A student inspired to become a social worker from her own parents' history of fostering and another who battled grief following the death of her brother were just two of the young people to be honoured for their hard work at a special awards night at Redcar & Cleveland College.
Police have charged a 38-year-old man with arson with intent to endanger life and criminal damage following an alleged incident at a flat on Barley Hill Close in Eston at around 5.25pm on Saturday 22nd November.
Redcar Athletic advanced in the North Riding Senior Cup but dropped rare league points away on Saturday.
Guisborough Town exited the FA Vase after another hard-fought clash with fellow First Division Northern Leaguers Dunston.
Marske United have cracked home ten goals in two games as the strikes continue to fly in for Carl Jarrett's men.
The four semi-finalists in the Lou Moore Trophy have now been finalised with a Redcar side featuring.
A 40-year-old man has been charged in connection with an incident in Boosbeck on Saturday 25th October.
Organisations, groups and individuals have pledged their support to White Ribbon Day, an international event to stop abuse against women and girls, at an awareness event today.
Residents across Redcar & Cleveland are being warned about a missed parcel scam that could see them landed with a phone bill of over £300.
Police are appealing for information regarding two incidents whereby a man exposed himself in the Redcar area.
A group of East Cleveland primary school students showed off their talents at Gisborough Hall yesterday evening at the launch of a new video they have made in partnership with Teesside University.
Penny Mordaunt MP, Cabinet Minister for Coastal Communities visited Redcar today.
Experts have pledged their support to combat youth unemployment as part of the new Foundation for Jobs in Redcar & Cleveland, launched earlier this week.
White Ribbon Day, an international event to stop abuse against women and girls will be marked in Redcar & Cleveland with an awareness event.
Labour MP for Middlesbrough South and East Cleveland, Tom Blenkinsop, has today warned that the future of the Royal Mail's Universal Service Obligation (USO) is at risk.
On Friday 21st November, young people from Freebrough Academy are getting the opportunity to see what it is like doing top jobs for a day.
MP for Redcar, Ian Swales is urging local people to get involved with the consultation to decide the future of Redcar's Crown Post Office.
Police are appealing for witnesses following a serious assault outside of the Eston Hotel on Fabian Road in Middlesbrough.
Police investigating an incident on Normanby High Street believe a 21-year-old man received significant injuries as a result of a motorbike collision. Officers believe that the man may have been either the driver or pillion passenger.
Chair of Redcar British Legion, Cllr Eric Howden pointed out to Ian Swales' that war widows who remarried were losing their widows' pensions.
At approximately 04:30am on Sunday morning an ambulance crew reported finding a male approximately 21 yrs old in the High Street area of Normanby with significant injuries.
Redcar Athletic's tremendous defensive record continues with a smooth 3-0 win at Prudhoe on Saturday.
Northern League First Division Guisborough prevailed at Dunston in a seven-goal thriller on Saturday.
Marske United suffered a second successive abandonment with the floodlights to blame on Saturday.
Redcar Town remain second in Division Two where Athletic also won, but Newmarket were held 3-3 by Whitby's Fishburn Park in Division One.
Figures allegedly uncovered by Liberal Democrats in Redcar and Cleveland suggest that there is enough spare cash in the council's coffers to give residents a council tax cut in this year's budget.
Detectives investigating an incident on Brookside in Boosbeck in which a 66-year-old man was found with serious head injuries have recovered a car which had gone missing on the night of the assault, Saturday 25th October.
Two new liquefied natural gas (LNG) powered sea vessels have been named on Teesside today.
Redcar Athletic continued their winning run on Wednesday.
Guisborough defeated nearby Norton and Stockton by a single goal in the Northern League Cup on Wednesday night.
A serious leg injury to forward Fred Woodhouse saw Marske United's North Riding Cup clash abandoned, at Whitby, last night.
Police are appealing for witnesses following an assault on a woman in a car park in Redcar.
Local Labour MP Tom Blenkinsop today urged Health Secretary Jeremy Hunt and Chancellor George Osborne to listen to the advice of other ministers and increase NHS spending to avoid a crisis.
The Tees Valley is set to play a major role in the Government's plan to expand the UK oil and gas industry with the announcement that Redcar & Cleveland College will be part of a new multi-million pound national training hub.
A local fire brigade charity has launched a recruitment campaign for young people.
Ten days into a two week amnesty for the surrender of firearms and ammunition, police have received six firearms and more than 300 rounds of ammunition handed in by members of the public.
A commemorative plaque which has been refurbished in time for the centenary of World War I has been put back in its rightful place at Middlehaven Police Station.
Redcar Athletic eased past Cumbrians Whitehaven in the Wearside League Cup on Saturday.
Redcar Newmarket went nap in the County Cup and Athletic Reserves also enjoyed victory in Teesside League Division Two.
Priorymen comeback not enough in Guisborough goalfest.
Guisborough were narrowly edged out in a seven-goal thriller at the KGV with visitors Durham City in the Northern League First Division.
Marske United held Northern League leaders West Auckland in a tight battle on Saturday.
This weekend officers will be distributing leaflets in the New Marske area in relation to missing man Paul Anthony Kerrison.
TEESSIDE businesses have been urged to bid for a share of £45 billion - the money being spent each year by UK local authorities on goods and services from third parties.
Police are appealing for information after a car collided with five vehicles in the Teesville area at around 8.50am on Wednesday 5th November.
Police are appealing for information after a poppy collection tin and two distinctive christening crucifix placards, one blue and one pink, were stolen from St Peter's Catholic Church, Middlesbrough Road in Southbank.
Police are appealing to trace a vehicle following a collision which took place on the A171 Moors Road near to Lockwood Beck at around 2pm on Sunday 2nd November.
Tom Blenkinsop, MP for Middlesbrough South and East Cleveland, has today claimed that the collapse of the deal for Klesch Group to buy a Pembrokeshire oil refinery is a significant warning sign over their involvement of steel production on Teesside.
Police searching for a missing 30-year-old man who was last seen on Saturday 25th October have made a further appeal in an attempt to trace him.
Detectives are releasing CCTV following an armed robbery at a convenience store in Ormesby.
Lots of festive fun will be enjoyed when the Christmas Festival takes place on Tuesday 2nd December. The entertainment will commence at 5pm.
Police are appealing for witnesses to an incident on Liverton Road, Loftus, just outside Liverton Mines, whereby a motorcyclist was injured and taken to hospital.
Redcar Athletic remain sixth in the Wearside League but advanced in the Monkwearmouth Cup at the weekend.
All three Teesside League Redcar sides suffered defeat at the weekend, with two suffering cup exits.
Bob and Marjorie Fortune present a programme of traditional and contemporary folk music, and tell you the stories behind the songs.


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text:
Rethinking Lois
on Feb 05, 2011 April 8, 2011
Rumors are swirling that Lois Lane might not be the female lead in the upcoming Superman movie, but that hasn't stopped people from speculating on who should play her if and when the time comes. As much as I love Emily Blunt and Rachel McAdams, I'm a little annoyed by how monochromatic the entertainment media wish-lists are. While some armchair casting agents have looked beyond the typical starlets, most have been depressingly predictable. Obviously, the role should go to the best actress available. However, there are a number of wonderful actresses who don't even seem to be in the running. Hollywood, here are some alternatives you might want to consider:
Sanaa Lathan: She's played plenty of strong characters, and her turn as a driven career woman in the little-seen Something New was really good. As an actress, Lathan has the right mix of steeliness and vulnerability to do right by the role.
Rashida Jones: The multitalented Ms. Jones could do a great screwball comedy turn on Lois Lane, harkening back to the Margot Kidder model. There's something wonderfully perky about her, and since she's co-authored a comic book, we know she's a fan of the medium.
Eva Mendes: Besides having a stunning screen presence, Eva just comes across as a formidable woman. She's also funny, as her turn as Will Ferrell's wife in The Other Guys proves. I can definitely see her staring down a shady mofo on the other side of a reporter's notebook.
Anika Noni Rose
Anika Noni Rose: The voice of Disney's first African-American princess and big-screen Dreamgirl would make a plucky, loveable Lois. She's a fresh face and a big talent who deserves more exposure. Plus, she's a fellow alum of my alma mater (Florida A&M, represent!).
Grace Park: She's been on Battlestar Galactica (geek cred!), and she's currently Det. Kona Klakaua in the updated Hawaii Five-O TV show (badass!) Enough said.
Thandie Newton: OK, Thandie was my top choice to play Selina Kyle, but that ain't gonna happen. So why not give this lovely, proven actress a chance to do her thing as the most famous reporter in the DCU? Besides, who would deny this woman a quote?
diversity, Lois Lane, Movies
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All great choices. Two of my favorites even made the list. Poor Kate Bosworth just didn't do anything for the role last time.
Midnightxpress says:
The top two I could see, but Park and Newton aren't good enough actresses for this role (have we learnt nothing from the Kate Bosworth incident)
Zoe Saldana. Slightly obvious, perhaps, but there's a woman you wouldn't mess with and who wears intelligence on her sleeve in everything I've seen her in.
I've also always wished Rosario Dawson got more roles – she has the geek credentials too!
Off the Lois Lane topic, but how great an Amazon would Gina Torres make?!?
sghoul says:
My guess is that te lists for Lois are largely white because Lois is…white?
Eartha Kitt was my favorite TV Catwoman, so I can see where you're going with this. Of your list, I think Thandie Newton would be the best Lois, but I'm not really feeling any of them. To my mind, you need a steely cool, scarily formidable actress for Lois Lane. Past personal favorites Dana Delany, Linda Fiorentino, and Lara Flynn Boyle are all too old now. Michelle Rodriguez, maybe? Warm and sweet will not do!
One thing though: Eva Mendez? Really? Did you not see her Lois turn in Ghost Rider? Has she ever been anything but the poor man's Salma Hayek (with even less acting ability?)
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@Abby: I like Zoe, too! She seems to be working a lot lately, so I wanted to open it up.
@Sghoul: So? Lois is a fictional character. We're not casting "The Helen Keller Story."
@Frank: Eva is OK in the right movie. She was fine in Hitch, and I think she's got potential. I should have put Rosario Dawson into the mix, though.
docdunn says:
Rashida Jones, Rashida Jones, Rashida Jones!
By the way, while we are the subject of diversity, when the hell am I going to get my Luke Cage movie? Sweet Christmas! (Notice how I keep bringing it back to Marvel;)
Vanessa G. says:
ROSARIO! ROSARIO! ROSARIO! I think Rashida could pull it off, too. While I love me some Sanaa, she's just so warm and cuddly. Two things Ms. Lane is not. And, I'm with Frank on the Eva portion of the show. I don't know what it is about her that irks me … I think it's the over-bite (gawd, that's shallow … hmmm … oh wells).
Kudos for encouraging folks to travel outside the box, E-Boogs. I happen to think it could work with Lois. Her race/ethnicity hasn't been an "identifier" for the character. But, Lois being a brunette has. No way in hizzle could I swallow a BLONDE as Lois. It even seemed off when Erica Durance's locks were a dirty-blonde, and not straight brown … and she's a good, young Lois.
@Vanessa: I second the Rosario love! You do not want to get my brother started on that topic. As for Eva's overbite, it's comforting to see at least ONE flaw. Damn her.
@Andrew: Team Rashida! Wasn't your boy Tyrese supposed to be playing Luke Cage? What happened with that?
I so wish that they would change Lois up a bit!
Thandie Newton would be wonderful as would Zoe Saldana or even Rosario Dawson!
I have to say that this would be WONDERFUL but here is to dreams… : )
Oooo, Zoe Saldana. Now we're cooking with fire!
Zoe makes everything better.
What's wrong with Eva? That hot mess that was Ghost Rider wasn't all her fault. I agree with E, in the right role with the right cast she'd be good. Ms. Dawson's a good pic too. I think Grace Park could pull it off just fine too.
So tired of Zoe Saldana. Her frame seems a bit slight to play Lois. Of all your choices, I like Sanaa. Erica Durance has been one of my favorite on-screen "Lois"-es. There doesn't seem to be a lot of love for "Smallville" folks for a big-screen anything … probably rightly so.
Tyrese is still attached, but to what? An "in-production" sink hole. The Old Spice guy has said that he wants the role. I'd be interested. I'm not sure Tyrese can pull of the hardcore badassitude necessary.
I'd heard the rumor about the Old Spice guy up for Cage too. He's funny as hell, he sure looks the part (tear-away moustache aside), and I really think he could pull off.
Apparently Old Spice Guy is a BIG comic/graphic novel fan and his favourite character is Luke Power-man Cage!
So that would be ever so nifty if he did get the role. :)
…what about Meaghan Rath from Being Human? She's kind of spunky and a relative unknown, usually better for iconic roles like this. And she's all sorts of hot.
Isaiah Mustafa is so not Luke Cage. He could be great as most any "Insert Black Super-Hero Here," but he has no street credibility whatsoever. He's got charm, but no intensity. He's kind of like the Falcon, sadly. Now, Terry Crews could be Luke Cage…
Say what you were suggesting that Thandie Newton be Selina was and is a stellar idea but no we are to have Anne Hathaway, and actor that I like but i really do not care to see play Ms. Kyle.
One of my favourite Thandie roles was The Chronicles of Riddick, a movie that not many love or appreciate but I do love watching for the beauty of the sets/backgrounds and for the Lady Macbeth type turn that Thandie gave her character. She can do sweet and lovely and sensually seductive and you believe it EVERY TIME. But alas we are talking Hollywood who often have as much depth and creativity as a box of lard.
But yes Thandie would have been a STELLAR Selina Kyle! : )

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UBIEXP - UBI EXPERIMENTS
International Meeting Braga
Report on final conference
Panel on Unconditional Basic Income Experiments
Review of the litterature
UBIEXP Essay prize 2022
Bru Laín
Bru Laín holds a Bachelor Degree in Sociology (2010), a Ma in Political Sciences (2011) and a Postgraduate in Politics, Philosophy and Economics (2012). He has been a invited pre-doc researcher at the Karl Polanyi Institute of Political Economy of the Concordia University (Montreal, 2014), at the Centre for Applied Philosophy, Politics and Ethics of the University of Brighton (Brighton, 2015), and a post-doc at the Chair Hoover d'éthique économique et sociale of the Université Catholique de Louvain (Louvain-la-Neuve, 2017). He has been invited professor at the Universidad Nacional de Ecuador (2017), the University of Leeds (2018) and the McGill University (2018). He is affiliate professor at the Department of Social Sciences of the ELISAVA - Pompeu Fabra University teaching Introduction to Economics, and Sociology at the University of Barcelona, where he obtained his PhD in 2016 supervised by professor Peter Wagner as a Junior European Researcher.
He is a member of the Basic Income Earth Network (BIEN), the Secretary of the Spanish Basic Income Network (RRB) and Research Fellow at the UBIEXP Research Project conducted by the Centre of Ethics, Politics and Society of the University of Minho, Portugal.
His work deals with the interrelations of political economy, political philosophy and public policies. He is particularly interested on property rights –public, private and common– and their historical and normative dimensions. He is also working on the republican thought, inequalities and distributive justice, basic income and minimum income schemes –topics he has published and lectured about both at public and academic events.
Contact: bgrafic@gmail.com
Academia: ub.academia.edu/BruLa%C3%ADnEscandell


Please check with your swimmer and in his/her bag as a pair of shoes (size 8.5 Adidas NMD_R1 Primeknit) went missing during age group practice at CB East on Tuesday. If the shoes are found please return them to Coach Chris or Coach Matt. Please remind your swimmers that their swim bags must be left on the deck (not in the locker rooms) and that all of their belongings should be zipped into their bag.
Please check the calendar on the website daily for practice times and locations. Please be aware that sometimes there are last minute changes.
Please remember that all CBST-USAS swimmers are expected to practice only with CBST-USAS even if they are also registered with CBST-SAL. This is the only way we can accommodate all of the swimmers on each team and comply with insurance requirements. We appreciate your cooperation with this necessary policy.
Age group nutrition meeting: Please be sure to attend this meeting which will be led by Kelly Jones MS, RD, CSSD, LDN - Registered Dietitian & Board Certified Specialist in Sports Dietetics. Kelly provides CBST-USAS athletes with sports nutrition information and best dietary practices for optimal performance. Please visit www.kellyjonesnutrition.com/ before the meeting.


Hunterston B nuclear power station.
Cracks have been found in bricks around the core of a nuclear reactor at Hunterston B power station.
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EDF said it was publicising the information "as part of its commitment to openness and transparency".
Further inspections are to look at more of the graphite core and, if more cracks are found, EDF said it will inform the public.
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The nuclear power station began operating in 1976 and was originally scheduled to be shut down in 2011, but this was extended to 2016.
EDF Energy later said a technical and economic evaluation of the plant confirmed it could operate until 2023.
WWF Scotland director Lang Banks said: "Despite the assurances given by the nuclear industry, with cracks now found in both reactors it's clear the problem is spreading and that we can expect this facility to become even more unreliable in the future.


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text:
Somewhat more complete report on BioSysBio workshop
23 April 2008 2 Comments
This has taken me longer than expected to write up. Julius Lucks, John Cumbers, and myself lead a workshop on Open Science on Monday 21st at the BioSysBio meeting at Imperial College London. I had hoped to record screencast, audio, and possibly video as well but in the end the laptop I am working off couldn't cope with both running the projector and Camtasia at the same time with reasonable response rates (its a long story but in theory I get my 'proper' laptop back tomorrow so hopefully better luck next time). We had somewhere between 25 and 35 people throughout most of the workshop and the feedback was all pretty positive. What I found particularly exciting was that, although the usual issues of scooping, attribution, and the general dishonestly of the scientific community were raised, they were only in passing, with a lot more of the discussion focussing on practical issues.
I spoke on Open Science in general, and gave examples of groups blogging in a general way about their research, open notebooks, open grant proposal writing and some of my thoughts about how we should take scientific information management forward. Julius Lucks presented an introduction to OpenWetWare with a particular focus on some of his recent experiences on using online systems to complement and expand the remit of the traditional journal article.
John Cumbers then spoke at the end trying to define the important issues and identify the priorities to be tackled in the future. The pictures are of the notes he wrote on the whiteboard. In retrospect we should have moved faster into this part of the workshop. While the earlier conversation was good and productive, it was less focussed, and if we had pushed on quicker (and if I'd spoken less!) we might have pinned some of the issues down more.
Having said that, I think we got a pretty clear and strong steer on what the issues are and what people felt was important. The pictures were taken of the whiteboard after the workshop. The concept of a charter or protocol and standards for Open Science got very strong support. While there wasn't any agreement on exactly what form that would take there was a very strong sense that by providing clear guidelines, both on what qualifies as 'Open Science' and on code(s) of conduct to be followed, would provide a clarity that doesn't currently exist; a framework that people can sign up to and reasonably expect that other people will recognise and follow. In a sense it doesn't matter that much what such codes actually are. Simply having such things will make a big difference.
Associated with the ideas of a code of conduct is the need for legally enforceable licenses for data. There was a strong sense that if it were possible to enforce attribution, and possibly protect some rights to a slice of any future return on exploitation that there would be much wider adoption of Open Practice. The work of Science Commons, Open Knowledge Foundation and others in this space is clearly very important. The idea of Open Science within a closed community as a way of achieving was raised. While I can see the appeal for solving these practical issues of enforceable licences, to me, it defeats the purpose of the exercise. But I think this idea is likely to keep coming back around, so it deserves consideration and discussion.
We will take the discussion forward on charters, licences, recognition, and all the issues raised looking forward to the workshop at the Pacific Symposium on Biocomputing in January next year. I would suggest a way forward is for people to blog their ideas and suggestions and that we aim to try and capture and integrate those ideas over the next few months. I would suggest using the tag 'open-science-charter' for aggregation. Anyone who doesn't have or doesn't want to bother with their own blog is more than welcome to send me their ideas and I can publish them here.
Overall the workshop was a very positive experience. If there was one take home message for me it was that, for this group at least, the discussion has moved on from 'I'm too scared to do this' to 'I don't think I can do this for these specific set of reasons; get them sorted and then we will see where we go from there.
Anna said:
TBH, a closed network might work quite well in promotion of the ethos – at least initially. If you recall, this is essentially the way that gmail was established.
The general idea is you and all your trustworthy mates form a network – this initially excludes everyone (hopefully) who has been a in the past – and gives the people who have behaved ethically a head start (the rewards of openscience that will come to all). I would assume these people would recruit as many trustworthy people as they could, and soon all the community is more or less involved. Those who had previously survived by knowingly prepublishing or other unethical practices might see that they have lost an advantage and reform, thus being invited by colleagues. So a peer-pressure mechanism at work to enforce ethics, as there will be an advantage to being part of the group. And there isn't any reason to stop interested parties who are not practicing scientists joining.
And then no reason not to open out once there is an established network of trust and enough people to keep it going.
# 24 April 2008 at 12:43 pm


Come participate in a performance at MIAMI BASEL, Dec 9th, 330-5pm!
FW: Come participate in a performance at MIAMI BASEL, Dec 9th, 330-5pm!
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FW: For Immediate Release- Quaid Gallery First Friday!
Quaid Gallery First Friday! Tonight!
FW: Quaid Gallery First Friday! Tonight!


text:
The Passacaglia Test
The provision and purview of classical music
Tag: Royal Opera
Orphée et Eurydice (1774), 14 September 2015
Posted at 2:25 pm by chaconato, on September 20, 2015
Orphée et Eurydice (1774 Paris version)
Gluck/Moline (after Calzabigi)
Orphée – Juan Diego Flórez
Amour – Amanda Forsythe
Eurydice – Lucy Crowe
Conductor – John Eliot Gardiner
Directors – Hofesh Shechter and John Fulljames
Designer – Conor Murphy
Lighting designer – Lee Curran
Choreographer – Hofesh Shechter
Eyebrows have been raised at the "Royal Opera billing" of this production, given the ad hoc chorus, dancers and orchestra. The Royal Opera House, however, is still clearly a producing house, and if extending the company to include adjunct performing groups means that the repertory is broadened and the number of performances maintained or increased, that is surely for the good.
Of greater concern, is that the raison d'être of this production seems as much to be concordance both with Hofest (a month-long season of Hofesh Shechter's work across several London venues) and with the Royal Opera's Orpheus theme during 2015, rather than any serious attempt to rectify the lack of productions of a composer who was central to the historical development of opera as a genre from the late eighteenth century onwards. Gluck's tercentenary in 2014 went uncelebrated by any major British company; Bampton, Buxton and the Royal Northern College of Music managed short runs of three operas out of the thirty-nine which survive complete.
Further, although Orfeo ed Euridice in its original Italian 1762 version (last seen at the Royal Opera in 1991) was the groundbreaking work of "reform opera" that first moved the dramatic possibilities of the genre out of the straitjacket of opera seria and the recitative/da capo aria conventions, and even though the 1774 revision presented here was in some ways a more fully worked version of Gluck and Calzabigi's new approach, there are arguments that Alceste (only seen at the Royal Opera in 1981), Armide (never performed by the Royal Opera), and both Iphigénie en Aulide and Iphigénie en Tauride (just the latter seen at the Royal Opera, in 2007) are all musically superior. Dramatically too, in the case of those last three works, which were the examples used by Hoffmann, von Mosel and others as the models to be followed for the creation of German romantic opera. If Gluck's operas are worth performing for their own sake, and quite obviously they are, it doesn't seem much to ask that a major national company chooses more carefully which one to stage.
Perhaps this would all matter less if this production had been anything close to a success, rather than a collage of different aesthetics with very limited dramatic appeal. The orchestra was placed across the width of the mid-stage, on a platform that was raised and lowered at different points, other wide platforms behind and above them were raised, lowered and angled, the upper platform colander-like allowing beams of light to shine through decoratively – but all with no clear narrative consistency or dramatic effect. At least someone had found the oil can to stop the squeaking that has often been heard here from scenery. The dance company was on-stage almost constantly, mingling with the chorus and duplicating the action; for the final, long, 20 minutes of the evening they took over events with repetitious, enervating movement – yes it's ballet music that in any case destabilises the drama considerably, but it was the clearest evidence that the dance choreography throughout wasn't integral to the presentation of the dramatic logic, but a parallel response to surface detail in the narrative and the music.
The story, characters – and singers – were all rather lost in the melee, and the limited attention to their direction led in the worst case to laughter in the upper part of the theatre at Euridice's perfunctory death. Juan Diego Flórez has recorded the role of Orphée in French and was clearly secure with the high writing and passagework as would be expected from his Italian bel canto background. The tone doesn't appeal to all, and some of his phrasing sounded too deliberate. Lucy Crowe managed excellent ornamentation and some vocally dramatic involvement with the character, but was swamped by the staging. Amanda Forsythe made the best impression, not through the clichéd gold lamé suit she was given, but with strong line and purposeful phrasing. My French neighbour was dédaigneuse about the quality of diction from all the singers.
The playing also achieved mixed results. Ignoring the barrage of sforzandi that is Gardiner's trademark, whilst at times there was depth of tone in full passages and sensitivity in quieter sections, too often the phrasing felt routine and the sound thinned alarmingly.
For once, this intellectually unchallenging mix of spectacle met with general approval from the Royal Opera audience, at least judging by the welcome absence of booing. But neither as a dramatic investigation of a profound myth, nor as a tribute to one of the few composers who changed music decisively, could it be considered a significant theatrical achievement.
Posted in review	| 0 Comments | Tagged Gluck, Orphée et Eurydice, Royal Opera
Macbeth, Styles/Huffman, Glyndebourne/ROH, 9 September 2015
Luke Styles, Shakespeare (adapted by Ted Huffman)
Glyndebourne at Linbury Studio Theatre, 9 September 2015
Duncan/Second Murderer – John Mackenzie-Lavansch
Malcolm – Michael Wallace
Sergeant/First Murderer – David Shaw
Lennox/Third Murderer – James Geer
Ross – Benjamin Cahn
Macbeth – Ed Ballard
Banquo – Alessandro Fisher
Lady Macbeth – Aidan Coburn
Macduff – Richard Bignall
Fleance – Luke Saint
Lady Macduff/Porter – Andrew Davies
Macduff's son – Xavier Murtagh
Director – Ted Huffman
Designer – Kitty Callister
Lighting Designer – David Manion
members of the London Philharmonic Orchestra
Conductor – Jeremy Bines
Lucky the opera composer of today, able to set classic drama (Shakespeare obviously, in this case) free from pressure to conform with musical conventions or expectations. Whilst Luke Styles and librettist Ted Huffman might have been limited in terms of duration and scale by the Glyndebourne chamber opera circumstances for which the opera was commissioned, there's no obvious musical hinderance to their use of any form or mode of expression compared to many historic attempts.
The precedents, after all, are hardly enouraging: the C19th number-opera form comes close to destroying any musico-dramatic individuality in Verdi's Macbeth; A Midsummer Night's Dream and The Tempest both engendered settings as contrived and artificial as any C19th archetype; and, post-expressionist in the wrong way, Reimann's Lear bores the audience by mistaking sonic violence for dramatic intensity.
For this new work, premiered in 2015 at the Glyndbourne Festival and receiving its London premiere with a single sold-out performance, Styles has taken the approach of a loose mix of accompanied recitative and arioso, arguably a better framework with its Monteverdian precedent than any other historic musico-formal approach.
The music has his typically sparse instrumental groupings and themes which are more fragmentary than aphoristic, all welded into a coherent, easy to grasp musical structure. Take for example the careful use of timbres and textures for dramatic exposition (flute and harp duet for Lady Macbeth, the a cappella wordless chorus under Macbeth's soliloquies, a descending scale for an assassination motif). Throughout the 75 minute work, there is a contrast in moods that is not just a Pavlovian reaction to narrative events; the choice of a simple held chord deepens the emotional focus at key moments, better than any outpouring through predictable decoration.
Examples of Styles' previous works such as Shades of Forward and Bellagio by Water will give some idea of the sounds of Macbeth, as does the extract from a previous Glyndebourne opera, Darkness – Waking Shadow.
The staging consisted of green grassy matting and a handful of furniture props; the orchestra was located at the rear of the stage, providing ideal balance; and subtitles, not always needed with the quality of diction many of the singers achieved, projected in large letters on the rear wall (similar to the excellent subtitles for Hindemith's Ein Landarzt at the GSMD in June 2015. A gentle nod to alienation had singers sitting at the sides of the stage, even when not taking "crowd" roles. In keeping with some recent stagings of Shakespeare, the cast (young and and mostly recent members of Glyndebourne Festival Chorus) was all male; though with no attempt in the female roles at femininity other than in the external guise – quite different in approach from the "authentic" all-male cast for Twelth Night at the Globe and also from modern readings such as Propeller Theatre Company's production of Henry V.
Huffman had shortened the play by excluding the witches, which placed a stark focus on human flaws and greed as explanations for the tragedy. More puzzlingly, and causing some confusion in the audience around me, Malcolm's final words in the play after Macbeth's death were reset for Macbeth to sing, being hailed as King of Scotland himself. The music here switched genre into an Adams-y set of major chord arpeggios, but given that the remainder of the play had been adapted "straight" there seemed no particular logic for this altered ending.
Ed Ballard was thoroughly secure through the vocal range of his large title role, conveying a brooding menace by careful shading of the voice rather than any histrionics. John Mackenzie-Lavansch set a mood of authority from the start as Duncan, making one wish that the librettist had kept him alive too. Aidan Coburn bravely eschewed the use of head voice for the high-lying role of Lady Macbeth; while the tone coarsened slightly, it was dramatically consistent with the staging. Jeremy Bines and the small group of players from the London Philharmonic Orchestra, were superlative in maintaing the pace and balance.
If there's a slight lack of enthusiasm, it's that even with the shortening of the play, too much felt crammed in to allow the music room to breath and develop. As such, the music often seemed held in check and yet stretched slightly thin. Both the composer and librettist have talked about this current work being an initial version for a full-length opera and maybe the extra length would do more justice to their creative talents.
Posted in review	| 0 Comments | Tagged Glyndebourne, Macbeth, Royal Opera, Styles
Three simple things to wish for, in the opera discourse. 1/3
Posted at 8:38 pm by chaconato, on May 11, 2014
Probably almost everyone with a social media feed that includes any of the UK's publicly-funded opera companies has been aware of the Inside Opera event on 10th May, a live webcast covering activity and events in seven opera companies across England, Northern Ireland, Scotland and Wales.
The main intent was to help encourage new, younger audiences to experience their first live opera, by de-mystifying what is involved in producing an opera in a theatre, and showing the passion and commitment that performing artists, theatre crews, and opera workers bring to this art form. The mystery to regular opera goers is why anyone should find attending an opera performance difficult or challenging, even when it is for the first time in one's life.
But you don't need me to remind you that, in the UK at least, the general level of discourse about opera, and classical music, is appallingly uninformed and limited, and would be considered a national disgrace if it were similarly the case for discussions about books, sport or politics. Worse, many people – not just lazy journalists and broadcasters, but also lazy philistines and puritans – have an absurd level of prejudice against opera, fed by unquestioned myths they assert repeatedly and incessantly. A paraphrase of the response given by the Royal Opera's Kasper Holten, when asked during Inside Opera about rivalry with English National Opera down the road, is: "it's not opera company versus opera company, but opera companies versus the world". Hardly surprising that newcomers are put off even a first attempt to visit a performance.
Inside Opera won't have revolutionised things in just 4 hours, but it gave opera the feel of excitement that surrounds other live, national events. If this collaboration between the seven companies can be repeated and extended – and broadcast on freeview television rather than as a webcast – then maybe some people will be drawn into making a more informed and less harmful contribution to the discussions.
What are some basic essentials for a better discourse about opera? Three simple things are my preoccupation: ticket prices, production type, music theory. The first two dominate most current discussions and drive out any more pertinent artistic and critical contributions, the absence of the last is the elephant in the room. There are many ways to change a discourse, but I worry that we will never make any progress without a concerted and unflinching effort to address all three things.
1. Ticket costs
I rarely swear in public, but when anyone who has never been to an opera performance starts to tell me authoritatively about "opera tickets costing a lot" they end up regretting it, at length. Friendships have been lost, crockery smashed, airplanes diverted; I haven't yet started wars or invaded the offenders' homelands, but if I had access to the UN Security Council, its members would right now be debating how best to apply sanctions to anyone repeating this myth.
The worst recent example, from Simon Kelner, a former editor-in-chief of the Independent, in a pointless article about fine dining and celebrities, may not have been aimed just at ticket prices, but wins every prize for 'the gratuitous use of the word "opera" in a non-related context'. On re-reading the article, the stupidity of the penultimate sentence still brings the neighbours knocking on the door to check if all's well, given the shouting and screaming triggered by its offensiveness.
Just as stupid, was the remark in Catherine Bennett's incomprehensible response to the BBC announcement in March 2014 of plans for increased arts coverage that, the Royal Opera House is "subsidised but stratospherically inaccessible". The facts are otherwise, but why bother with such detail when you merely want to insult?
The BBC itself is sadly not free from this sort of nonsense, but given the immense decline in its editorial and cultural standards imposed by malign political influence from the 1980s onwards, one has low expectations that are frequently met. You're probably only too familiar with the bizarre opening remarks from Sarah Montague which set the tone for the whole HARDtalk embarrassment: thankfully, many leading opera professionals complained publicly about the inaccuracies. And tweeting in a personal capacity, Sangita Myska, a prominent BBC news and current affairs journalist, recently asserted that "many of our arts venues are still too expensive … for ordinary folk".
@PhilipHensher but how many more watched the footie on TV? Many of our arts venues are still too expensive/ inaccessible for ordinary folk
— Sangita Myska (@BBCSangita) April 27, 2014
Patronising, as well as wrong.
The repetition of such ignorance is both pernicious and pervasive: in a discussion, ok, row, on the Katherine Jenkins affair [the elite don't want you to hear opera, but I'm happy to charge £99 a ticket to sing for you at an 'exclusive' concert], a person kept insisting to me that, cheap opera tickets literally (and I use that word deliberately, as this was the other person's clear meaning) do not exist, because the London-dwelling middle classes buy them all. Baffling logic, and never mind that on the very same day the English National Opera website clearly showed the existence and availability of £5 tickets for performances of The Thebans; according to that other person, these do not "exist". Schrödinger's cat would be falling out of its box with laughter.
Seemingly, it is beyond the ken of many intelligent commentators and public figures to understand that tickets for operas have a range of prices, rather than just an upper value. I prefer always to talk about the "entry price" for an event, i.e. the minimum cost for which one can be present. Yes one can pay more, and consequently may well have a better experience of the event – which is for a different discussion – but there is no requirement to do so for entry.
Let's look at some numbers. I have taken a current (or the most recent/next forthcoming) production at each of the seven opera companies participating in Inside Opera. A comparison is made with the entry price to other arts and music venues, cultural, heritage and tourist sites, sporting events, and a night on the town; all but two are current or near-future ticket prices. It's not a perfect survey – but then those maligning the cost of opera tickets have never been the least bit bothered about accuracy, or facts, at all.
Rolling Stones, O2 Arena (2012) £90
"Clubs and drugs" night out, east/south London £60
The Libertines, BST Hyde Park £55
Lovebox 1-day ticket, Victoria Park £55
Kate Bush, Hammersmith Apollo £49
FA Cup Final 17 May, Wembley Stadium £45
One Direction, Wembley Stadium £43
Chelsea Football Club, home match £41
Singin' in the Rain, Grand Opera House Belfast £36.50
Buckingham Palace, state rooms, mews and gallery £35.75
London Eye, Southbank £26.55
The Phantom of the Opera, Her Majesty's Theatre £25
The view from the Shard, Southwark £24.95
London Comedy Store, Picadilly £23.50
London Zoo, Regent's Park £23
Tower of London, City of London £20.90
Wicked, Kings Theatre Glasgow £20
Godzilla, Odeon Leicester Square £18.50
Macbeth, Northern Ireland Opera, Grand Opera House Belfast (Feb 2014) £18
Vikings, British Museum £16.50
Matisse, Tate Modern £16.30
Curious Incident of the Dog in the Night-Time, Gielgud Theatre £15
King Lear, National Theatre £15
La Bohème, Opera North, Leeds Grand Theatre £15
War Horse, Wales Millennium Centre £15
West Side Story, Leeds Grand Theatre £15
Royal Botanic Gardens, Kew £15
Fashion World of Jean-Paul Gaultier, Barbican Gallery £14.50
Veronese, National Gallery £14
Italian Fashion, Victoria and Albert Museum £13.50
Madama Butterfly, Scottish Opera, Theatre Royal Glasgow £11
Life on the Moon, English Touring Opera, Hackney Empire £10
Moses und Aron, Welsh National Opera, Wales Millennium Centre £10 (or a generous £5 for those under 30)
Royal Philharmonic Orchestra/Dutoit, Royal Festival Hall Southbank Centre £10
The Thebans, English National Opera, Coliseum £10
Orchestra of the Age of Enlightenment, Queen Elizabeth Hall Southbank Centre £9
Tosca, Royal Opera, ROH Covent Garden £9
The entry prices for the opera performances are grouped mostly at the bottom of the list. The cheapest end. Along with the classical music concerts. The entry price for nearly everything else is more expensive.
You can see why I am angry.
Of course, these entry prices don't include travel to the event's location, a programme, victuals, the comparative events and venues are London-centric, often there are booking fees involved – though the marginal costs apply just as much to the non-opera ticket costs in the list as to the operas. But equally, some of the opera entry prices listed can be reduced in cost through subscription schemes, concessions, and other offers. I'm not claiming this is a comprehensive survey or has a definitive price-parity methodology. I have plenty of ideas to extend the study, and would welcome any constructive suggestions to improve these comparisons.
One objection to that list would be that events/venues with single-price point tickets are mixed with those which offer a range of ticket prices above the entry cost. For example, it only costs £35.75 to visit Buckingham Palace, whereas some stalls seats for Tosca at the Royal Opera House cost £195. That still doesn't disprove the basic point, that the entry cost to opera is cheaper than for most rival events and venues.
Obviously, some people can afford to pay more than the entry price, and do; those stalls tickets at the Royal Opera are frequently sold out. As already mentioned, the correctness of allowing such a price differential is an argument for elsewhere. But still, as Kasper Holten reminds us in his response to Catherine Bennett's misrepresentation of ticket prices, 50% of tickets at the Royal Opera House are sold at £55 or less. And if we are talking about the top-end costs, let's revisit the multi-price point items on the list:
Rolling Stones, O2 Arena (2012) £375
Tosca, Royal Opera, ROH Covent Garden £195
One Direction, Wembley Stadium £149
Kate Bush, Hammersmith Apollo £135
FA Cup Final 17 May, Wembley Stadium £115
The Phantom of the Opera, Her Majesty's Theatre £115
Wicked, Kings Theatre Glasgow £72.50
La Bohème, Opera North, Leeds Grand Theatre £49.50
Moses und Aron, Welsh National Opera, Wales Millennium Centre £40
So, with the exception of a few seats at the Royal Opera, you can see that the cost of a top-price opera ticket is still less than or comparable to that of top-price tickets at most other events, which are also frequently sold-out.
If you want to start lecturing me about the ethics of a publicly-funded institution such as the Royal Opera charging some high ticket prices, then we can also address the hidden public funding of football clubs and match fixtures – millions of pounds over many years, only recently reduced by the clubs taking on the payment for the police costs required to stop match attendees from fighting each other (and assaulting bystanders) in the streets. And you can tell me which you think is the more justifiable use of public money. I'm fairly sure that the football club shareholders have not paid back the policing cost for prior years out of their profits. In any case, the correct argument about public subsidy is actually that if some opera ticket prices are too high, then the subsidy is simply far too low.
The item missing from the list is the cost of a season ticket to a Premiership football club. It appears that at the local club the top-price season tickets require a commitment in advance for four years, at £5,000 per annum – a £20,000 upfront payment. The average cost per match may work out at £150 or so, but how many "ordinary folk" can afford that size of upfront payment for a non-essential activity? In football-specific discussions there is obviously concern and outrage at those high prices, but the prices are not used as an everyday figure of hate in common discourse as are those very few tickets at the Royal Opera.
If the uninformed and the ignorant continue to peddle misinformation and hatred about opera ticket costs, then they should be met with well-deserved contempt and shouted down.
2. Regie rules.
3. The joys of harmony.
Posted in opinion	| 0 Comments | Tagged English National Opera, opera tickets, Royal Opera
Cavalli resumed
Posted at 11:15 am by chaconato, on March 29, 2014
Baroque opera is in mini-season these weeks in London, with staged productions of Handel's Ariodante, Arianna in Creta, Rodelinda, and Purcell's Dido and Aeneas, and concert performances of Rameau's Les Indes galantes and Jommelli's La Didone (presumably a version of his Didone abbandonata).
Late-baroque opera, of course, from the 1700s roughly; though with English Touring Opera's production of Francesco Cavalli's Giasone last October and a Wigmore Hall concert of various arias and music from several of his operas, given by L'Arpeggiata last Friday, there has also been opportunity to gain better acquaintance with the composer who was central in several ways to the Venetian mid-baroque of the 1600s, a century earlier.
Tuesday this week saw a further, significant contribution to our live experience of Cavalli's operas (more correctly, dramma in musica), with the opening night of L'Ormindo (1644); a co-production by Shakespeare's Globe and the Royal Opera, with instrumentalists from The Early Opera Company, staged in the new/old Sam Wanamaker Playhouse on Bankside. This appears to be the first London production of the opera, which – apart from the first revival of the work in modern times at Glyndebourne in 1967 – has been performed just in the USA and Australia.
Ormindo is very much a work of its time and place, just as Cavalli was central to Venetian Opera in its formative years.
The premiere in 1644 at Teatro San Cassiano in Venice was given by the company Accademia per recitar l'Opera, which Cavalli had founded with fellow musicians from the church of San Marco. Cavalli himself was the managing impresario of this theatre from 1639 to 1644, though contracts were not exclusive and Cavalli had operas staged at three other Venetian theatres during this period, as well as several more staged at the San Cassiano after he relinquished his leading role there.
Giovanni Faustini's libretto was one of twelve he wrote for Cavalli's operas, five of these performed at Teatro San Cassiano. Faustini also collaborated with other Venetian composers during this period, and some of his libretteti for Cavalli were actually used for new operas some years later by other composers, as was the practice at this time.
Ormindo indeed was reworked by Cavalli in his 1655 opera Erismena, with a libretto by Aurelio Aureli; the prison scene music in Ormindo was copied almost literally across to that later work, and the rest of the opera follows the plot of the earlier work closely. Aureli then wrote another libretto based on Ormindo, for Le Fortune di Rodope e Damira with music by Pietro Ziani.
Operas were clearly not considered as individual, fixed artistic creations, but as temporary entertainments drawn from a stock of plot elements and visual images which would be familiar to the audiences year after year.
The characters in Ormindo of the nurse (sung by a high male voice), the page and the female confidante, are found in many of Cavalli's other operas and in those of his 17th century Venetian contemporaries. The buffo servant role is missing from Ormindo – to his credit, Faustini gave the character of Osman a more essential and serious pivotal role in the plot.
The first dramma in musica staged in Venice was Andromeda (music by Francesco Mannelli and libretto by Benedetto Ferrari), which opened the Teatro San Cassiano in 1637. This took advantage of all the stage machinery and production mechanics which had been developed in other locations in Italy during the previous eighty years and came together here in a new form of the spectacular.
Andromeda opens with a seascape, with rocks lit by starlight, and the singer of the prologue in a cloud circling across the sky. Then Neptune's chariot enters and Mercury flies across, before the scene changes quickly to a flowering woodland with snow on mountains in the distance. A magician rises through a trap in the stage floor, the sky opens for immortals to descend, a palace appears out of nowhere. Not for nothing did the French later insist on an operatic convention that any fantastic devices should have a clear relevance to the plot, which forced Rameau to rewrite Dardanus in the 1740s to exclude a random sea monster.
By the time the Teatro Novissimo opened in 1641 as the fourth Venetian opera theatre, the stage mechanics and effects could be considered to have overwhelmed the music. The second production of 1642 at this theatre was Bellerofonte, with a libretto by Vincenzo Nolfi, music by Francesco Sacrati – and machines by Giacomo Torelli, nicknamed the "great magician". Engravings of the set designs show ten different settings for the opera, each competing to be the most decorative and realistic. Ormindo was clearly part of this entertainment trend, though its five settings seem restrained by comparison.
Venice itself as both a location and a political force featured in several operas from this period. The opportunity for seascapes obviously met the audience demand for spectacular scenic performances. Bellerofonte, of course, included a harbour scene with the Venetian fleet drawn up by the quay, satisfying both the visualists and the nationalists. La prosperità infelice di Giulio Cesare dittatore, with a libretto by Giovanni Busenello and music by Cavalli, drew on Venice's mythic origins and used those to exalt the city's "present glories" of which one was the opera house, used self-referentially to proclaim those glories.
Busenello's view of opera and the theatre was shared by other authors, among them Faustini – whose Ormindo also portrays Venice on stage. The setting of the prologue represents Piazza San Marco, "the most conspicuous part of the city of Venice", and the protagonist is Armonia, who summarises the familiar myth of 'La Serenissima" in new operatic terms:
"It has been five years already that I have shone on you from gilded stages and illuminated my glories; your immortal Muses and divine swans adorn my tresses with new garlands. I, who as a child trod the stages of Athens in jewelled buskins, I, who when Greece was conquered and tamed by the victors of Rome saw no splendour or magnificence equal to yours, Most Serene and immortal Virgin."
"Five years" of course since harmony (music) first appeared on the Venetian stage. Quite properly, the translation made for the current Playhouse production of Ormindo reworks the prologue to describe the new theatre on Bankside and address directly the present-day audience: one of many thoughtful directorial decisions that have made this production so successful.
Cavalli is known for certain to have written thirty-three operas, though the music for six has been lost. Nine more operas were previously attributed to him by some commentators, but the music for those is also lost and the likelihood is that the libretti were set by other composers rather than Cavalli.
Putting Ormindo in modern performance and recording context, five of Cavalli's twenty-seven surviving operas are currently available in DVD recordings of live productions (Calisto, Didone, Ercole Amante, Giasone, La Virtu de Strali D'amore); of those five, Calisto, Didone and Giasone also have one or more other audio recordings, and Calisto and Giasone also have current or recent stage productions.
A further five operas are available just in audio recordings: Ormindo, Artemisia, Xerse, Gli Amori d'Apollo e di Dafne ( on the Naxos label, with a large modern symphony orchestra), and Rosinda.
An additional four operas have been staged during the past fifteen months: Doriclea, Egisto, Elena and Eliogabolo; with Elena touring to several opera houses in France.
Along with Calisto (DVD/CD), probably the most familiar of Cavalli's works to modern audiences and with four stagings in 2014, Giasone (DVD/CD, two stagings in 2013), and Didone (DVD/CD), Ormindo is well represented here, with three different audio recordings currently available, though no apparent DVD recording of any staged production. Tricky as filming in the Sam Wanamaker Playhouse would be – not least preserving the effect of the beeswax candle lighting – one hopes most sincerely that the Royal Opera production of L'Ormindo could be captured for a much larger audience and posterity.
Fourteen operas performed or recorded out of twenty-seven is a remarkably good tally, though obviously these few instances of live performance hardly place Cavalli's operas in the same league as opportunities to see certain 19th century Italian operas.
Why Cavalli, though, and what instead of his many contemporaries, who also produced new dramma in musica for the dozen Venetian opera houses yearly for most of the years from 1637 until 1702, when Gasparini began developing the form into the more familiar late-baroque opera.
Precious few examples of the music of the other composers survive. No opera scores were compiled from the instrumental parts or published, as the works were only very rarely revived after their first run of a few performances. Knowledge of the works comes more from the libretti, which were published and frequently re-used in part for new operas, and from engravings of the set designs for the productions.
The survival of Cavalli's opera scores is mainly due to his wealth and business sense, which led near the end of his life to him paying for the music of his operas to be recopied and bound, and, considering them a legacy in both senses, making provision in his will for them to be passed to pupils and colleagues. Given the beauties of the current run of L'Ormindo, those lucky enough to see it can be grateful for his foresight.
L'Ormindo continues at the Sam Wanamaker Playhouse until 12 April 2014, though is sold out.
Next on in London, is La Calisto at Hampstead Garden Opera from 25 April – 4 May 2014.
Posted in discussion	| 0 Comments | Tagged Cavalli, Ormindo, Playhouse, Royal Opera
L'Ormindo: a tale of two theatres
Posted at 5:58 pm by chaconato, on March 25, 2014
Opening night for the Royal Opera/Early Opera Company production of Francesco Cavalli's L'Ormindo. It's exciting. A great cast, lively conductor, thoughtful director, and a rare chance to see an opera from the Venetian mid-baroque – though with 12 of Cavalli's surviving 27 operas available on DVD, CD or in live performance around Europe and the USA during the past 15 months, perhaps not that rare.
The venue is new: opened in 2014, and part of the Shakespeare's Globe complex on London's south bank, the Sam Wanamaker Playhouse effectively recreates the interior of a late-Elizabethan/Jacobean indoor theatre. The larger Globe theatre, which opened next door nearly 17 years ago as a similar recreation of an outdoor Elizabethan theatre, has proved valuable for Shakespeare, the history plays in particular. The Playhouse has already started well with its exploration of Jacobean drama, and this theatrical archeology is worthwhile even if only for bringing the wealth of plays from the early 1600s to modern audiences.
Sadly, there's some fanciful marketing from the 'Globe'. It's already been drawn to the attention of the Royal Opera, who were unaware, that billing the performers as "singers and musicians" (rather than "singers and instrumentalists") is a annoyingly incorrect. That parlance makes some sense for spoken plays, where the actors sing the odd song but are not primarily trained as musicians. Given that the cast of L'Ormindo are highly-trained musicians, and the majority of the audience will have crossed the river from Royal Opera House, the idiom seems merely insulting.
Worse, the marketing team have made up a new version of theatre history with the bizarre assertion that the Venetian Teatro San Cassiano, where L'Ormindo was first staged in 1644, is "a perfect match in time and scale" for the Playhouse, which "will provide a rare experience of Baroque opera, and a level of authenticity that promises to be richly revealing".
"Rare experience" is apposite, as Elizabethan/Jacobean theatres were not built to stage mid-seventeenth century Venetian operas (or any operas at all), and mid-seventeenth century Venetian operas were not written for a building like the Sam Wanamaker Playhouse. This is certainly the first time that the two have ever met.
The Playhouse doesn't recreate a specific building from a precise date; its model is the Blackfriars Playhouse built in 1596, the design is taken from later drawings, and the decor copied from extant buildings of the early 1600s. But the aesthetic is very much rooted in the turn of the century.
The layout is a stage thrust from one wall of the theatre into the auditorium, with the audience in two tiers of galleries and the pit, surrounding the stage on three sides. The rear stage wall has an unchanging decoration and three doors for actors to enter from "outside" the building. A few musicians/instrumentalists can be housed on a balcony above the rear stage wall. There is no scenery, other than a few props, and no wings, flies, or proscenium arch. The Playhouse, now as then, has an audience capacity of 340.
The Teatro San Cassiano was built in 1637, not many years after the "original" Playhouse, but Italian theatre design was already on a very different trajectory, and English theatres only adopted the southern style towards the end of the 1600s. The San Cassiano theatre, and the dozen similar theatres built in Venice over two decades from 1637, brought together innovations made by theatres across Italy during the previous 80 years.
The auditorium was positioned in front of the stage, rather than around it. The central parterre floor seating may have sloped down towards the stage for better views, and the galleries had five tiers, three of which were divided into boxes. The instrumentalists were place in a small area directly in front of the stage. The audience capacity was close to 1,000.
The most significant difference to the Jacobean playhouses was the use of a fixed proscenium arch. The Teatro San Cassiano had an arch that was probably 32 feet wide and the stage behind it was roughly 70 feet deep. This could accommodate a front curtain to hide scene changes, with side wings, backcloths, relieves, flies, scenery in grooves on the stage floor to be pulled aside revealing more scenery, and rotating two- or three-sided vertical panels or prisms which could transform the scene in a couple of seconds. All very useful, as the plot of Ormindo takes the action through a city, a garden, a palace, a harbour, a cave and, most notably, a prison – and the audience expectation was generally more focused on the spectacular scenic effects, rather than the singing or the music.
None of this matters necessarily: an opera these days can be performed on a beach, in the back of a pub, transmitted to a cinema or actually in an opera house that would be vaguely familiar to the composer who wrote it. The Sam Wanamaker Playhouse is beautiful and intriguing by itself, and not an un-sympathetic location for music of the 1600s. The cast, instrumentalists and production team for L'Ormindo will put on a superb show.
Just don't call the combination a "perfect match in time and scale" or "authentic": because it is neither, on any level.
Posted in opinion	| 0 Comments | Tagged Cavalli, Ormindo, Playhouse, Royal Opera
Opera tickets are not "expensive"
Galas and damp squibs
Not enough opera
Adriano in Siria, Opera Settecento, 16 September 2015


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I already had yesterday's post ready, so some of this is a day late!
First, I'm looking forward to a great Super Bowl between the Saints and the Colts. So I won't be online the evening of the Super Bowl, but I will be at a party somewhere!
Just wrapped up final edits requested by my publisher. Now to see what the editor thinks of my efforts!
And Helen Ginger at Straight From Hel was nice enough to give me my first ever blog award.
Ironically, all those I thought of passing it along to had already received it. Guess that's what I get for coming in late.
So I'll just select one person and pass it on to my buddy John Anealio.
I want to do a plug for his blog Sci Fi Songs as he's been posting segments of a video commentary about his song, "Cylon #6" It's interesting how it all came about - catchy tune, too. Maybe John will post a video of him performing it for us.
Congratulations on your first award Alex!
Thanks for the award and the plug! Good luck with your edits.
You deserved the award. Plus, I get a new person/blog to go visit! yay.


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