Non-essential things I can't live without

Australian Rainforests and mountains
Tchaikovsky's Fifth Symphony
My family
Sweet chilli tuna sandwiches
Hot crossed buns during the Easter period
Pens and paper
A Passport
Guinness
Symphony Fantastique
Friends who can make me fall to the ground and cry with laughter
A flute or a piano
A collection of my favourite cartoon shows and movies
Anything by Mozart

Post Script

I went to a concert a couple of Thursdays ago, with my mate from back home, Megan (who recently deserted me to go back to Australia). It was the London Philharmonic (surprise, surprise) performing the Second Piano Concerto by Brahms, and Tchaikovsky's Fifth Symphony. Some of you may know that this is a favourite of mine, so I've been anticipating the concert for quite a while.

Right after the concert, I tried to compile my thoughts of the performance in way that would do it justice in the form of an internet blog. Well, that fell flat on it's face! The concert was so amazing that I found it bloody difficult to write a paragraph or two, that adequately described it.

So instead, I came up with a list of things that I don't necessarily need to survive, but could just not do without.

What are yours? If you feel comfortable sharing, I'd love to hear them.

Scalpers and chocolate...Fantastique times.

Again, another blog from quite a while ago. I still try to get them out though. Enjoy!!

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You know that concert or show that you’ve been waiting months to see since the program was released?

Oo, oo! This one.

So, tonight I went to see the London Philharmonic perform Messiaen’s Les offrandes oubliées, Tchaikovsky’s Piano concerto No.1 in Bb minor and Symphonie Fantastique by my hero, Hector Berlioz. Let me start by putting out there that the concert was amazing. I thoroughly enjoyed every second of it (except the usual ridiculous coughing fits in between movents).Yeah, I know – I complain about it every time.

I had been checking the website for the South Bank Centre over the last months, and in the last couple of days, there seemed to be quite a few seats available. Due to this, I decided to buy my tickets on the night. When I arrived, I lined up to purchase my seat for the night, and encountered a few dear old ladies (Imogen, Peggy and May), who were trying to scalp off a ticket because their friend, Ethel, had a cold and couldn’t make it (Ok, I made up that name because I can’t remember what it really is). The ticket was a great seat and because it was a charity purchase (I think), they had scored it for only 15 quid. So I happily agreed to take it off their hands and then went to chill before the show.

LPO started with Les offrandes oubliées, which was a colourful and evocative introduction. It represents the Cross, the descent of Man into sin and the salvation offered through Eucharist. I guess they were gearing up for Easter.

Then we had the monumental Tchaikovsky Piano Concerto. Favourite of old ladies and classical enthusiasts world-wide. I gotta say, I was always quite 'meh' about the concerto in comparison to Tchaik's other works. However, as soon as I heard those majestic opening chords on the piano, I had chills and a whole new appreciation of the piece. The second movement is just sublime, and of course ya gotta love the flute feature in it.

Despite this, the pinnacle of the performance was the Berlioz. Before that, though, I have to tell a story about interval. I had of course, had some lovely short conversations with my elderly scalping friends, and then I let them know that I was just going to stretch my legs at interval. After a pleasant ten minutes out on the balcony looking out onto the Thames, I arrived back at my seat to find that they had saved me some pieces from their Cadbury chocolate bar. Now, I know you shouldn't take candy from strangers, but who am I to turn down caramel squares?

Anyway, I thought that was just the most brilliant thing ever. I gotta hang about the elderly more often at these classical concerts.

Onto Berlioz. I was a tad excited and could barely contain myself when Reveries commenced. Tell you what, when I first heard that idée fixe, my night was made. Just stunning.

Despite LPO being their usual dynamic and glorious selves, there were a couple of moments, particularly in Un Bal that were slightly sloppy. However, other than select instances they were generally very tight.

I probably listen to Symphonie Fantastique once a week (a movement, at least), so to have this spectular, passionate, rich and resonating work performed by a powerhouse group like LPO was a massive treat.

Stay tuned for the next one.

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Present day: I'm really looking forward to the next concert - Tchaikovsky's 5th Symphony (amazing) and the Brahms Piano Concerto! Come and join me if you're a Londoner - Wednesday night at the South Bank Centre (Tube: Embankment). Even if you're not a classical fan, I'm almost positive you'll get a kick out of this performance. We'll have a pint or vino and then catch the concert! Take it easy!

REVIEW: LPO performs Tchaikovsky’s ‘Iolanta’.

Well, I went to my first orchestra performance in London, and I started myself off with a goodie. The London Philharmonic grabbed Tchaikovsky’s final opera by the horns, and rode that bull around the arena. Led by the LPO’s resident conductor, Vladimir Jurowski and joined by a spectacular vocal ensemble with 11 soloists and the Moscow Conservatory Chamber Choir as the chorus. The soloists were Tatiana Monogarova, Sergei Aleksashkin, Sergej Larin, Vyacheslav Pochapsky, Rodion Pogossov, Robin Tritschler, Maxim Mikhailov, Anne Collins, Olga Peretyatko and Julie Pasturaud.

Iolanta was first performed the year before Tchaikovsky’s death and he apparently reckoned that it was nowhere near as strong as his early operas and thought that he was repeating himself as a composer. 

Bad Tchaikovsky, DON’T doubt yourself. 

This was a concert performance of the staged opera.

It’s a rather touching story of a girl who was born blind, but her father sought to keep her ignorant of this fact, by letting noone tell her. He was hoping this would lead to her having a better life, buuuuut she ends up just sitting around with the same friends entertaining her all the time. She is betrothed to Robert, who doesn’t know about her being blind either. Then Robert and his buddy Vaudémont show up, unexpected. Robert leaves, but Vaudémont stays and figures out that Iolanta is blind and had no clue, and he subsequently falls in love with her.

Now it turns out that the local doc has a way to fix Iolanta’s blindness, but Vaudémont claims that he will love her no matter what. Iolanta’s father threatens to execute Vaudémont if the treatment fails. Then Robert arrives back and confesses that he loves another. Iolanta’s father gives his blessing for her and Vaudémont. The couple are happy, and then it turns out the treatment was a success – Iolanta can see!

It was a solid performance with ridiculous amounts of expression. Jurowski really works the orchestra, and they work with him. The London Philharmonic is a very tight ensemble with great dynamic range. Tchaikovsky’s virtuosic flourishes were treated with due skill and panache and the fleshy harmonies were rich and rang throughout the Royal Festival Hall.

Tatiana Monogarova was quite stunning as the character of Iolanta. She captured that lovely innocence of being completely unaware of the visual world surrounding her. Backing up to my cast notes, though I stated that Sergej Larin performed the part of Vaudémont, I’m going to take a punt and say that it wasn’t him. Why? The guy on stage was the only singer reading from music, so I’m lead to think that something happened towards the last minute and had to get someone to fill in. If they did, Mr. Replacement was EXCELLENT. If not, Mr. Larin should learn his part! At times it distracted from an otherwise stellar performance. That is my only criticism of the singer, and if it was an understudy, then that point is void.

The singers and orchestra had a wonderful synergy, which is important for Tchaikovsky’s music. You have the soaring and lyrical vocal parts, complimented by counterparts in the winds and strings. To make this work, strong ensemble skills are essential. I’m pleased to say that the LPO performance presented Tchaik in an extremely positive light.

My only other negative point was that the chorus was not strong enough towards the end (the finale), and I found they didn’t match the exuberance of the orchestra and the vocal soloists. Jurowski’s style exudes plenty of strength, but the choir was not as receptive to this as the others.

I was so pleased to see so many Russian singers performing this evening. I guess in Australia, we get used to our local artists trying to bash out a difficult language like Russian (I imagine that’s a particular toughie). As much as there is a lot of talent in Australian Opera, and you will not hear me bash them (too much), it’s incredibly refreshing to see a ‘native’ performance…well kind of. I guess that will be the norm’ from now on, though! Lucky me! Obviously, Jurowski himself is Russian, and I could tell he had a particular affinity for Tchaikovsky’s music.

Well, that was a very exciting and reassuring entrance into London’s classical scene and what I would imagine was a great start to the ‘Revealing Tchaikovsky’ series (it was one of the first concerts). I can’t wait to go to the next one tomorrow night!