Music

I first came across Gilbert & Sullivan operas when I was about 17 when I went to live with my aunt Dolly, who was not only a Communist, ‘Nobody’s red enough for me, dear!’ but also a commercial artist with a lot of interesting, arty friends, including Dennis, a film cameraman. Dennis and his wife were very involved with their local G & S Opera Society. Every year, my aunt and I would go to see whichever G & S opera the society were performing.

Gilbert & Sullivan: The Savoy Operas, first published in 1926. I inherited this from Aunt Dolly and very useful it is.  

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I’ve just collected a box containing nine books from the library of a ninety-three-year-old cultured and elegant lady I’d known for many years who died last year. She left a number of her books and runs of architectural magazines to various museums and institutions, and the rest were to be shared out among her many friends. A few months after the funeral, I got a book list of well over 1500 books – I could choose as many I liked and it was, more or less, first come, first served.

The experience of looking through the huge list, printed in minute 8pt, was a bit like exploring Aladdin’s cave, with dash of delving into a bran tub. All I had were the titles and author; I had no idea whether the book was large or small, paperback or hardback. They were divided into sections covering the Contessa’s areas of interest: Architecture, Italy, History (social and cultural), the Arts, European Royalty, etc. and a small selection of fiction.

THE ETRUSCANS: History and Treasures of an Ancient Civilization

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Visiting the Musical Museum near Kew Bridge last week was huge fun and it’s something I thoroughly recommend. So what’s it about? It comprises a large collection of 19th – early 20th century self-playing musical instruments and (and this is the fun bit) most of them still work. I went on a group tour, guided by the wonderful Roy Huddlestone – now eighty-six and looking twenty years younger – who not only knows the various instruments and their stories inside out but also demonstrates them, to thrilling effect. Until you’ve heard the Popper ‘Clarabella’ Orchestrion, which, in its 1910 heyday thrilled customers in a German Bier Garten, complete with flashing lights and lit up ornamental waterfall, not to mention a bronze statue of the Pied Piper, belting out popular tunes fortissimo with full orchestral piano, xylophone, Glockenspiel, drums, cymbals and triangle, you ain’t lived.

Orchestrion from the front

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Some years ago I saw a rom.com where the American heroine visits London for the first time. She lands at Heathrow and takes a cab to wherever she’s staying – somewhere fashionable with a SW postcode. She peers excitedly through the cab window as Buckingham Palace, the Houses of Parliament, St Paul’s Cathedral and Tower Bridge whizz by. I thought: where the hell is the cabbie going? Then the penny dropped: his circuitous route in the wrong direction had nothing to do with the real London; it was a fictitious ‘London’.

Alcazar courtyard 2

The Alcazar: the Spanish Royal family’s summer palace in Seville

I’d always felt much the same about the cigarette factory in Seville in Bizet’s opera Carmen. It must be fictitious. Bizet took his plot from a novella by Prosper Merimee and I doubted whether either of them had actually been to Spain. Merimée probably thought Seville sounded romantic and what was really important wasn’t the unlikely cigarette factory but the romantic toreador at the centre of the story.

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The V & A’s exciting new exhibition Curtain Up: Celebrating 40 Years of Theatre in London and New York celebrates the creative cross-fertilization between Broadway and London’s West End theatres since 1975. The exhibition rooms have been transformed into a backstage space, full of mysterious shadows and bright ever-changing lights in neon blues and reds. The V & A wants to entice you into a world which is larger, brighter and more glamorous than ordinary life. And, on this chilly February day, it’s more than welcome!

Exhibitiion entrance

Exhibition entrance

Theatrical spectacle is all about creating the right effect: everything is bigger, bolder and more glitzy than in real life, and there’s nothing like seeing the actual costumes from big hits to be struck by their impact.

Phantom 1

Michael Crawford’s suit for Phantom of the Opera

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