Paul Guest2013-05-24T09:43:33-04:00Paul Guesthttp://www.huffingtonpost.co.uk/author/index.php?author=paul-guestCopyright 2008, HuffingtonPost.com, Inc.HuffingtonPost Blogger Feed for Paul GuestGood old fashioned elbow grease.Dancing On The Edge, BBC/Heading Out, BBC - TV Reviewtag:www.huffingtonpost.com,2013:/theblog//3.27771092013-02-27T18:38:20-05:002013-04-29T05:12:01-04:00Paul Guesthttp://www.huffingtonpost.com/paul-guest/
The 1930's based series Dancing On The Edge, written and directed by Stephen Poliakoff, follows the Louis Lester band through a period of huge change. If there were any point in history I'd of liked to have been apart of it was the swinging thirties, where it was ok to go out and have a swanky dinner, wear black tie every night and have a swell time. This series portrayed just that and the rise of new influential music of the 1930's, where audiences were moving away from the era of 'light music' and people just wanted to dance. Ensuring the success of the Louis Lester Band is a clan of high society folk who are embracing change, yet not fazed by the social and political climates about the face world, which was not overlooked in the series with the mention of the assassination of the American president and a stern yet worrying peek at the press and it's wolf like status.
The first two episodes neatly chartered the band's rise with displays of stunning musical performances, namely by lead singer Jessie Taylor (Angel Coulby), who, at the end of episode 2 is found stabbed and then later dies. Yes, this seemingly innocent exclamation of cultural change in Britain is now a 'who dunnit'. Discovering Jessie's bloody state, Louis Lester was suspected by most and cunning plans are made to make sure he could leave the country to escape arrest. Mystery ensues the story and everyone and anyone looks as though they could be capable of Jessie's murder. Julian (Tom Hughes) had psycho written into his character from the beginning, so when he is seen, by Louis, leaving the Imperial Hotel through the back exit, while supposedly on a train to Paris and Jessie discovered moments later, it is plainly obvious that he was the murderer. Even with Poliakoff trying to throw us off the scent through the next few episodes, I never found myself doubting Julian's murderous status and when he is seen with a gun half way through the last episode I think we knew what was to happen. There were plenty of questions though, which left me intrigued to watch more.
Stunning performances flooded this drama; Matthew Goode as Stanley and John Goodman as American Tycoon Mr Masterson. Poliakoff manages to weave a spiders web of cultural divide, pressing times and change, with the black widow of fate that comes to us all. An accurate representation of the time helps drive this drama forward but despite its apparent realism, I found it terribly slow and it really didn't take Sherlock Holmes to discover who had done it. A reprise for 1930's swing? I think so - it's already on my iPod.
The recent gay marriage debate, on both sides of the Atlantic, has warranted a few new comedies following the lives of homosexuals; The New Normal, by Glee writer Ryan Murphy, and a new ITV comedy is soon to be on our screens starring Ian McKellen and Derek Jacobi as two bickering queens.
Sue Perkins has made us laugh as a presenter and comic and now makes her first foray into situational comedy with this delightful series about coming out, age and awkwardness. Heading Out is not by any means depressing, in fact, it's brilliantly upbeat despite the seriousness of the issues that Sara (Perkins' character) faces.
An uncomfortable lesbian turning 40, Sara is a vet, a commitment-phobe, has a OCD inflicted gay best friend and plays netball. It's witty, much like Perkins' self appearances.
With the absence of Miranda Hart's Sitcom on the BBC, my first thoughts were that this is a sitcom about a lesbian Miranda, those points are obvious but when you get past those forced comedy snippets you begin to see the situation and the reality of it. The series opener has tidily set us up for six weeks of agonising preparation of coming out, which is entertainment in itself. With guest appearance by Dawn French and June Brown coming up and a 'will she, won't she' come out to her parents story line, I think we better stick with this one.
The Dancing On The Edge soundtrack is available on iTunes and Heading Out will continue next Tuesday on BBC Two. ]]>Utopia, Channel 4 - TV Reviewtag:www.huffingtonpost.com,2013:/theblog//3.27208622013-02-19T20:22:43-05:002013-04-21T05:12:02-04:00Paul Guesthttp://www.huffingtonpost.com/paul-guest/
Channel 4's Utopia, written by Dennis Kelly, follows a group of Internet geeks who find themselves in possession of a manuscript of a cult graphic novel called Utopia, which is rumoured to have predicted the worst disasters of the last century. This leads them to be targeted by a government organisation known only as 'The Network', which they must avoid to survive.
This builds and builds, episode by episode, and we gradually learned more and more about 'The Network', the graphic novel Utopia and, of course, the identity of Jessica Hyde.
I have to say, Utopia is simply the best television series I've watched in a long time. There are so many elements of its writing that makes it a poignant piece including the future of man kind, the secretive nature of government for our greater good and, ultimately, man's struggle for knowledge. What is funny, or not so, is that this type of secret governance could actually be going on without us knowing; perhaps horse meat is a way of keeping the population, how apt.
The superb dialogue keeps us gripped from the very first minute of first episode right through to last thirty seconds of episode six. It is beautifully shot, generously directed and features some stunning performances from actors that are not yet on our radar. It is this brilliant combination that has kept our eyes super glued to this glorious, harrowing and almost real work.
The cult graphic novel Utopia, once shrouded in mystery, is about a scientist who makes a pact with the devil for infinite knowledge in return for his soul. Though the legend of Faust, indeed a man who traded his soul for knowledge, is not the primary story running through the series, it seems that this turned into a dark, futuristic sequel to the legend that has captivated audiences for hundreds of years.
Through Twitter, I was able to ask writer Dennis Kelly how much of the story is based of the legend of Faust and his quest for knowledge, he replied:
"@DramaOn4: #AskUtopia @pauljguest Yeah quite a bit. I love that whole deal with the devil stuff i think we humans are always guilty about our knowledge"
I started to wonder which of the protagonists in the series could be our Faust. Kelly proves that Faust, in the present, still remains relevant and valuable. This is because the ideas and thoughts of the work will never have an expiration date and these thoughts can be used and analysed even in the modern world. Our quest for knowledge spans our lifetimes and are never satisfied and Faust's exploration for satisfaction is a journey we will all take in some form - perhaps this was Jessica Hyde's mission - she gave up any sort of life in order to search for answers.
Away from Faust.
There was real suspense from start to finish but I suppose the ending was fairly obvious; however, even in that last bit of short dialogue between Milner and Jessica Hyde I doubted myself, which is crazy, but our expectations were clouded by mystery and unexpected turns throughout - that was the true magic of Dennis Kelly's superb writing.
I'm left with two things: Do I want to know anymore?
And where is Jessica Hyde?]]>The Art of Nothingtag:www.huffingtonpost.com,2013:/theblog//3.26966452013-02-17T14:37:03-05:002013-04-19T05:12:02-04:00Paul Guesthttp://www.huffingtonpost.com/paul-guest/ Nothing is no thing, denoting the absence of something. Nothing is a pronoun associated with nothingness. In nontechnical uses, nothing denotes things lacking importance, interest, value, relevance, or significance. Nothingness is the state of being nothing, the state of nonexistence of anything, or the property of having nothing.
"What are you doing this weekend?" one bushy-eyed worker says to another, while avoiding work at the coffee machine, "Ah, I'm just going to go home and do nothing" replies the shaggy haired, rather dark eyed colleague.
Nothing? Well, that is simply not true.
"What are you up to?" my mother texts me, while she is sunning herself on the other side of the world, "I'm sat on the floor thinking about how much havoc a giant, flying giraffe would cause." I reply. Now that's a more accurate answer.
The act of 'doing nothing' seems to have defined itself as just doing something unproductive but can we actually do nothing?
No, I don't believe we can ever do nothing. Even when we are sat being unproductive, quiet and still, in a somewhat mindless state, we still find ourselves reflecting and thinking, flicking through our pages of our pasts, however insignificant.
Even when we're sat listening to music, we're processing. When we're sat reading a book, we're processing. When we're watching Eastenders, we are processing. When our boss is talking to us, we are processing something, right? Our brain considers these activities and then acts accordingly. Is sleeping, doing nothing? Probably not, as our brain is still functioning in someway, and we still dream.
I actually can't think of anything more blissful than being left to roam around your own head. Blissful and beautiful. My head is like a work of art, it's a head full of memories, stories, truth and mistakes - reflection can be a wonderful thing.
The art of reflection is not to correct mistakes, or even think, but, instead, to realise our present.
Watching a TED talk, Andy Puddicombe argues for ten mindful minutes saying that we spend half of our lives lost in thought. It is him, that poses the question when was the last time you did nothing? As an argument for meditation and the constant care of our wandering minds.
What is life now but a Twitter account, a Facebook profile, a text message, an e-mail, our work and a coffee three times a day?
Puddicombe says, "We are so distracted that we are longer present in the world in which we live."
Though I don't believe we can't ever do nothing the care of our minds is of vital importance to our welfare as people. We care more about our outer aesthetic than our inner being. That is why we find ourselves sweating at the gym, styling our heavy bouffants and buying red trousers to keep up with trends.
Our inner peace is far more stunning.
I'm a writer and when I'm stuck or have writer's block, which is fairly often, it causes me immediate stress and makes me enormously anxious so I need to just go and clear my head. I'm not a how-to person but this is how I switch off for ten minutes every day and, sort-of, do nothing:
1. Schedule some 'do-nothing' into your day; just ten minutes.
2. Find a place to do nothing, it has to be quiet and with no one around; may I suggest the stationary cupboard?
3. Set an alarm so that you are not thinking about time, though inevitably you will either wonder how long you've been in the stationary cupboard or wonder how much time you have left to spend - but remember you're doing nothing.
4. Disconnect; turn everything off, EVERYTHING (Unless your alarm is on your phone, then turn it to silent and put it face down on the floor and DO NOT touch it).
5. Breathe, just breathe, calmly and gently.
Let's all do nothing together.]]>Where Is It Written?tag:www.huffingtonpost.com,2013:/theblog//3.26179062013-02-04T16:28:42-05:002013-04-06T05:12:01-04:00Paul Guesthttp://www.huffingtonpost.com/paul-guest/
Over the past few weeks, I've watched and listened to the commentary and debate and have been utterly baffled by some of the opposing arguments to this bill. Most of the opposing arguments have been ridiculous and some politicians seem to have uneducated views on the homosexual life - perhaps this is down to age and generation or perhaps, a part of it, is down to public perception.
Before Pride London this year, the Guardian published Judy Bindel and Peter Tatchell discussing the relevance of Gay Pride: Bindel, a lesbian feminist, argues that Gay Pride has become more of a giant street party than a march about equality, she says, "But do people listen? Do they want to hear stories that are painful for any of us to digest when they have just been sinking six Bacardi Breezers and dancing to Madonna on a float?" I tend to agree and have been guilty of ignoring the political conquest of equality for homosexuals in search of a good street party and some vodka. What is especially sad is that the true meaning of Pride is lost in the Old Compton Street party, which, unfortunately, becomes the public front of Pride.
This is a perception that we, as homosexuals, can't shake off that easily, what with a history of underground activity and illicit lifestyles going way back to the Victorian period, perhaps back even further adding to the media pass time of outing well known figures and their habits. This is perception, I suppose, but you can see and feel that this perception is changing day by day and if this bill is to go through than, it might, at least portray the image of family, union and integration as the new normal.
Marriage, I thought, was a religious institution but as far as I understand, religious figures will not be forced to wed homosexual couples in their establishments if it breaches their moral compasses. My fear, as expressed by many others, is the accusation of 'hate crimes' - We should all sympathise with other people's beliefs and values, which may not encompass homosexuality, and therefore, I believe, must accept people for who they are and what they believe and not begin to, wrongly, accuse people of hate crimes - that is the equality and freedom of speech that, in this country, we all pride ourselves on.
Speaking of pride: In 1991, the media outed Jason Gould, son of Barbra Streisand, as being gay, and this was Ms Striesand's response to the media:
"I would never wish for my son to be anything but what he is. He is bright, kind, sensitive, caring, and a very conscientious and good person. He is a very gifted actor and filmmaker. What more could a parent ask for in their child? I have been truly blessed. Most parents feel that their child is particularly special, and I am no different. I have a wonderful son. My only wish for my son, Jason, is that he continues to experience a rich life of love, happiness, joy, and fulfilment, both creatively and personally. Nobody on this earth has the right to tell anyone that their love for another human being is morally wrong. I will never forget how it made me shudder to hear Pat Buchanan say that he stood 'with George Bush against the immoral idea that gay and lesbian couples should have the same standing in law as married men and women.' Who is Pat Buchanan to pronounce anyone's love invalid? How can he deny the profound love felt by one human being for another? ... Unfortunately, however, as long as people like Newt Gingrich and Pat Buchanan continue in public life, the fight to codify gay marriages will be a tough battle to win."
I am so touched by this response - a mother proud of her son; so why not a country's government proud of their diverse population?
Why should politicians govern love? And who has the right to deny anyone the chance to love who they choose, man or woman?
This country has come a long way in shaping homosexual rights and the Government has cottoned on to modern Britain and the modern individuals who reside and live their lives here, so let us take one more small step into the realm of change and honour everyone with the right of marriage.
I will end on this, a point I wish to echo: At the end of Sunday morning's Big Questions programme, a senior member of the church in Leicester said "On Wednesday morning, when the bill is passed, we will all wake up and won't notice any difference in the world."]]>Faust's Utopiatag:www.huffingtonpost.com,2013:/theblog//3.25580112013-01-26T12:00:35-05:002013-03-28T05:12:01-04:00Paul Guesthttp://www.huffingtonpost.com/paul-guest/ Goethe's Faust is a novel rich in metaphor, elaborate verse, imagery, depth, and meaning that not only employs symbolic characters and scenes, but also, through such literary techniques, weaves its main philosophy of striving and experience as mankind's rightful path.
Ironically, Faust reveals his disapproval for books as a true source of knowledge in understanding the world; we must turn to life and living, and experience instead. I call this ironic because while he denounces books, Faust is a book. The text itself seems to imply that although it's imbued with intense profundity, one must "live" it in order to truly understand it. That is to say, reading doesn't do its inherent meaning justice.
Some disagree with the moral of Faust - which, I suppose, could be seen as radical statement. The legend exclaims that striving is what matters. "Whoever strives in ceaseless toil, him we may grant redemption," says an angel at the conclusion, justifying Faust's salvation. Faust strives in seduction, fraud, war, debauchery, empire-building, and exploitation of nature - for this he is redeemed. It is not exactly a religious statement but one of immense reality where life overtly trumps academia.
Faust appears, through time, in many different forms - the legend has become a stimulus for other major works. It's appeal has become a universal tale of divine power and knowledge.
The story of Faust, and his quest for all worldly knowledge, makes up part two of Gustav Mahler's epic eighth symphony with its climatic finale, with over a thousand performers. There are numerous operas by Berlioz, Prokofiev, Stravinsky and Gounod, all detailing the plights of a Faustian character.
In literature: Mary Shelley's Frankenstein, Leroux's The Phantom of the Opera and Oscar Wilde's The Picture of Dorian Gray to Stephen King's Christine and Terry Pratchett's Eric.
In popular culture, music by Muse, Radiohead, Gorillaz, Tom Waits, Randy Newman and Eminem and films such as The Pirates of the Caribbean, Star Wars, Click and Ghost Rider all feature Faustian elements within.
More recently, I was intrigued, as most of us were, by Channel 4's latest British television series Utopia. The story follows a small group of people who find themselves in possession of a manuscript of a cult graphic novel called Utopia, which is rumoured to have predicted the worst disasters of the last century. This leads them to be targeted by a government organisation known only as 'The Network', which they must avoid to survive.
The cult graphic novel is shrouded in mystery, but what we do already know about Utopia is that it is about a scientist who makes a pact with the devil for infinite knowledge in return for his soul - oh, this is a tale of Faustian proportions - though this isn't the primary story running through the episodes, it seems like this could turn into a dark, futuristic sequel to the legend that has captivated audiences in all sorts of different forms.
The first two episodes have been written superbly by writer Dennis Kelly and I'm hoping that the series continues as such.
Wherever the series Utopia is taken, the legend of Faust, even in the present, still remains relevant and valuable. This is because the ideas and thoughts of the work will never have an expiration date and these thoughts can be used and analysed even in the modern world. Our quest for knowledge spans our lifetimes and are never satisfied and Faust's exploration for satisfaction is a journey we will all take in some form.
Great minds, great persons and great thoughts aren't necessarily defined by time.
Utopia continues on Channel 4 on Tuesday at 11pm. ]]>You're So Londontag:www.huffingtonpost.com,2012:/theblog//3.22396832012-12-04T16:35:47-05:002013-02-03T05:12:01-05:00Paul Guesthttp://www.huffingtonpost.com/paul-guest/
Your many traits: The ones we love and the ones we hate; your dark criminality and your ways of high society. I see so much beauty in you, where you don't see it yourself; you're quite tall so I, my small self, have to look up and I see all of refinements of beauty carved into your beautiful face. Your history doesn't show.
You're old, but your ever-changing looks say otherwise, you're gorgeous - one could say you're addicted to plastic surgery; I've always said it's a bad habit. Metallic was never your colour. You've never really listened to me.
We've been shopping together so many times, we've dined and drank champagne, sat up on Primrose Hill and watched the fireworks at the turn of a new year. You've celebrated three birthdays, a christening and a wedding with me. We've lay on Hampstead Heath and you've told me about how pissed off you were when Hugh Grant claimed Notting Hill for his own.
You've stolen my phone twice, my wallet countless times and yet I'm still in love with you.
You're a wicked one; we've partied all weekend without a wink of sleep only to find myself in someone else's bed in the morning - these lips have made slips but it was never really serious - well, maybe once or twice - two relationships you've held my hand through and numerous dates. You got me so drunk nearly every day of the week, I nearly turned into a raving alcoholic - cocktails - you know how to make 'em good - think the Bellini was my favourite, you knew how to exploit my weaknesses and bubbles was one of them.
We've been on television together - admittedly you got more gigs than me - damn, you're so beautiful.
We went to the theatre, you remember? All that opera and those musicals; do you remember when we met Liza Minnelli together at that opening night party? I know, I know, you remember her mother. And who knew that Damian Lewis loved opera? Well you did, because you know everything.
Who needs politics, eh? That's why you got a Mayor, give him a comb though.
I always hated traveling with you, it was always hot and stuffy and there were way too many people, but at least I got there, eventually - you made me late so many times.
But you always brought out the best in me and you gave me the best; opportunity, fun, friends and work. I met a lot of people through you, how do you know everyone? I watched people come and go and I never thought I'd leave you, but you're expensive, I never wanted to see your bad side, but my bank account couldn't take it anymore .
I write this from my new home in the green countryside, it isn't you. I walk, but when I look up I see space. I dream of raising my head to spectate your magnificent height.
I had to leave, please understand. I still have so much to learn about you so I hope that, in a few months, we can catch up over a bottle of champagne. Or two.]]>Should We Applaud Between Movements?tag:www.huffingtonpost.com,2012:/theblog//3.19377592012-10-03T21:12:23-04:002012-12-03T05:12:02-05:00Paul Guesthttp://www.huffingtonpost.com/paul-guest/
It is, seemingly, starting to occur in many concert halls; some will say, inevitably, that it is ignorance that see patrons applaud between movements though I have observed this occurrence as a change in times.
The convention of silence during performances developed late in the 19th century: Mozart, for example, would have expected people eating, drinking and talking over his music, delighted when his audience would clap and cheer during his symphonies. It was Gustav Mahler who decided to clamp down on applause and, even specified, in the score of his Kindertotenlieder that its movements should not be punctuated by applause. Wagner discouraged what he considered 'distracting noises' from his audience at Bayreuth in the 1800's.
Silence was exercised aplenty during the 20th century: Applause between movements of a symphony became regarded as a distraction from a works momentum, unity and feeling.
At this year's BBC Proms Maestro Marin Alsop, conducting the Sao Paolo Symphony Orchestra, just shrugged and smiled when applauded between movements of Dvořák's Ninth Symphony.
"In Rachmaninov's second piano concerto, there is such a flash it feels unnatural not to clap," says Gramophone's Martin Cullingford.
And TimeOut's Jonathan Lennie, on the subject of applause, says "In Beethoven's 9th, a massive choral outpouring, you can't help but clap, but in other works like Mahler 9 these are the final symphonies, the end of the life. They end in silence."
What both Cullingford and Lennie are saying is that, sometimes, the music demands applause.
Most audiences applaud after the third movement of Tchaikovsky's Sixth Symphony Pathétique; that allegro molto vivace movement, ending in the glorious key of G major' is desperate to hear the applause. Those cymbal smashing, tutti-fortissimo Rossini finales demand applause. The opening movement of Beethoven's 5th demands applause. Mars, from The Planets, demands applause. What other movements demand applause? Arousing moments and movements from Shostakovich, Brahms and Grieg.
Is an applause between two movements rather an acknowledgement of emotion and understanding from the audience to the performers? Perhaps like the audience is saying "yes, I get it". Almost a communication rather than a hindrance to a performance. Or is it, as previously mentioned, an interruption of momentum and subject?
I remember once taking a friend, and fellow HuffPost UK blogger Hattie Garlick, to hear Shostakovich's 10th at the Barbican conducted by Andrew Gourlay (which I believe, when I was a critic, I reviewed). I whispered in her ear just before it began "Don't clap in the pauses" to then, after the first movement, find myself applauding - how absurd. Pfft, it was good music, what more could one ask for?
Speaking yesterday at the New York Philharmonic's Off Stage series pianist Emmanuel Ax said "After the first movement of, say, the Emperor Concerto, applaud! The music demands it!"
I find these moments of inter-movement applause a genuine and appropriate gesture from audience to performer and from audience to composer. It is a breakdown of 20th century convention and concert hall etiquette but c'mon we're in the 21st century now.
Should we applaud between movements? Hmm, I say yay but when, as Emmanuel Ax says, "The music demands it!".]]>Classical Music is NOT Deadtag:www.huffingtonpost.com,2012:/theblog//3.17182112012-07-31T19:00:00-04:002012-09-30T05:12:04-04:00Paul Guesthttp://www.huffingtonpost.com/paul-guest/
I have been referred to by various others as naïve on this subject; I sit in the concert hall, beaming blissfully happy, utterly content listening to live music without a care in the world; for me, every piece of music takes me on an emotional journey, it can ruin me, it can take me to other places it makes me smile - I smile far too often in the concert hall; aside from my contented happiness, I don't think classical music is dead.
The BBC Proms 2012 season is in full swing and this year I've felt the audience more alive than ever. Something has risen from the grave yard of culture, what is it? - Honestly, I have no idea but I think the "ageing, well-dressed audience" cliché, and the death of classical music is becoming a little bit of a misconception most likely perpetuated because this art is no longer central to popular culture.
Unfortunately those 'guards' of classical music or "arrogant dinosaurs", as Andrew Mellor recently describes in an article for the New Statesmen on elite audiences, are still around in vast numbers; the ones who tell you to 'shut up' if you dare breathe during the slow movement of Beethoven's fifth but things are changing. Classical music has gone a bit 'indie' and I bloody love it.
Classical music is going through another growth spurt, constantly growing.
I can understand the worried faces of the concert hall's management though I can't but think it's all a little over-dramatic. The last season has seen a real breadth of repertoire in the major concert halls and opera houses which have attracted vast amounts of young audiences, all keen to hear more and embark on a real cultural journey. And, we must remember, classical music is a part of culture, a big part. Orchestras such as the Aurora Orchestra and London Contemporary Orchestra have dragged those skinny-jean wearing, long haired culturists back in the stadium of classical music with their contemporary flairs which, in turn, attempts to engage them in the classics. Operas in the Linbury Studio and in warehouses in Shoreditch have done the same. This 'over-dramatic' outlook by concert hall management and artistic teams has really pushed everyone into a new realm with the realisation that classical music has been 'stuck in the mud' for a little while and now needs to make a bigger effort to engage and be inviting - I think this has had great success.
But, while the main London season is over, let's go back to the Albert Hall and the BBC Proms. The audience is the most open, inviting, engaged and ecstatic audience I have ever come across - nothing compares - really. This open, transparent air transcends to the players and therefore music making and listening is easier to comprehend.
While heading into the hall to hear Rachmaninov's Second Piano concerto I caught up with three lads, one of them wearing ripped jeans and a vest, he was nineteen and I asked him why he chose to spend his evening at the BBC Proms, he replied with "Dude, it's Rach 2" - Are you a music student? - "No, I was just in Kensington and the ticket was a fiver" - proof enough? It's true, the BBC Proms have a certain appeal that perhaps other concert series do not but the Proms can feed their audiences into other halls and this, surely, happens.
Youth is thriving in this art form as it is in other specialist art forms and we should be proud that things are changing for the better. As for the man in the bow tie and white hair who has come to enjoy some good old fashioned Mozart: good on you, sir! You're the most fashionable here.
Lastly, I just want to point out, that we cannot compare classical music and football. Football is a whole other ball game (excuse the pun, but it really is). It has everything to do with popular culture- Football is a billion pound industry targeting a far bigger audience and classical music doesn't come anywhere close; the same goes for art or architecture or any other specialist art but, on the flip side, I suppose talent is talent, no matter the salary.
Going back to the opening on this blog, this blissful happiness that I get from live music could make me completely unaware of the 'outsiders' perspective - I don't see how anyone can be an 'outsider' - c'mon pull up a chair...
The BBC Proms continues through until the 8 September at the Royal Albert Hall]]>BBC Proms 2012: Composition for the Ear, or Eye?tag:www.huffingtonpost.com,2012:/theblog//3.17196432012-07-30T12:08:14-04:002012-09-29T05:12:39-04:00Paul Guesthttp://www.huffingtonpost.com/paul-guest/
Not that I want to belittle the intelligence of the modern composer but I was asked a very interesting question by a colleague and friend the other day: Do some composers of 'modern' music really hear what they write or is what they write just logically coherent to the eye? I'm not a composer and so I cannot answer that question however I feel as though there isn't a clear right answer; sometimes a complex weaving of lines results in clear-speaking music, perhaps, sometimes it reads more sensibly than it sounds - I don't know.
Many anecdotes circulate in musical circles regarding the rehearsals and performances of 'modern' works in which something went wrong, whether by accident or design it is not for me to say.
In one instance, there is a German story of a string quartet in which, at one point, the viola was, for some time, at the wrong pitch because the copyist of the parts had omitted to indicate that the instrument has shifted from the alto clef into the violin clef; supposedly even the composer, who was present, is said to have not noticed that anything was wrong.
I cannot vouch for this tales accuracy, however, in two other cases I can. Whilst assisting one of the most eminent living conductors in rehearsal of a certain new work by an equally eminent living composer problems arose between the conductor and composer when a player questioned an obvious discrepancy between what she was playing and what was set down in the score. The conductor appealed to the composer, who was on the platform, to say which was correct, score or part. The composer, who shall remain nameless, didn't know and tried to brush the question aside. The conductor insisted: "It must be one of the other", he said. "For my part I don't care which it is, but both cannot be right." - The composer went red in the face and merely said "I tell you it's all right. Go on" - And that was that.
Speaking to another conductor who was to conduct a piano concerto by a world-famous composer, in which the latter was to play the solo part. In a private rehearsal with the composer at the piano and the conductor in place, they went through the piece. So little natural musical sense, apparently, did the work make here and there even for its composer that he kept bending over the piano, obviously spelling out the constituent notes of this chord or that, and sometimes hesitating so long over them that the conductor, who happens to be a very forward character, lost his temper and shouted at the composer, "You are just a bluff".
Finally, in the 1926 musical journal of conductor Pierre Monteux he recalls the premiere of Stravinsky's Les Noces. "The new Les Noces was to be conducted by Stravinsky himself." Monteux, naturally, attended all the rehearsals, score in hand. "Much to my surprise", he says, "I noticed that all the singers were singing their parts either one-third too high or one-fourth too low, and the composer never corrected them... The night of the performance... 'Les Noces' with Stravinsky conducting received thunderous applause, but the singers were still singing one-third too high and one-fourth too low. The following day I demanded some new rehearsals for 'Les Noces' and the singers had to learn their parts over."
Is it music for the ear, or eye
?
Well, I have always heard and seen great things from many composers in rehearsals but, as stated previously, some of them aren't as musically capable as one would hope. I'm not sure of compositional processes but I will be sure to ask the rising British composer Emily Howard when I interview her live on the 20th of August ahead of her work 'Calculus of the Nervous System' being performed at the BBC Proms by the City of Birmingham Symphony Orchestra conducted by Andris Nelsons.
The BBC Proms 2012 season continues until the 8th of September.]]>Sir John Tomlinson on Pelléas et Mélisandetag:www.huffingtonpost.com,2012:/theblog//3.16710632012-07-13T10:28:33-04:002012-09-12T05:12:11-04:00Paul Guesthttp://www.huffingtonpost.com/paul-guest/Pelléas et Mélisande. Well, lucky for me, Sir John Tomlinson and I had such a discussion and, luckily for you, I'm about to recall the whole thing in this article.
Celebrating 150 years since his birth, the BBC Proms presents Debussy's only completed opera Pelléas et Mélisande. Claude Debussy, a self-confessed Wagnerian devotee, had, let's face it, an obsession with trying to formulate a new concept of opera. Debussy himself said "It was necessary to go beyond Wagner rather than follow in his path".
Tomlinson and I began on the humanist nature of the work. Debussy said "The characters in this drama try to sing like normal human beings, and not in an arbitrary language based on outdated traditions" and Vincent D'Indy, upon the works opening, said that Debussy "expressed human feelings and sufferings in human terms". After blurting out my historical evidence Tomlinson began by saying "The works sits in an elusive territory... the work is intimate and personal".
"It's epic and death is a major theme, in fact, Act five, for my character Arkel, can be dangerous and depressing. It's actually a disturbing experience." He continued; "Death seems to have a presence and Debussy succeeds in sowing both love and death into one strand which I think is a reflection of human nature."
I injected a little more history into the conversation by suggesting that, perhaps, Debussy seems to approach the composition of the opera the same way the Florentine Camerata did by attempting to form recitatives from the way humans spoke, eventually forming 'recitative secco' (dry recitatives) "There is nothing dry about Pelléas et Mélisande, in fact it's all very wet".
"There is a recitative style which, again, presents a very human approach for us as singers... In some respects the work is like a straight play, the characters talk directly to each other often asking more questions than answering them which brings us back to that very elusive place... there tends to be no logic in the conversation which makes compelling drama but also human drama."
But this consistent recitative must make it difficult to learn and perform? "It does, it is unique and is hard to learn... There is rarely a singular vocal melody, in fact, the vocal melody is constantly hiding somewhere in the orchestral harmony which blends the musical emotion of the piece together very nicely."
"To me opera has two sides: The music, which is an emotionally expressive and powerful medium; and the text, which expresses intention or an intention for actions and these two mediums combined makes a potent mixture."
I brought some more of Debussy's intention and comment into our conversation and quoted again from Debussy's letter to the general manager of the Opera-Comique in Paris in 1894: "The feelings of a person cannot constantly be expressed in melodic fashion, and the dramatic melody ought to be clearly distinguished from melody in general"
"A lot of it is conversation" Sir John reiterated; "The vocal lines seems to work around the harmonic structure in the of the orchestration which is effective in creating this atmospheric drama."
We discussed the orchestral colour in relation to the vocal line "When I sing Wotan, for example, I could be singing a light motif with a heavy orchestral colour underneath, which can alter the way I approach the motif dramatically, do I match the colour? Or do I sing in contrast? It always changes the practicality of the work".
Debussy, in his letter, makes it very clear that he aims to remove himself from various Wagnerian traits and develop the form the opera so I wondered how far Debussy had succeeded; "The piece is no doubt a revolutionary work" he continues; "It's a perfect piece, though I supposed one could suggest that the orchestral interludes, during transitional moments in the opera, sound like Wagner - I can hear Das Rhinegold and Tristan in there".
Pelléas et Mélisande is frequently described as one the landmark works of the 20th century but Sir John was unsure of it's value to the evolution of opera "I'm not sure that it was a part of a further development of opera; It's a bit like evolution itself: the human species has come a long way since the beginning of evolution but there have been several 'off-shoots' of evolution that have led to nowhere; excuse the metaphor but I think we can think of opera like this and Pelléas et Mélisande falls in one of those 'off-shoots'.
Sir John will sing the role of Arkel, the king of Allemonde, a role he first sang with the English National Opera with Sir Mark Elder in the pit in 1980. Tomlinson had "fond memories of concert performances with Sir Andrew Davis in Boston and at Carnegie Hall".
You must be asked this all the time but does your approach change every time? "It does depending on the conductor and director. I've just come from performing this work in Barcelona where Robert Wilson directed, I don't know if you've ever come across his work but he is very inexpressive but it was very beautiful." And what of Gardiner? "He is just brilliant, he conducts something incredible fluid and never lets the music rest"
Sir John Tomlinson sings in this Sunday's Pelléas et Mélisande (Prom 3) at the BBC Proms, Royal Albert Hall.]]>Dr Dee: Astrology and Polyphonytag:www.huffingtonpost.com,2012:/theblog//3.16307582012-06-27T11:00:08-04:002012-08-27T05:12:06-04:00Paul Guesthttp://www.huffingtonpost.com/paul-guest/
Dr Dee was commissioned by the Manchester International Festival,where it received it's first performance in July last year, and the English National Opera where it opened on Monday. Although largely unknown today, Doctor Dee was the quintessential Renaissance Man. From astrology to alchemy and physics to philosophy, his thirst for knowledge was insatiable and, as a key advisor to Elizabeth I, he is credited with providing much of the intelligence which shaped 'the British Empire' established under her rule. Dee also dabbled in the occult and, ultimately, this fascination destroyed him. Conned by a deranged medium, Dee's career ended in disgrace and sexual scandal and he died discredited and penniless. The opera follows his life.
I found the visual production a marvel, but I'm no critic so I'll leave the evaluation to them.
I'm here to talk about the music and take you back somewhat - I was intrigued by the score; there was a baroque ensemble and an orchestra, oh and a guitar with Albarn's brit-pop folk vocal mixed with the more traditional opera singer - what was going on? Furthermore, the score is a fusion of folk, world music, renaissance chorus' and, I suppose, numbers with operatic tendencies. One could say it is a collective of ancient-modern polyphonic stylings put together and consequently forming a narrative.
It has been defined as a 'folk opera' - this refers, in my view, to an opera containing a nationalist theme using the traditional musical elements of that particular country. In this case we have John Dee, astrologer to Queen Elizabeth I, as our protagonist with music inspired by the Elizabethan renaissance period.
The renaissance period, in the terms of development of western classical music, reflected the period between 1400 and 1600. The style developed alongside the rise of humanistic thought; the artistic heritage of the ancients; growth in commercial enterprise; a defining class system and protestant reformation - this change in society, socially and economically, dictated a new musical language.
A big part of this changing musical landscape was the use of polyphony. Polyphony is a musical texture that consists of two or more independent melodic voices - this is in contrast to music with one voice (monopoly) and music with one voice accompanied by chords (homophony). This polyphonic practice is reflected in the compositions of John Dunstable, Thomas Tallis, William Byrd and John Dowland.
Of course further to polyphony there were other characteristics that developed the music of this period for example the extensive exploration of harmony with a greater concern for the flow and progression of chords among other characteristics but it is polyphony that Albarn explores most frequently in this work.
Though this period is renown for its sacred contribution to music there was a huge, community-based, musical playing field that encompassed street performers. Those musicians not working for the king's court or for aristocracy wrote for the people and developed new music. William Shakespeare and other cultural pioneers of the era were responsible for inserting music into their work and giving them some narrative, of course it was at this time we started to hear the early pre-cursors of opera - it started on the streets - though opera didn't arrive in England for a little while yet; we left that one to the italians. We did have a huge culture, as the english do, for drinking and, then, hunting songs.
There is also evidence that composers, broke and hungry, would hang around in public houses surrounded by the drunken working and middle classes and for a small fee one could ask said composer to write a little ditty for a relative's birthday or anniversary.
Enough history: It's this era that I think Albarn is presenting in his score, perhaps one could say that Dr Dee is a reinvention of the renaissance folk song. I admire the artistry behind this and also admire that this work draws from a past so rich in musical discovery and diversity that has been brought forward and adapted for 21st century culture - sometimes history has so much to offer us.
Can't say I'm a huge fan but Dr Dee is more classical than it might seem.
Damon Albarn and Rufus Norris' co-created opera Dr Dee runs at the London Coliseum until July 7th.]]>BBC Proms 2012: Picks: Skelton and Müller-Schotttag:www.huffingtonpost.com,2012:/theblog//3.16241442012-06-25T10:42:53-04:002012-08-25T05:12:04-04:00Paul Guesthttp://www.huffingtonpost.com/paul-guest/ Stuart Skelton Tenor. Singing the title role in Britten's Peter Grimes. Prom 55 conducted by Edward Gardner on 24th August.
Prom 1, Saturday 13 July: First Night of the Proms
Some of my most beloved colleagues all in the same concert.
Live on BBC Radio 3 and BBC2 on 13 July
Prom 5, Friday 17 July
Delicious repertoire. Sibelius and Strauss on the same programme.
Live on BBC Radio 3 on 17 July and on BBC4 on 19 July
PCM 8, Monday 3 September
Pierre-Laurent Aimard plays Debussy. A definite do not miss.
Live on BBC Radio 3 on 3 September
Prom 25, Wednesday 1 August
David Robertson and Sarah Connolly. That. Is. All.
Live on BBC Radio 3 on 1 August
Prom 27, Friday 3 August
Donald Runnicles with Bruckner and Wagner. Sublime music, conducted sublimely.
Live on BBC Radio 3 and BBC4 on 3 August
Daniel Müller-Schott Cellist. Performs Shostakovich's Cello Concerto with the BBC Symphony Orchestra on the 28th July, Prom 19.
Prom 35, Thursday 9 August
Sibelius Symphonies No. 3 and 6 with John Storgards and the BBC Philharmonic in combination with Grieg Piano Concerto/Steven Osborne. I have worked with John and he is a wonderful musician and greatly passionate advocat for Northern composers!
Live on BBC Radio 3
Prom 45, Wednesday 15 August
Sao Paolo Symphony Orchestra/Marin Alsop. They are a wonderful group of musicians, I have worked with them too and will play Britten there in 2013. Together with Marina Alsop playing Dvorak New World Symphony that should be a highlight!
Live on BBC Radio 3 and on BBC 2 on 18 August
Prom 63, Thursday 30 August
Berliner Philharmoniker/Simon Rattle. This fantastic German Orchestra playing Wagner Lohengrin and Ravel Daphnis and Chloe with the many sound colours is a must to go.
Live on BBC Radio 3
Prom 51, Tuesday 21 August
CBSO/Andris Nelsons playing Shostakovich 7th Symphony. For me this piece is one of the milestones in music history and I love the work of Andris Nelsons. So that would be another highlight to experience something unforgettable.
Live on BBC Radio 3
Prom 71, Tuesday 4 September
St. Louis Symphony/Tetzlaff/Robertson I absolutly can't hear enough interpretations of Beethoven's Violin Concerto and hearing it at Royal Albert Hall with Christian Tetzlaff would be another concert not to miss.
Live on BBC Radio 3
www.bbc.co.uk/proms]]>BBC Proms 2012: Picks: Brabbins and Howardtag:www.huffingtonpost.com,2012:/theblog//3.15352402012-05-22T05:34:47-04:002012-07-22T05:12:24-04:00Paul Guesthttp://www.huffingtonpost.com/paul-guest/ Martyn Brabbins Conductor. He conducts Prom 1, Friday 13 July, Broadcast on Friday 13 July on BBC Radio 3 and on BBC Two; PCM 7, Monday 27 August Broadcast on BBC Radio 3 on Monday 27 August; Prom 61, Wednesday 29 August, Broadcast on BBC Radio 3 on Wednesday 29 August and on BBC Four on 31 August.
Prom 21, 29 July: Aldeburgh World Orchestra
Wonderful concept of which Britten would surely have approved. Programme superb too - Charlotte Bray a fine young talent who features in my time at Cheltenham.
Live on BBC Radio 3 on 39 July.
Prom 35, 9 August: Norgard's 7th Symphony
A superb example of contemporary symphonic composition. Compelling, dynamic and moving.
Live on BBC Radio 3 on 9 August.
PSM3, 11 August: Britten Sinfonia
Four fine British composers with Birtwistle the supreme master!
Live on BBC Radio 3 on 11 August.
Prom 47, 17 August Volkov: Cage Adventurous Ilan Volkov.
My piano teacher John Tilbury featured. And the BBC Scottish Symphony Orchestra.
Live on BBC Radio 3 on 17 August.
Prom 75, 7 September: Vienna Philharmonic Orchestra and Haitink.
I imagine this could be the most authentically beautiful Prom of the season!
Live on BBC Radio 3 and BBC Four on 7 September.
Emily Howard Composer. Her work 'Calculus of the Nervous System' will recieve it's UK premiere at Prom 51 on Tuesday 21st August.
PSM 3: Britten Sinfonia/Rundell
Far too much to mention it all, which can only be a good thing! Great to see the younger generation of UK-based composers heavily represented including Charlotte Bray, Helen Grime, Gavin Higgins, Fung Lam, Anna Meredith and Mark Simpson. I'm looking forward to PSM 3: Finnissy, Ferneyhough, Birtwistle and Elias with the Britten Sinfonia and Clark Rundell.
Broadcast live on BBC Radio 3.
Prom 29: National Youth Orchestra of Great Britain/Petrenko
It's a given that the hugely talented National Youth Orchestra of Great Britain present a Prom for us annually but even better that this year they are joined by their Scottish, Irish and Welsh counterparts. Proms 28-32 feature national youth orchestras and choirs whilst Prom 40 features national youth brass and wind ensembles.
Broadcast live on BBC Radio 3 and on BBC Four on 23rd August.
Prom 63: Berliner Philharmoniker/Rattle
Chosen because I think it is an outstanding programme: Ligeti Atmosphѐres, Wagner
Lohengrin - Prelude, Act 1, Sibelius Symphony No. 4 in A minor, Debussy Jeux and Ravel Daphnis and Chloe - Suite No. 2. Wow!
Broadcast live on BBC Radio 3.
Prom 72: Nixon in China/Adams
I was bowled over by ENO's production of The Death of Klinghoffer earlier this year. So naturally, I'm eagerly awaiting John Adams conducting Nixon in China, his other collaboration with librettist Alice Goodman.
Prom 20: The Wallace and Gromit Prom/Collon
I want to pick a real classic - so torn between Prom 69: Mahler 6 (Leipzig Gewandhaus Orchestra with Riccardo Chailly), Prom 26: Bach's Mass in B Minor (The English Consort with Harry Bicket), any of Barenboim's Beethoven/Boulez Cycle, the Cage Centenary Prom, or perhaps Mozart's Figaro (Glynebourne / The Orchestra of the Age of Enlightenment / Robin Ticciati). But then there is the Wallace & Gromit Prom and Wallace's brand-new Proms commission My Concerto in Ee, Lad. Quite keen to place his musical influences.
Broadcast live on BBC Radio 3.
More from the BBC Proms at bbc.co.uk/proms.]]>Five Reasons to Love Jessye Normantag:www.huffingtonpost.com,2012:/theblog//3.15347732012-05-21T21:55:23-04:002012-07-21T05:12:12-04:00Paul Guesthttp://www.huffingtonpost.com/paul-guest/
After an enchantingly expressive recital of songs of the great American songbook singing songs by Bernstein, Gershwin and Duke Ellington, with nimble-fingered Mark Markham playing some hot keys, I had a bit of a gushy moment in front of the diva herself - err, unprofessional. After a tiny wave as she was driven off for a late-night supper at The Delaunay, I skipped on home to write this article.
1. Norman has more honorary doctorates than I have bow ties. She has received honorary doctorates from Yale, Cambridge, the Juilliard School of Music, the Boston School of Music, Harvard, the University of the South, the Manhattan School of Music and 23 more academic institutions.
2. Her eternal laugh. More of a giggle - it's so casual, as if to say "Ha ha, I know".
3. She is an athlete, well, she makes an effort to do one hundred lengths of the pool. I'm sure that keeps her up-right at the ripen age of 66.
4. Her dress sense. From her hair wraps and turbans to her dresses. At this festival hall gig she glided onto the stage with a little help from her spotlight in a big purple number. Perhaps one could describe her as the Lady Gaga of our humble genre.
5. That voice. My friend turned me through her rendition of 'Stormy Weather' and asked me if I had synesthesia what colour would I use to describe her voice, my answer: purple, a deep, rich, purple. But, from a technical perspective, how do we categorise 'that voice'? Well, she is often described as a dramatic soprano mainly based on repertoire but one would describe 'that voice' as a Falcon voice; the Falcon voice is an intermediate voice type between the soprano and the mezzo soprano that is similar to the dramatic soprano, perhaps one could coin the term 'soprezzo'.
Despite all this vocal analysis, Jessye Norman, naturally, says it best herself in an interview with the New York Times she said; "As for my voice, it cannot be categorised--and I like it that way, because I sing things that would be considered in the dramatic, mezzo or spinto range. I like so many different kinds of music that I've never allowed myself the limitations of one particular range."
That voice is something else. As Norman gently eases her way into the number it's like a bird is taking flight and then as the recital goes on we are just gliding through a fresh breeze. I am entranced and captivated, so much so that I am alone in a room with her, she is looking right at me, staring into my eyes and telling me about some foggy day in London town, summertime, the man she loves and how I should climb mountains. Her voice is rich, dark, pure, fruity - it's like the best chocolate you have ever tasted.
I've exhausted my metaphorical dictionary and I'm starting to sound like a critic, so I should stop now. So, now that's out of my system, I need a good strong G&T.]]>BBC Proms 2012: That Long Walktag:www.huffingtonpost.com,2012:/theblog//3.15084642012-05-11T03:58:54-04:002012-07-10T05:12:16-04:00Paul Guesthttp://www.huffingtonpost.com/paul-guest/
The BBC Proms stands tall as the biggest classical music festival in the world and what makes the Proms stand even taller this year is the exquisite programming that will fill the two-month festival.
Booking opens to the general public tomorrow (Saturday 12 May) so over the next few days I'll be talking to some of the Proms' artists this season about what they are looking forward to; they may help you make some impossible decisions.
Today, the faces of the BBC Proms, Katie and Petroc, have told me what they are most looking forward to hearing this season.
Katie Derham Presenter of the BBC Proms on BBC One, Two and Four a.k.a Queen of the Proms
Prom 45 Wed 15 August, Sao Paulo Symphony Orchestra
The visit of the Sao Paulo Symphony Orchestra with Brazilian pianist Nelson Freire and conductor Marin Alsop with a celebration of the New World, Copland and Villa Lobos (one of my favourite composers) - with an audience full of Brazilians excited by the Olympic handover, the atmosphere will be crackling.
Live on BBC Radio 3 on 15 August and broadcast on BBC Two on 18 August Prom 2 Sat 14 July & Prom 59 Mon 27 Aug, John Wilson
I always look forward to the John Wilson Proms - My Fair Lady should be a hoot, but I know I'll also love his celebration of the Broadway Sound in Prom 59. Prom 2 live on BBC Radio 3 on 14 July / Prom 59 live on BBC Radio 3 on 27 August and broadcast on BBC Two on 1 September Prom 18 Thurs 27 July, Beethoven's Ninth
One of the huge events of this Proms season is the Barenboim cycle - all of the Beethoven symphonies, performed by his West-Eastern Divan Orchestra - the perfect symbolic choice for Olympics year. I'm particularly looking forward to Beethoven 9, Prom 18 which should be an unforgettable night. Prom 18 TX Live on BBC Radio 3 on 27 July and broadcast on BBC Two on 28 July. Prom 32 Mon 6 August, Bernstein Mass
A new work for me will be the Bernstein Mass, Prom 32. Bernstein's work is so full of life and energy, and some consider this his masterpiece - It's the first time it has been performed at the Proms, and it's being conducted by one of its most ardent champions, Kristjan Jarvi. I'll have the best seat in the house - the BBC Radio 3 presentation box.
Live on BBC Radio 3 on 6 August and broadcast on BBC Four on 6 September. Prom 20 Sun 29 July, Musical Marvels
And ...I can't resist ... the Wallace and Gromit Prom Musical Marvels. My favourite cartoon characters alongside the wonderful Aurora Orchestra, Nick Collon and the ever smiling virtuoso Tasmin Little. What's not to like? I'll be there, enjoying every second.
Live on BBC Radio 3 on 29 July and for future broadcast on BBC One
Petroc Trelawny Presenter of the BBC Proms on BBC Radio 3
PSM 1 Sat 21 July Mahan Eshfahani
This Tehran born, American raised, UK based harpsichordist is at the top of his game - I love hearing him play, and his performance of Bach's Art of Fugue will be an intense, deeply satisfying Saturday afternoon treat.
Live on BBC Radio 3 on 21 July Prom 36 Thur 9 Aug Ivor Novello night
People sometimes dismiss Novello as being dated. Not so, his songs epitomise glamour and a distinct period in English musical theatre. Will Mark Elder sing alongside Toby Spence and Sophie Bevan? He has form here.
Live on BBC Radio 3 on 9 August and broadcast on BBC Two on 11 August Prom 46 Thur 16 Aug R3 & BBC4 Vaughan Williams
A night dedicated to one composer - Vaughan Williams reflecting Britain's perilous position in the 1930s and 40s. This is perhaps the most important triptych of English symphonies, and I can't wait to hear what Andre Manze does with them.
Live on BBC Radio 3 and broadcast on BBC 4 on 16 August Prom 55 Fri 24th August Peter Grimes
This is one of my favourite operas, with a gripping story and Britten's stunningly orchestrated score. With an A -list of British operatic talent and dynamic conductor Ed Gardner leading ENO, a company that keeps winning prizes, this will be unmissable.
Live on BBC Radio 3 on 24 August Prom 33 Tue 7 August BBCPO
Two composers deeply inspired by their faith, Bruckner and James MacMillan. The premiere of MacMillan's new piece Credo will be well worth hearing - and Juanjo Mena is doing exciting work with BBC's Manchester based orchestra.
Live on BBC Radio 3 on 7 August and on broadcast on BBC4 on 10 August
Booking opens tomorrow (12 May) at www.bbc.co.uk/proms]]>