Film
CD and Other Review

Review: Amour: The Film Soundtrack (Alexandre Tharaud)

Tharaud plays the star former pupil of an octogenarian couple, retired music teachers both. He literally plays the soundtrack of their lives: a gentle, fluid touch in the Schubert Impromptu No 3 D899, then a buoyant, effervescent Moment Musical No 3, contrast with the more searching tone of Bach’s Chorale Prelude Ich ruf zu Dir, Herr Jesu Christ. With the protagonists’ love for each other and for classical music so inextricably intertwined, these piano pieces are cherished memories, a visceral reminder of bereavement and a comforting balm all at once. And isn’t that what music means to us all? Read the film review here. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

February 25, 2013
Uncategorised
post

It’s my play and I’ll cry if I want to

This Saturday, Blue Fruit Theatre Company’s first show, Agnes of God, has an audience. That means all the work that has been done intensively over the last four weeks, as well as the months of thinking and planning before that, will be judged, critiqued and discussed. Depending on the applause and the atmosphere in the bar afterwards, as a director, I will know whether we have crafted something that deserves to be enjoyed as great theatre. Although no lives are at stake, no wars will be started, the pressure of putting on a good show right now feels huge. In just over two days there’s still a lot to do; some bits are little, others are bigger. Lines must be tightened, characters polished, scenes rejigged, pace upped, lights and sounds plotted, technical set ups trialled, props bought, costumes hemmed and more. And all must be done without panicking or worrying the actors that we’ve only three runs left, including a dress rehearsal, until we have a living, breathing, ticket buying audience. As I’m running round juggling life, three children, creative ideas, rose petals and rosary beads, I often wonder how I became so enveloped in this world and state of…

February 21, 2013
Uncategorised
post

No voices were harmed in the making of this production

It’s eighteen months since I left the ROH’s Jette Parker Young Artists Programme, and the learning curve that started back in 2009 is certainly still, well, curving. With each new production I’m involved in, new lessons are learned and new observations made. I suppose the biggest thing I’ve learned, which can only be learned “on the job”, is how to preserve the voice during gruelling rehearsal periods, sometimes in less-than-ideal climates. Having come somewhat later to this profession than some of my colleagues, I missed out on opportunities to learn these vital lessons in college – I hadn’t embarked on an opera course until I came to the JPYAP in 2009, and so making the transition from chain-smoking, beer-swilling chorister to fledgling international artist meant some radical changes in life-style had to be made (I quit smoking in 2004 – still working on the beer thing). But I digress. Thirsty work My first role after leaving the Programme was the title role in Aïda at the Teatro Municipal de Santiago de Chile – the excited echoes of “Baptism by Fire” still resound in my ears. Being in the “second” cast, my schedule was less demanding than some of my “first” cast colleagues, and…

February 18, 2013