Flash, who more or less converted me to the delights of single malt, notes that in my diatribe on nationalism, I contrast the symbolism of Scotch whiskey with that of English Ale. He points out that there is no such thing as "Scotch whiskey". Irish whiskey, American whiskey and even apparently Japenese whiskey. But not scotch whiskey.
Mea culpa.
Monday, March 28, 2005
It doesn't make an iota of difference.
What's Opera Doc
GOOD NEWS. The BBC decided to show Covent Garden's Rhinegold and Valkyrie over the Easter Weekend. Doctor Who AND Wagner. (And Earthsea, as well, but don't get me started on that.)
BAD NEWS. Bryn Teflon, who was supposed to be singing Wotan, lost his voice, so we only got Act I of Valkyrie
EVEN WORSE NEWS: Michael Portillo, who was doing the introductory talks, didn't lose his voice. At least he resisted the temptation to say "and you know, Alberich renouncing love for the ring is very like, when, as a member of John Major's cabinet, I..." which is his normal idiom.
GOOD NEWS: Bryn Teflon, whose Rhinegold was presumably recorded in advance, was as good as everyone says. He managed to put nuance into his singing and his gestures at the same time. (Sieglinde, for example, could only manage one at time. One noticed her hands wandering down to her abdomen on the high notes, and then remembering what they were supposed to be doing and reaching for a goblet.) He made you feel that "acting through music" is a natural, rather than a very strange and artificial, form of expression.
BAD NEWS: Deeply incoherent production of Rhinegold I thought. I am, as you know, very relaxed about radical and weird versions of the Ring. But. When the producer explained that the Gods were going to be Victorian but the Dwarves were going to represent a sort of industrial and scientific revolution, I started to get sinking feelings. When did you last see a production where the gods weren't Victorian? In fact, Valhalla seemed to be a random collection of unrelated items -- a telescope, a sofa -- and the Dwarfs realm was, for no reason that I could understand, a mortuary or vivisection lab. Alberich and Mime spend a lot of time moving dead bodies around the stage. The niebelungs themselves are either victims of lobotomy experiments, or corpses revived a la Doctor Frankenstien. The producer suggested that this was because the Ring represents the misuse of science and genetic modification, which it doesn't. And for some reason Donner and Froh were in dressing gowns or smoking jackets. Donner is the god of thunder. He has a hammer. The one time he is center-stage musically involves him calling the thunder down -- one of the most macho moment in the whole cycle. What is the point of making him a dandy?
GOOD NEWS: Loge was brilliant and stole the show, totally mischievous and understated and enjoying himself the whole time.
ALSO GOOD NEWS: Erda the Earth-Goddess was an old lady in a veil; possibly Queen Victoria herself. She is asleep in an armchair and wakes up for her big moment. Mr Portaloo's comments over the curtain call suggests that she was actually sitting in the armchair for the whole opera. At any rate, nice image, nice characterization.
CATASTROPHICALLY BAD NEWS: One of pundits at the beginning of Valkyrie explained that, in between the two operas, Wotan goes to Erda, learns from her, and as he later admits, seduces or even rapes her. He evidently hadn't seen last nights production. While the other gods were climbing up ladders to Valhalla, Wotan is shagging Erda in her armchair. I am trying to work out what new interpretation of the opera this was pointing us towards. I suspect it was the version which says "Our non-German speaking audience will not be following the sub-titles, so perhaps if we spell everything out in a really, really unsubtle way, they'll be able to follow the plot. (In Valkyrie, Sieglinde's line "I gave him a drug in his drink" is foreshadowed ten minutes in advance by a bit of business in which she opens what appears to be a packet of lemsip.)
GOOD NEWS: I have been told by two people who are not particularly Wagner enthusiasts that they were captivated by the production. So I am probably being over-critical.
GOOD NEWS: There was less rubbish on the stage in Valkyrie, although I still had no-idea what anything meant or was supposed to symbolize. But it gave the performers a fairly empty space to sing and act in. There were some nice little ideas. Siegmund has a big fur coat which is associated with his father, "Wolf." When Sieglinde starts to realize who he is, she unwraps a brown paper packet which contains a similar coat.
GOOD NEWS: Hunding is the unexpected scene stealer in this. Remarkable diction (I don't speak German, but I could pick out words with the sub-titles) and very charismatic action. Too often he is just the cardboard villain from the moment he comes in. Here, there seemed to be a convincing camaradarie with Siegmund in the brief moments before he realizes that they are enemies.
BAD NEWS: But the Nazi imagery of the coat was overdoing it, wasn't it?
BAD NEWS: Why oh why does that sword drive producers crazy? Siegmund is meant to pull the sword from the tree, brandish it aloft, and run into the woods with Sieglinde. As dear sweet Germain said, the symbolism is not exactly rocket science. So what is going on when Sieglinde takes the sword from Siegmund, and they go out into the woods with her holding it in front of herself?
GOOD NEWS: Singing all very good indeed, particular when the duet gets going. (I believe that Placido is going to have a go at Siegmund later in the run, if both he and Bryn can get their throats in working order simultaneously. If you want tickets for that one, Covent Garden will accept the soul of your first born in down payment.)
BAD NEWS: Got to wait til May 7th to see Acts Two and Three, at which point (you can bet) Mr Portillo will not be able to resist some political analogies.
BAD NEWS. Bryn Teflon, who was supposed to be singing Wotan, lost his voice, so we only got Act I of Valkyrie
EVEN WORSE NEWS: Michael Portillo, who was doing the introductory talks, didn't lose his voice. At least he resisted the temptation to say "and you know, Alberich renouncing love for the ring is very like, when, as a member of John Major's cabinet, I..." which is his normal idiom.
GOOD NEWS: Bryn Teflon, whose Rhinegold was presumably recorded in advance, was as good as everyone says. He managed to put nuance into his singing and his gestures at the same time. (Sieglinde, for example, could only manage one at time. One noticed her hands wandering down to her abdomen on the high notes, and then remembering what they were supposed to be doing and reaching for a goblet.) He made you feel that "acting through music" is a natural, rather than a very strange and artificial, form of expression.
BAD NEWS: Deeply incoherent production of Rhinegold I thought. I am, as you know, very relaxed about radical and weird versions of the Ring. But. When the producer explained that the Gods were going to be Victorian but the Dwarves were going to represent a sort of industrial and scientific revolution, I started to get sinking feelings. When did you last see a production where the gods weren't Victorian? In fact, Valhalla seemed to be a random collection of unrelated items -- a telescope, a sofa -- and the Dwarfs realm was, for no reason that I could understand, a mortuary or vivisection lab. Alberich and Mime spend a lot of time moving dead bodies around the stage. The niebelungs themselves are either victims of lobotomy experiments, or corpses revived a la Doctor Frankenstien. The producer suggested that this was because the Ring represents the misuse of science and genetic modification, which it doesn't. And for some reason Donner and Froh were in dressing gowns or smoking jackets. Donner is the god of thunder. He has a hammer. The one time he is center-stage musically involves him calling the thunder down -- one of the most macho moment in the whole cycle. What is the point of making him a dandy?
GOOD NEWS: Loge was brilliant and stole the show, totally mischievous and understated and enjoying himself the whole time.
ALSO GOOD NEWS: Erda the Earth-Goddess was an old lady in a veil; possibly Queen Victoria herself. She is asleep in an armchair and wakes up for her big moment. Mr Portaloo's comments over the curtain call suggests that she was actually sitting in the armchair for the whole opera. At any rate, nice image, nice characterization.
CATASTROPHICALLY BAD NEWS: One of pundits at the beginning of Valkyrie explained that, in between the two operas, Wotan goes to Erda, learns from her, and as he later admits, seduces or even rapes her. He evidently hadn't seen last nights production. While the other gods were climbing up ladders to Valhalla, Wotan is shagging Erda in her armchair. I am trying to work out what new interpretation of the opera this was pointing us towards. I suspect it was the version which says "Our non-German speaking audience will not be following the sub-titles, so perhaps if we spell everything out in a really, really unsubtle way, they'll be able to follow the plot. (In Valkyrie, Sieglinde's line "I gave him a drug in his drink" is foreshadowed ten minutes in advance by a bit of business in which she opens what appears to be a packet of lemsip.)
GOOD NEWS: I have been told by two people who are not particularly Wagner enthusiasts that they were captivated by the production. So I am probably being over-critical.
GOOD NEWS: There was less rubbish on the stage in Valkyrie, although I still had no-idea what anything meant or was supposed to symbolize. But it gave the performers a fairly empty space to sing and act in. There were some nice little ideas. Siegmund has a big fur coat which is associated with his father, "Wolf." When Sieglinde starts to realize who he is, she unwraps a brown paper packet which contains a similar coat.
GOOD NEWS: Hunding is the unexpected scene stealer in this. Remarkable diction (I don't speak German, but I could pick out words with the sub-titles) and very charismatic action. Too often he is just the cardboard villain from the moment he comes in. Here, there seemed to be a convincing camaradarie with Siegmund in the brief moments before he realizes that they are enemies.
BAD NEWS: But the Nazi imagery of the coat was overdoing it, wasn't it?
BAD NEWS: Why oh why does that sword drive producers crazy? Siegmund is meant to pull the sword from the tree, brandish it aloft, and run into the woods with Sieglinde. As dear sweet Germain said, the symbolism is not exactly rocket science. So what is going on when Sieglinde takes the sword from Siegmund, and they go out into the woods with her holding it in front of herself?
GOOD NEWS: Singing all very good indeed, particular when the duet gets going. (I believe that Placido is going to have a go at Siegmund later in the run, if both he and Bryn can get their throats in working order simultaneously. If you want tickets for that one, Covent Garden will accept the soul of your first born in down payment.)
BAD NEWS: Got to wait til May 7th to see Acts Two and Three, at which point (you can bet) Mr Portillo will not be able to resist some political analogies.
No Link
Something struck me while looking up quotes for me "found poem." In "The Time Monster" the Doctor recalls his mentor bringing him out of his despair by showing him "the daisy-est daisy" he had ever seen. This is very like the famous remark that Dennis Potter mader in his legendary final interview with Melvin Bragg.
Below my window there’s an apple tree in blossom. It’s white. And looking at it — instead of saying, ‘Oh, that’s a nice blossom’ — now, looking at it through the window, I see the whitest, frothiest, blossomest blossom that there ever could be. The nowness of everything is absolutely wondrous.
Can anyone think of another use of that particular turn of phrase "blossomest blossom" "daisy-est daity"? Or is it possible that Dennis Potter was a closet Doctor Who fan? (His posthumous play was "science fiction", after all, and he did describe the BBC managers as a bunch of croak voiced Daleks.)
Below my window there’s an apple tree in blossom. It’s white. And looking at it — instead of saying, ‘Oh, that’s a nice blossom’ — now, looking at it through the window, I see the whitest, frothiest, blossomest blossom that there ever could be. The nowness of everything is absolutely wondrous.
Can anyone think of another use of that particular turn of phrase "blossomest blossom" "daisy-est daity"? Or is it possible that Dennis Potter was a closet Doctor Who fan? (His posthumous play was "science fiction", after all, and he did describe the BBC managers as a bunch of croak voiced Daleks.)
Saturday, March 26, 2005
One
1: Have you noticed how everytime there's a first espisode of Doctor Who, a world leader dies? Well, in this case, an ex-world leader, but still.
2: Friends started ringing within three minutes of the closing credits, and I said "go away", let me get my thoughts on-line first.
3: Nick is staying with me. .There were no crumpets to be had in Tescos, not ever for ready money. To get the full experience, I even laid on a DVD of Basil Brush. (It was crap.)
And the verdict is.
Stunned. Desperate wish to see it again. Desperate wish to see next week's immediately. Strange interstitial territory between a completely new series that I think I would be very interested in from cold, and odd sense of familiarity.
Sense of entering story "in media res." The Doctor is already involved in an adventure. Rose blunders into it. We see "The Dcotor" from the outside. "The Doctor" is portrayed as mysterious and Other. Ecclestone is very Bakerish, going from impishness to occassional moments of seroiusness. (Not enough of the latter, I felt, maybe too much sense that he (the Doctor) ) was treated what was going on as a game.) I loved the way he seemed to have contempt for these stupid humans, except that he was risking his life to save them. Maybe too frenetic, too much rushing between scenes, not enough pausing to take in the atmosphere.
Rose very believable as a character. Felt to me a bit "like something out of Eastenders", but that's probably good short hand for "ordinary mortal." No attempt to make her an old school "screaming girl menaced by baddies", of course, but still very recognisable as a Who companion.
Had some doubt about re-design of TARDIS interior, although the set itself was very impressive.
Like the fact that the Doctor was "an alien" with no backstory. Liked the conspiracy theorist hunting him on the net. Liked all the London landmarks. Me and Nick laughed out loud at the London Eye gag.
Thought the CGI looked a little phony; and had a tendency to make the aliens look like cartoon characters. When one of the Autons "morphs" its plastic hand into an axe to attack the Doctor with, I thought of Bugs Bunny.
Opening sequence and theme music very dynamic. As one final nod of the head to nostalgia junkies, the announcer made innane comments over the clsoing credits, so we couldn't hear the new theme tune.
Paul McGann was a character who was definitely the Doctor in something which definitely wasn't Doctor Who. Chris Eccleston is a character who is probably the Doctor in something which is definitely Doctor Who.
Again again. Again again. Again, again.
2: Friends started ringing within three minutes of the closing credits, and I said "go away", let me get my thoughts on-line first.
3: Nick is staying with me. .There were no crumpets to be had in Tescos, not ever for ready money. To get the full experience, I even laid on a DVD of Basil Brush. (It was crap.)
And the verdict is.
Stunned. Desperate wish to see it again. Desperate wish to see next week's immediately. Strange interstitial territory between a completely new series that I think I would be very interested in from cold, and odd sense of familiarity.
Sense of entering story "in media res." The Doctor is already involved in an adventure. Rose blunders into it. We see "The Dcotor" from the outside. "The Doctor" is portrayed as mysterious and Other. Ecclestone is very Bakerish, going from impishness to occassional moments of seroiusness. (Not enough of the latter, I felt, maybe too much sense that he (the Doctor) ) was treated what was going on as a game.) I loved the way he seemed to have contempt for these stupid humans, except that he was risking his life to save them. Maybe too frenetic, too much rushing between scenes, not enough pausing to take in the atmosphere.
Rose very believable as a character. Felt to me a bit "like something out of Eastenders", but that's probably good short hand for "ordinary mortal." No attempt to make her an old school "screaming girl menaced by baddies", of course, but still very recognisable as a Who companion.
Had some doubt about re-design of TARDIS interior, although the set itself was very impressive.
Like the fact that the Doctor was "an alien" with no backstory. Liked the conspiracy theorist hunting him on the net. Liked all the London landmarks. Me and Nick laughed out loud at the London Eye gag.
Thought the CGI looked a little phony; and had a tendency to make the aliens look like cartoon characters. When one of the Autons "morphs" its plastic hand into an axe to attack the Doctor with, I thought of Bugs Bunny.
Opening sequence and theme music very dynamic. As one final nod of the head to nostalgia junkies, the announcer made innane comments over the clsoing credits, so we couldn't hear the new theme tune.
Paul McGann was a character who was definitely the Doctor in something which definitely wasn't Doctor Who. Chris Eccleston is a character who is probably the Doctor in something which is definitely Doctor Who.
Again again. Again again. Again, again.
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