“Emociones vocales del futuro” is a project by VocaalLab, the Netherlands based international workspace for avant-garde vocal music; collaborating with the Teatro Real and the CMDC with an international group of exciting young singers, this unusual workshop concluded with a set of performances in the Sala Gayarre at the top of Madrid's Teatro Real.
More than just a musical anthology of contemporary vocal music showcasing new talent, “Emociones vocales del futuro” is a strong piece of performance art which stands alone. With modern classics such as Schönberg's “Der buch der Hängenden gärten” and Kagel's “Turm zu Babel”, a libretto translated from a Biblical fragment into various languages, performed in: English, French, Dutch, Greek and Hebrew; but also includes the work of contemporary composers such as Hungary's György Kurtág and the Spanish Álvaro Martínez León, performed in conjunction with movement, creative staging and intense expression.
The first act sets the scene for a party: the singers sport champagne glasses and elegant attire with the concert piano as the social hub. The performance leads you in slowly to the familiar grounds of traditional opera staging, where motion is generic and limited to embraces and dramatic strolls across the stage; but the dynamic evolves as random movements become prevalent and choreographed sign language flows into a sexual and maddened frenzy. Traditional vocal techniques expand using motion of the body with a conscious ability to enhance and constrict sound to push the limitations of the human voice further. The singers display their versatile talent with acrobatic contortions and sensual motion; a departure from the traditional statuesque poses taken up by most classical singers, exampled by the multi-talented Laura Bohn who belts out Schönberg with a great virtuosity, before crawling up the wall like an inverted arachnid. The act climaxes as the singers propel the grand piano across the floor into the doorway behind the stage, swinging and climbing from it with bacchanal intoxication.
A mental institution stages the next act, allowing absolute free reign in the anything goes territory. Vocal experimentation goes beyond standard singing to explore the uncharted art form breathing, clicking and throat singing. Motion still dominates as spanish soprano Carolina Barca gives a breathtaking rendition of Luciano Berio's Sequenza III, with the voice amplified, distorted and controlled using the cupping of the hands and the positions of the body in fluid movements projecting madness. Frantic insanity is coupled later with the short, post-modern brevity of the Hungarian piece “Tandoori-leider” composed by Kurtág and with a passionate performance by Bolivian lyric-soprano, Sara Sabag, accompanied by a haunting lone violin. “Le voisin d'en face” by Spanish composer Álvaro Martínez León closes the performance as a complete departure from classical singing, as an exploration of breathing and moans in the context of music, exploding like orgy in an asylum, going above and beyond the usual vocal expectations and cutting all boundaries and performed a cappella.
Individual pieces from various composers in several languages linked together by effective staging, with an excellent range and talent of singers who not only give a stunning vocal rendition but also breathtaking choreography and raw expression makes “Emociones vocales del futuro” a unique show. At times, some things appear gratuitous, which is a common pitfall in art with an edge, fortunately while some of the choreography seemed random, the majority was not without meaning. As with all avant-garde work, this project is an acquired taste and best suited to those seeking an experience which lingers on the fringes of modernity and convention. “Emociones vocales del futuro” is not an opera nor a recital, but a multimedia of art forms.
Friday, 25 June 2010
Wednesday, 13 January 2010
Opera - Der fliegende Holländer by Richard Wagner
Wagner is back at the Teatro Real with “The Flying Dutchman” or thats “Der fliegende Holländer” in German to you. One of his shorter operas in comparison to the usual five hours I've sat through whenever I've gone to a Wagner opera.
Full of Romantic, 19th century ideals, “The Flying Dutchman” tells the story of a cursed sea-captain doomed to sail the seas for eternity; every seven years he gets a day off when set foot on land, so like every horn-dog sailor he searches for a woman. But the Dutchman is no randy seaman as he he searching for a good wife who will be faithful to him till “death do us apart”, through her loyalty he'll find salvation.
With movie-like titles projected onto the curtain announcing that the opera “Der fliegende Holländer” by Richard Wagner is about to start, the music resonates throughout the auditorium. The opera opens with Act I, set in the North Sea off the coast of Norway. A projection of waves are seen in the background, and the stage is set to look like a modern day Nordic fishing boat – at the moment the setting is simple but effective. Daland, the ships captain, goes off for a nap leaving his helmsman in charge of keeping watch. The tenor, Vincente Ombuena, sings the song of the helmsman which is passionate and lyrical dedicated to his beloved back at home, it is full of nostalgia and longing. The helmsman is not a very good watchman as he falls asleep pretty quickly on duty. While he slumbers a large ship is projected moving into the background to obscure the wave, effective and dramatic effect which moves in time to the music. The large white letters on a rust background fade into view with the words “HOLLANDER” on it, a little bit tacky since it just means “Dutchman” in German, however most people wont know this so this is a forgivable mistake.
Our Dutchman comes on the scene, oddly staged on the platform below despite the little ship being raised above - his ship is supposed to be bigger and therefore wouldn't he be above? Danish baritone Johan Reuter laments his story of damnation to moving lyric of Wagner's music with a strong voice and subtle charisma fitting of this tormented hero. His yearns are convincing and we empathise with his instantly with his woes.
Daland (Hans-Peter König) finds the watchman doing his job; but that's the least of his worries when he sees a great big boat parked right next to him. Daland calls to the alien ship, and its captain reveals himself to be a Dutchman. He makes his big entrance down a rusty plank (again oddly staged since before we saw him down below) and reveals to Daland that he is loaded with precious jewels and gemstones. The Dutchman wastes no time in asking the captain if he has an unmarried daughter, and by the convenience of fiction and drama he: a beautiful, young and single daughter. Daland is a bit struck for cash and agrees that his daughter to be married off to the pale foreigner with the big rusty boat for a packet of gems. The Dutchman is excited at not only about finally getting a woman after years going insane at sea - but more importantly for the loyal wife who would break his curse.
Act II opens with a chorus of women in a fish factory, and a very dreamy looking Senta walks around carrying a little boat with red sails. She is soon joined by Mary, who in this production plays some kind of manager of the factory and suffers an identity crisis of being a young woman who wants to dress like a frumpy matron with terrible clothes and good make up, although German Mezzo-Soprano Nadine Weissman plays the role convincingly considering what she was allowed to work with, but at least her fabulous voice was allowed to shine through.
Senta tells her and the other women about the legend of the Flying Dutchman – this man damned to sail the seas in an eternity in boredom and despair. She naively wishes it to be her destiny to become his loyal wife and salvation – I guess she'll be happy at what Daddy is bringing her home then. German Soprano Anja Kampe sings the ballad with Leitmotiv beautifully and with great clarity, but the attention to her remarkable voice is distracted by a small object moving up on the wires. Even sitting in the 3rd row down in front I had trouble trying to discern what this object was... soon I realised it was a tiny toy boat, and I experienced deja vu back to the Stonehenge scene in This is Spinal Tap – having a spoof heavy metal go off in my brain while I tried to concentrate on Wagner was rather distracting.
Senta's ex Eric (Stephen Gould) over hears her passionate desires and is upset; he tells Senta of his dream that her father came back with a stranger from the sea for her to marry - he should get himself a tent and a crystal ball and charge people money with insightful talent like that. Surprise, surprise – Daland comes home with a new gift for Senta, a brand new husband who she doesn't know, fortunately it's love at first sight between the two. There is little acting or physical interaction between Senta and the Dutchman, but there is chemistry between them which electrifies the air. The look they give each other is genuine, but understated. A curiosity, an interest and a cautiousness between these two strangers. The execution between the two singers is excellent, it is subtle and effective – so why did the director place two extras in the background making out when he had such a talented cast to work with I don't know. I guess he wanted to home in the point they were falling in love, but the effect was cheap. The duet between the Dutchman and Senta is sublime, with the passionate and erotic charge you only get from Wagner's music.
Act III. At this point the director drives me crazy. The curtain is down and the letters ACT III are projected the same as the past two acts, which is fine and clean, but having a random cyclist go across stage shortly followed by a gratuitous Labrador then followed by a group of girls who run after a guy stripping his clothes off; all so contrived and ill fitting to the music. It played no part in the plot or symbolism or music - just pure gimmickry. Also during the storm, already effectively executed by the wonderful chorus, the director sticks random naked women spazzing out behind glass windows in the background, for no reasons other than shock factor. I am not a prude. I do not mind nudity on stage, but if things are just shocking for no reason I find this a show of poor directing, trying to be “avant-guard” for the sake of it. The ending too is poorly staged when you see the Dutchman walk off stage via the rocks, followed by Senta declaring to save him and jumps off the rocks in the same direction – does she jump onto the boat or does she kill herself? It's left too dubious and makes me wonder if the director got confused thinking he was directing Tosca.
Overall musically the show is wonderful, the cast is intensely good and one of the very few productions I have seen where the entire cast is strong, the chorus too did a fantastic job. The music, conducted by Jesús López Cobos is also flawless and raw with emotion, sensuality and drama. Musically this is one of the best productions I have seen in a long time.
The staging – as you may have guessed – annoyed me. It is not the worst production I have seen. The general staging, not including the irrelevant and annoying gimmicks was OK, but just Ok The singers were not made to act, and it was evident that they could. The setting was bland and executed mediocre at best. This is a fascinating story and a lot could be done to bring it out, but it's a sign of poor directing when the only way to follow the show is by keeping up with the subtitles. A pity as I like being able to follow the narrative from the stage and not just from skimming the libretto; the gimmicks just added insult to injury.
Overall I do highly recommend this production – if only for the talented cast and the wonderful music. I thoroughly enjoyed the two and a half hours of this production, but there is no interval so don't drink too much before going in. Definitely a must to check out if you are a Wagner fan or even new to Wagner as this is a nice introduction to the maestro.
Dates:14,15,17,19,20,22,23,24,26,27,28 of January
Location: Teatro Real, Plaza Oriente
Transport:Metro line 5,line 2, R (Opera) or line 1, line 3(Sol)
Prices:Without discount (16€-151€) ages 26 or under at last minute tickets get 90% off!
Tuesday, 5 January 2010
A taste of Jerez
C/ Echegaray lies, hidden, in the backstreets close to Sol. This quiet and almost desolate street in the district of Huertas is the quiet, humble neighbour to the popular and ever-bustling C/ Principe. The innocent lost tourist may stumble into the street by mistake, but would backtrack thinking they had entered the neighbourhood of the dead and dodgy. What is not apparent to the naive glances of lost tourists is that this sleepy central calle houses - in my opinion - one of the best bars in Madrid: La Venencia, a bar dedicated entirely to sherry. If you dislike this Andalucian fortified wine then I advise you to stop reading right now, but lovers of Jerez pay close attention. La Venencia specialises showcasing different types of sherry, also serving tapas at low prices, specially selected to compliments the delicate notes of this aperitif.
The bar looks unchanged by time, a time capsule preserved from 50 years back. Antique posters, yellowed by decades of cigarette smoke, line the bar and advertise their mascot drink. The walls flake in decaying charm and the bar itself is laden with barrels and old dusty glass bottles. To accompany the old, quaint character of the place - photos are explicitly forbidden! Many times I have been berated for taking photos; their philosophy to escape the tourist trap. Inconvenient when one wants to preserve memories of laughter and drink, it does add to the atmosphere of the place. Tips are also verboten, and are greeted with a frown and the money forcefully returned back to you. In Spain tips are not generally welcome and are even considered insulting in some places. After 3 years of living here I still haven't grasped the etiquette of the tipping procedure.
La Venencia serves 5 types of sherry: Manzanilla, Fino, Oloroso, Amontillado and Palo Cortado. These can be bought by the glass, the bottle and half bottle. This gives you the perfect opportunity to try out the full spectrum of sherry available. Manzanilla and Fino are dry sherries, coloured a light gold and probably the best for the starting novice or if you are partial very dry white wine. The stronger brands of sherries are the Oloroso and Amontillado which approach a brandy in strength and viscosity. Palo Cortado is an acquired taste - it is very strong and aromatic and undoubtedly my personal favourite of all the sherries offered in La Venencia.
The range of tapas include the complimentary campo real olives - green, juicy gems which burst with sweetness and savoury flavour. Other tapas can be brought for as little as 1euro for small tapa to 5euros for a big racion, which includes cheeses, cecina - a cured beef ham, mojama - a cured tuna ham, salchichon, chorizo and others. This place not only maintains an authentic, non-touristic philosophy, but also retains local and good prices. Highly recommended if you are looking for something authentic and cheap.
The bar looks unchanged by time, a time capsule preserved from 50 years back. Antique posters, yellowed by decades of cigarette smoke, line the bar and advertise their mascot drink. The walls flake in decaying charm and the bar itself is laden with barrels and old dusty glass bottles. To accompany the old, quaint character of the place - photos are explicitly forbidden! Many times I have been berated for taking photos; their philosophy to escape the tourist trap. Inconvenient when one wants to preserve memories of laughter and drink, it does add to the atmosphere of the place. Tips are also verboten, and are greeted with a frown and the money forcefully returned back to you. In Spain tips are not generally welcome and are even considered insulting in some places. After 3 years of living here I still haven't grasped the etiquette of the tipping procedure.
La Venencia serves 5 types of sherry: Manzanilla, Fino, Oloroso, Amontillado and Palo Cortado. These can be bought by the glass, the bottle and half bottle. This gives you the perfect opportunity to try out the full spectrum of sherry available. Manzanilla and Fino are dry sherries, coloured a light gold and probably the best for the starting novice or if you are partial very dry white wine. The stronger brands of sherries are the Oloroso and Amontillado which approach a brandy in strength and viscosity. Palo Cortado is an acquired taste - it is very strong and aromatic and undoubtedly my personal favourite of all the sherries offered in La Venencia.
The range of tapas include the complimentary campo real olives - green, juicy gems which burst with sweetness and savoury flavour. Other tapas can be brought for as little as 1euro for small tapa to 5euros for a big racion, which includes cheeses, cecina - a cured beef ham, mojama - a cured tuna ham, salchichon, chorizo and others. This place not only maintains an authentic, non-touristic philosophy, but also retains local and good prices. Highly recommended if you are looking for something authentic and cheap.
Monday, 19 October 2009
Theatre Review - Poe
This year marks the 200th anniversary of Edgar Allen Poe's birth, and what a better way to pave the way for Halloween then to dedicate a play to his best works. The Madrid Players are an English language amateur theatrical group based in Madrid, and will be paying tribute to this master of the Gothic and the Macabre in the small theatre the Teatro Liberarte.
The theatre is located in the back streets just behind Bravo Murillo close to Valdeacederas/Plaza Castilla. Walking there feels like going into the middle of no where as this part of Madrid is quiet and residential, with not much life in its streets. Suddenly, upon turning into the street Francisca Conde, suddenly there is an overflow of people coming out of the theatre.
The theatre itself is charming. It is very small, the lobby is covered but the garage door hoisted up makes it exposed to the street. There is a small bar, and a small ticket office. The lobby is decorated with quirky antiques, paintings and antiques, giving it a Gothic feel to the place. Even the bathroom is decorated as if they had called in Tim Burton as the internal designer. The theatre performance hall itself is hidden behind a door covered by a heavy velvet curtain. It is a nice size, not too small or big, comfy velvet lined seats and also consistent with the theatrical Gothic decoration with its grand chandelier and it's own Raven perched on one of the shelves. I caught myself wondering many times if the theatre had been decorated for the show especially, but the details were so meticulous, that is seemed unrealistic to assume such a tiny theatre would put an effort into the decoration for one show.
The show opened with the room blackening out and having Lou Reed blasted into the room, however it was unfortunate that the sound system left a lot to be desired, however this was a small theatre and an amateur production so I tried to lower my expectations. The mood became eerier as the players entered and creating an asylum on stage. This first act was creatively done. The gruesome characters of insane asylum recited their individual stories from the poetry and tales of Edgar Allen Poe, including The Tell-Tale Heart and Berenice. This was a very effective way to tell the short stories and poetry of Poe. It was eerie, sinister and atmospheric, an effective way of using Poe's work. The acting was very good and I forgot this was an amateur production.
The part of the second act which stood out was when there were two tramps telling the two stories simultaneously of The Black Cat and Never Bet the Devil Your Head. Again some very effective staging to use Poe's work.
After the interval the show continued with a recital of Poe's A Predicament. You see a headless woman to one side and the head sitting on a table narrating the story, one of Poe's short story which was about a woman who loses her head after putting it through the aperture of a giant clock in a church tower. Very funny and gruesome and well done. This was then followed by The Fall of the House of Usher which was the highlight of the whole production. The actor playing Roderick Usher was superb and perfect for the role. The scene was done traditionally and gave a real creepy atmosphere to the production. The play was then concluded with a recital of The Raven one of Poe's most famous works. All in all a wonderfully delightful play full of atmosphere, music and even humour. I was very impressed both by the Madrid Players and the Teatro Liberarte. I shall definitely be going to both again in the future that is certain.
Poe is running in the Teatro Liberarte, C/Francisca Conde 7, Metro:Valdecederas (L1), Ventilla (L9).
Dates: 22nd, 23rd, 24th, 25th October, 21:00 Weekdays and Saturday, 20:00 Sundays.
Price: 12euros on the door or 8euros if you book in advance via http://www.atrapalo.com.
The theatre is located in the back streets just behind Bravo Murillo close to Valdeacederas/Plaza Castilla. Walking there feels like going into the middle of no where as this part of Madrid is quiet and residential, with not much life in its streets. Suddenly, upon turning into the street Francisca Conde, suddenly there is an overflow of people coming out of the theatre.
The theatre itself is charming. It is very small, the lobby is covered but the garage door hoisted up makes it exposed to the street. There is a small bar, and a small ticket office. The lobby is decorated with quirky antiques, paintings and antiques, giving it a Gothic feel to the place. Even the bathroom is decorated as if they had called in Tim Burton as the internal designer. The theatre performance hall itself is hidden behind a door covered by a heavy velvet curtain. It is a nice size, not too small or big, comfy velvet lined seats and also consistent with the theatrical Gothic decoration with its grand chandelier and it's own Raven perched on one of the shelves. I caught myself wondering many times if the theatre had been decorated for the show especially, but the details were so meticulous, that is seemed unrealistic to assume such a tiny theatre would put an effort into the decoration for one show.
The show opened with the room blackening out and having Lou Reed blasted into the room, however it was unfortunate that the sound system left a lot to be desired, however this was a small theatre and an amateur production so I tried to lower my expectations. The mood became eerier as the players entered and creating an asylum on stage. This first act was creatively done. The gruesome characters of insane asylum recited their individual stories from the poetry and tales of Edgar Allen Poe, including The Tell-Tale Heart and Berenice. This was a very effective way to tell the short stories and poetry of Poe. It was eerie, sinister and atmospheric, an effective way of using Poe's work. The acting was very good and I forgot this was an amateur production.
The part of the second act which stood out was when there were two tramps telling the two stories simultaneously of The Black Cat and Never Bet the Devil Your Head. Again some very effective staging to use Poe's work.
After the interval the show continued with a recital of Poe's A Predicament. You see a headless woman to one side and the head sitting on a table narrating the story, one of Poe's short story which was about a woman who loses her head after putting it through the aperture of a giant clock in a church tower. Very funny and gruesome and well done. This was then followed by The Fall of the House of Usher which was the highlight of the whole production. The actor playing Roderick Usher was superb and perfect for the role. The scene was done traditionally and gave a real creepy atmosphere to the production. The play was then concluded with a recital of The Raven one of Poe's most famous works. All in all a wonderfully delightful play full of atmosphere, music and even humour. I was very impressed both by the Madrid Players and the Teatro Liberarte. I shall definitely be going to both again in the future that is certain.
Poe is running in the Teatro Liberarte, C/Francisca Conde 7, Metro:Valdecederas (L1), Ventilla (L9).
Dates: 22nd, 23rd, 24th, 25th October, 21:00 Weekdays and Saturday, 20:00 Sundays.
Price: 12euros on the door or 8euros if you book in advance via http://www.atrapalo.com.
Sunday, 18 October 2009
Una Noche Andalúz en Madrid
Flamenco is an art-form traditionally associated with the gypsies of Andalucia. To find good Flamenco in Spain one would look to the back streets of the Barrío de Santa Crúz in Sevilla or the caves of Granada. However fortunately, Madrid being both the geographical and cultural centre of Spain, one can find every tradition and Spanish art-form from different regions here, the art of Flamenco no exception.
Flamenco can be found in "tablaos", classy nightclubs where one can reserve a table, enjoy drinks and tapas and watch a show of Flamenco. At the end of Plaza España, is the charming little Flamenco nightclub calle "Las Tablas". This classy place does live Flamenco shows every night, from music to dance. Las Tablas is a small venue with a limited number of tables giving the place an intimate atmosphere. With everything directed perfectly towards the stage makes for comfortable viewing of any show there. The experience is intense, intimate and cosy. It allows the audience to really feel the passion and the sensuality of flamenco. Las Tablas also offers a good wine selection, along with popular bar drinks and has an excellent tapas menu, giving you the opportunity to feel Spain with all the senses.
For more information on the program and details of Las Tablas go to www.lastablasmadrid.com
Tuesday, 13 October 2009
Opera - Lulu by Alban Berg
Lulu kicks off the Teatro Real's season which looks at the theme of female protagonists. Composed in 1935 by Alban Berg, Lulu was an unfinished opera, as the composer died before he had the chance to finish it. The first two acts were all that remained of the score, and was premiered in 1937 unfinished in Zurich. Following Berg's death, the vocal score completing Act III was written by Erwin Stein, with the orchestration by Arnold Schoenberg at the request of Berg's widow. The completed opera was finally premiered in Paris in 1979.
Based on the plays “Pandora's Box” (as is the famous silent film of the same name starring Louise Brookes) and “Earth Spirit”, Lulu is the tale of a fallen woman who becomes a victim of her circumstances due to the projection and desires of the men who surround her life. Tragedy befalls her as her first two husbands die, the first of a heart attack and the second of suicide – both linked to Lulu's countless admirers and infidelity. Her third husband tries to make Lulu kill herself with a revolver but she shoots him instead and is sent to prison. Lulu manages to escape from prison by her admirers and escapes across the border to France. As a fugitive she is blackmailed in Paris for 20,000 marks or she will be denounced or sent to a Cairo brothel. She flees Paris to end up in London as a prostitute and falls into the hands of Jack the Ripper and is brutally murdered.
Lulu, even as a story is very intense and uncomfortable. It is a story which follows a downward spiral of continuous tragedy. This accompanied by the twelve-tone score of Alban Berg results in an opera which draws on the emotions with such intensity that one watching and listening to this piece can feel every single muscle tense up in the body. This opera is exhausting - the music is exhausting and the story is uncomfortable. This production in the Teatro Real uses a minimalist setting which puts an extra edge to the discomfort this opera makes you feel. It is not an opera for the feint hearted. The night I went to see it the opera house became half empty by the end of the second act, and a significant amount of people had gone by the first. My reaction and that of my friend's after the first act was “we need a drink”. We felt nervously exhausted and tensed up from the drama and music of the first act. However the story was so compelling that we stayed for the full opera.
The cast was excellent. The Soprano who played Lulu and the Mezzo-Soprano as the Countess Geschwitz were both excellent. Nice voices and strong. I can't imagine how difficult this opera must be to perform, with the difficult and unusual modern twelve-tone score and all the drama and acting required for the roles. Considering these factors the cast made it seem effortless, their voices cut through the orchestra clearly, they maintained a good amount of energy both in singing and in acting. Musically and dramatically the show was outstanding.
The production is very good. However this is not an opera one can enjoy easily like a Mozart or Rossini piece. This one takes all the emotions and shoves it in a blender, leaving you an emotionally exhausted wreck. As a piece of art it is fantastic and avant-garde and does what it intends to do – bring the emotions, the pain, the tragedy to the viewer. Worth a one time viewing, but this is not light entertainment.
Dates:14,16 of October
Location: Teatro Real, Plaza Oriente
Transport:Metro line 5,line 2, R (Opera) or line 1, line 3(Sol)
Prices:Without discount (16€-151€) ages 26 or under at last minute tickets get 90% off!
Sunday, 19 October 2008
Exhibition: ¡1914! Avant-Garde and the Great War (Part 1)
In Madrid the big temporary exhibition going on at the moment is ¡1914! Avant-Garde and the Great War exhibit held in two parts in the Thyssen-Bornemisza gallery and the Fundación Caja Madrid. Yesterday I decided to check out the part of the exhibit held in the Fundación Caja Madrid. The main advantage for doing this exhibit first in this centre was because it was free so my friends and I could see if it was something which interested us.
The Fundación Caja Madrid is located near Sol and it a very nicely laid out gallery. Lots of open spaces and very elegant. It consists of a grand hall which is on two levels, and some back rooms.
This part of the exhibition deals with the themes:
-Apocalypse of our time
-Artist and Soldier
-Cubism in the Trenches
-The Stigma of Damnation
-C'est la Guerre!
It is a rather intense exhibition and can make one rather uncomfortable. Which I suppose means it is indeed good art because its initial aim is to shock and make a strong statement. With dramatic and impressionable art from George Grosz, Ernst Ludwig Kirchner and Wilhelm Lembruck this is an exhibit worth going to. However it is something that will un-nerve you and I know in my case it was not an exhibition I felt comfortable lingering on. I very much enjoyed seeing the works of George Grosz who this exhibition has made me realise is probably an artist that could go up there with my favourites. His Metropolis is one of the key stars of the exhibit along with Kirchner's Artillerymen. Thought provoking, powerful and impressionable. It is an exhibit which really captured the atmosphere of horror and intensity of the first World War.
Dates: 07/10/08-11/01/09
Location: Fundación Caja Madrid; Plaza San Martín 1
Transport: Metro: line 1,2,3,(Sol), line 2,5(Opera) line 3,5(Callao),
Buses: 1,2,3,5,15,25,29,44,50,51,53,146,148 and 150
Hours: Tue-Sun (10am-8pm), closed Mon.
Price: Free
The Fundación Caja Madrid is located near Sol and it a very nicely laid out gallery. Lots of open spaces and very elegant. It consists of a grand hall which is on two levels, and some back rooms.
This part of the exhibition deals with the themes:
-Apocalypse of our time
-Artist and Soldier
-Cubism in the Trenches
-The Stigma of Damnation
-C'est la Guerre!
It is a rather intense exhibition and can make one rather uncomfortable. Which I suppose means it is indeed good art because its initial aim is to shock and make a strong statement. With dramatic and impressionable art from George Grosz, Ernst Ludwig Kirchner and Wilhelm Lembruck this is an exhibit worth going to. However it is something that will un-nerve you and I know in my case it was not an exhibition I felt comfortable lingering on. I very much enjoyed seeing the works of George Grosz who this exhibition has made me realise is probably an artist that could go up there with my favourites. His Metropolis is one of the key stars of the exhibit along with Kirchner's Artillerymen. Thought provoking, powerful and impressionable. It is an exhibit which really captured the atmosphere of horror and intensity of the first World War.
Dates: 07/10/08-11/01/09
Location: Fundación Caja Madrid; Plaza San Martín 1
Transport: Metro: line 1,2,3,(Sol), line 2,5(Opera) line 3,5(Callao),
Buses: 1,2,3,5,15,25,29,44,50,51,53,146,148 and 150
Hours: Tue-Sun (10am-8pm), closed Mon.
Price: Free
Wednesday, 8 October 2008
Opera: Un Ballo in Maschera - Guiseppe Verdi
Before I launch into a review on this opera I want to point out something very useful to those aged 26 and under. The Teatro Real Opera house has a special offer for that age group regarding last minute tickets. From 6.30pm (or 4.30pm on Sundays) on the evening of the show they start to sell last minute tickets at 90% discount!! So you can get the best seats in the house at a mere 15€! All you need to do is bring ID with you and it is a good idea to check how many tickets are still available on the webpage and get there around 5.30-6 to queue.
I went into Un Ballo in Maschera completely ignorant about this opera except for the fact it was by Verdi. It is the first opera of the season and I am going to try to motivate myself to go to all or nearly of the operas on in the Teatro Real this season, especially as I am fortunate enough to be applicable for the last minute discount.
The story is standard opera - love triangles, plotting, death, passionate declarations of love etc. All very Verdi. It is set in Boston (I believe originally the setting was 18th Century but the production was done in the 19th century).
The opera opens with a very simple set, almost minimalistic with just lush fabric and paintings as backdrop amidst a fancy chorus of men in period dress. The music is full, intense and wonderfully sung. It immediately throws you into the opera which has a style bordering on Opera Comique style. The tenor playing Count Riccardo is singing amazingly well from the start, bold, clear and full of emotion. The baritone cast as Renato is a little bit quiet and overshadowed by the tenor accompanying him on stage but he really comes into full force as the opera continues and significantly improves.
The next scene is designed almost modernist style with an industrial style fence and wiring that looks almost like a modern, urban scene yet filled with people in period clothing. This is the den of the witch Ulrica, whom the Count goes to see in disguise. He sees his beloved Amelia - wife to his best friend and secretary Renato, declare her love for him to the witch here. The scene is accompanied with other predictions of the count's death and the good fortune of other men. This scene is very animated and goes through a roller-coaster of emotions from happiness to melancholie to high tension. The mezzo -soprano who plays the witch steals the scene most definitely here and has a great stage presence.
We pause for 20 minutes and resume with an act which is almost as long as the interval, but seeing the spectacularly constructed set of a ruined fort filled with rubble and almost realistic I can see why the need for an interval was required. This scene pulls together the rest of the opera. The lovers meet in secret and declare their love in a passionate and beautiful duet, the plot to kill the count thickens, and Renato discovers his wife's infidelity to the count and turns on him. This scene is executed with tension as well as some comic relief from the chorus with their lyrical laughing.
The final act opens with a very simple set of a study where the plot to kill the count is being planned. Renato and his conspirators discuss the plan for the murder which is over heard by Amelia, and she is forced to chose the name from the urn as to who will kill him. This scene out of the others comes across as the most bland, as it does not have the air of dramaticsim that the others have, but it builds up to a feeling of strong tension and release in an instant.
The act continues with a beautiful aria from the tenor in a hall of mirrors which reflects the whole opera house back at you. This was executed flawlessly by the tenor that even got a huge rise out of the audience when he finished.
The mirror tilts to reveal the lower galleries and gives you the illusion that you are in a manor house where the ball is taken place. The stage is filled with the chorus dressed in fine gowns and masks. It is a visual and aural feast on the viewer as the reflection to the lower gallery to dancers and musicians is distracting from the rest of the acts on the stage and you don't know where to look! The opera reaches its intense climax which is the death of the count. Verdi certainly has a very good way of expressing drama and tension in his music and he certainly manages this in this final scene. Although the count trying to rise as if he was OK made me think of Violetta's death scene in La Traviata a bit as well as Monty Python's "I'm getting better!" but I think this is a personal amusement to me.
Un ballo in Maschera was definitely a visually stunning and entertaining opera to watch. The singers were good, and some were exceptional. Definitely very entertaining and worth going to see if you can. However it was not the most memorable opera production I have seen but this may have to do with my personal musical preferences and having been spoilt by seeing Les Arts Florissants production of L'Orfeo the last time I went to the opera. Un Ballo in Maschera is not an opera where you will go away humming the aria to yourself, and for the opera virgin it is not the one I would recommend first. But saying that it is a good show and if you have a love for Verdi or Opera Comique style opera, or general dramaticism then do go along and check it out.
Dates:9,10,12,13,15,16,18,19 of October
Location: Teatro Real, Plaza Oriente
Transport:Metro line 5,line 2, R (Opera) or line 1, line 3(Sol)
Prices:Without discount (16€-151€) ages 26 or under at last minute tickets get 90% off!
I went into Un Ballo in Maschera completely ignorant about this opera except for the fact it was by Verdi. It is the first opera of the season and I am going to try to motivate myself to go to all or nearly of the operas on in the Teatro Real this season, especially as I am fortunate enough to be applicable for the last minute discount.
The story is standard opera - love triangles, plotting, death, passionate declarations of love etc. All very Verdi. It is set in Boston (I believe originally the setting was 18th Century but the production was done in the 19th century).
The opera opens with a very simple set, almost minimalistic with just lush fabric and paintings as backdrop amidst a fancy chorus of men in period dress. The music is full, intense and wonderfully sung. It immediately throws you into the opera which has a style bordering on Opera Comique style. The tenor playing Count Riccardo is singing amazingly well from the start, bold, clear and full of emotion. The baritone cast as Renato is a little bit quiet and overshadowed by the tenor accompanying him on stage but he really comes into full force as the opera continues and significantly improves.
The next scene is designed almost modernist style with an industrial style fence and wiring that looks almost like a modern, urban scene yet filled with people in period clothing. This is the den of the witch Ulrica, whom the Count goes to see in disguise. He sees his beloved Amelia - wife to his best friend and secretary Renato, declare her love for him to the witch here. The scene is accompanied with other predictions of the count's death and the good fortune of other men. This scene is very animated and goes through a roller-coaster of emotions from happiness to melancholie to high tension. The mezzo -soprano who plays the witch steals the scene most definitely here and has a great stage presence.
We pause for 20 minutes and resume with an act which is almost as long as the interval, but seeing the spectacularly constructed set of a ruined fort filled with rubble and almost realistic I can see why the need for an interval was required. This scene pulls together the rest of the opera. The lovers meet in secret and declare their love in a passionate and beautiful duet, the plot to kill the count thickens, and Renato discovers his wife's infidelity to the count and turns on him. This scene is executed with tension as well as some comic relief from the chorus with their lyrical laughing.
The final act opens with a very simple set of a study where the plot to kill the count is being planned. Renato and his conspirators discuss the plan for the murder which is over heard by Amelia, and she is forced to chose the name from the urn as to who will kill him. This scene out of the others comes across as the most bland, as it does not have the air of dramaticsim that the others have, but it builds up to a feeling of strong tension and release in an instant.
The act continues with a beautiful aria from the tenor in a hall of mirrors which reflects the whole opera house back at you. This was executed flawlessly by the tenor that even got a huge rise out of the audience when he finished.
The mirror tilts to reveal the lower galleries and gives you the illusion that you are in a manor house where the ball is taken place. The stage is filled with the chorus dressed in fine gowns and masks. It is a visual and aural feast on the viewer as the reflection to the lower gallery to dancers and musicians is distracting from the rest of the acts on the stage and you don't know where to look! The opera reaches its intense climax which is the death of the count. Verdi certainly has a very good way of expressing drama and tension in his music and he certainly manages this in this final scene. Although the count trying to rise as if he was OK made me think of Violetta's death scene in La Traviata a bit as well as Monty Python's "I'm getting better!" but I think this is a personal amusement to me.
Un ballo in Maschera was definitely a visually stunning and entertaining opera to watch. The singers were good, and some were exceptional. Definitely very entertaining and worth going to see if you can. However it was not the most memorable opera production I have seen but this may have to do with my personal musical preferences and having been spoilt by seeing Les Arts Florissants production of L'Orfeo the last time I went to the opera. Un Ballo in Maschera is not an opera where you will go away humming the aria to yourself, and for the opera virgin it is not the one I would recommend first. But saying that it is a good show and if you have a love for Verdi or Opera Comique style opera, or general dramaticism then do go along and check it out.
Dates:9,10,12,13,15,16,18,19 of October
Location: Teatro Real, Plaza Oriente
Transport:Metro line 5,line 2, R (Opera) or line 1, line 3(Sol)
Prices:Without discount (16€-151€) ages 26 or under at last minute tickets get 90% off!
Sunday, 5 October 2008
Exhibition: Etruscan Princes - Between East and West
Not much is known about the mysterious civilisation of the Etruscans. A civilisation which existed in Italy in pre-Roman times, contemporary with the flourishing Grecian civilisation, yet despite the close proximity to the other Mediterranean cultures the Etruscans were very distinct. The art and style of these people borrowed styles and influences from their neighbours, yet it is this very fusion which makes the art of the Etruscans very unique. An eclectic blend of Archaic Greek which can be seen in the faces of some of the statues or the geometric designs on some of the pots, as well as influences from the Phoenitians and even Persian. Most of the Etruscan artefacts were recovered are from tombs, however the unusual beliefs of the Etruscans regarding death meant that many objects reflecting daily life and comfort were buried along side their owner adding as a window to their daily lives.
In the CaixaForum in Madrid, just along the Paseo del Prado is an exquisite exhibition solely dedicated to the Etruscan civilisation. A rare collection of over 170 Etruscan artefacts from some of the best museums in the world (The Louvre, The archaeological museums in Florence, the Vatican and Rome), detailing different aspects of Etruscan life from life to death to religion to daily life. This exhibition I found to be pretty intense and a minimum of two hours was required to do the whole thing - and I am not one of those people who studies one object for half an hour at a time!
Incredible gold jewellery with such detail you become completely seduced by it! Tiny animals done in such detail and unique style it completely charms you! Fascinating sculptures which have an almost modern avant-garde feel to them as well as a purely archaic feel. The exhibition is very well laid out with a nice and interesting overview of the life in this mysterious civilisation.
A definite must see for anyone who has an interest in the Etruscan civilisation or a passion for Archaeology. It is worth to invest a few hours to get the most out of this exhibition but it is definitely something I felt like I came away like I learned a lot about this interesting and mysterious pre-Roman civilisation. Also from an artistic point of view it is also a very curious experience to see parallels between other cultures even some things which to our society would not look out of place.
Dates: 2/10/08-18/01/09
Location: CaixaForum, Paseo del Prado 36
Transport: Metro - line 1(Atocha), bus 10,14,27,34,45
Hours: Monday - Sunday (9am-8pm)
Price: Free
In the CaixaForum in Madrid, just along the Paseo del Prado is an exquisite exhibition solely dedicated to the Etruscan civilisation. A rare collection of over 170 Etruscan artefacts from some of the best museums in the world (The Louvre, The archaeological museums in Florence, the Vatican and Rome), detailing different aspects of Etruscan life from life to death to religion to daily life. This exhibition I found to be pretty intense and a minimum of two hours was required to do the whole thing - and I am not one of those people who studies one object for half an hour at a time!
Incredible gold jewellery with such detail you become completely seduced by it! Tiny animals done in such detail and unique style it completely charms you! Fascinating sculptures which have an almost modern avant-garde feel to them as well as a purely archaic feel. The exhibition is very well laid out with a nice and interesting overview of the life in this mysterious civilisation.
A definite must see for anyone who has an interest in the Etruscan civilisation or a passion for Archaeology. It is worth to invest a few hours to get the most out of this exhibition but it is definitely something I felt like I came away like I learned a lot about this interesting and mysterious pre-Roman civilisation. Also from an artistic point of view it is also a very curious experience to see parallels between other cultures even some things which to our society would not look out of place.
Dates: 2/10/08-18/01/09
Location: CaixaForum, Paseo del Prado 36
Transport: Metro - line 1(Atocha), bus 10,14,27,34,45
Hours: Monday - Sunday (9am-8pm)
Price: Free
Friday, 3 October 2008
Welcome to Bohemian Madrid
Welcome to the new blog Bohemian Madrid. A new project I am starting up with the aim to highlight activities of culture in Madrid as well as things of hedonism such as interesting bars, clubs, restaurants and unusual experiences to be had in this thriving city! I am hoping to turn this blog into a community where people can post articles and help keep this blog active instead of having one person to do all the work.
Bohemian Madrid sprung out of my previous blog on here (jensmadrid.blogspot.com) where the previous articles on here come from. I want to expand it into something more and maybe make this blog more like an online magazine type of thing for both the Madrid locals and tourists, and anyone who is interested.
To summarise the aim of the articles I would like to have on this site are:
-Reviews of exhibitions, concerts (classical, alternative, jazz etc), operas, theatre
-Highlight up and coming events in the month
-Reviews and anecdotes from interesting bars, unusual clubs
-Articles on alternative lifestyles in Madrid
-Interviews with people of interest
-Show casing art, poetry and literature of Madrid artists
-Articles on places of interest or anecdotes of Madrid experiences
Madrid is a wonderful city bursting with life and art! A European city which is often overlooked in shadow of more famous cities such as Paris, London, Barcelona etc but has just as much to offer.
If you are interested in participating in this project please email us at bohemianmadrid@gmail.com
Bohemian Madrid sprung out of my previous blog on here (jensmadrid.blogspot.com) where the previous articles on here come from. I want to expand it into something more and maybe make this blog more like an online magazine type of thing for both the Madrid locals and tourists, and anyone who is interested.
To summarise the aim of the articles I would like to have on this site are:
-Reviews of exhibitions, concerts (classical, alternative, jazz etc), operas, theatre
-Highlight up and coming events in the month
-Reviews and anecdotes from interesting bars, unusual clubs
-Articles on alternative lifestyles in Madrid
-Interviews with people of interest
-Show casing art, poetry and literature of Madrid artists
-Articles on places of interest or anecdotes of Madrid experiences
Madrid is a wonderful city bursting with life and art! A European city which is often overlooked in shadow of more famous cities such as Paris, London, Barcelona etc but has just as much to offer.
If you are interested in participating in this project please email us at bohemianmadrid@gmail.com
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