2 Chronicles 21:14

Your bloggist is a notorious Billy No-mates, and is therefore as psychologically prepared as anyone for self-isolation. But just to be sure I have put some cultural fuel in the tank to see me through.

Opera: I saw Opera North's excellent new production of Kurt Weill's 'Street Scene'. They have a real flair for musical theatre and for his work in particular. I wish they would revive their production of 'One Touch of Venus'. I also saw OperaUpClose's 'Madam Butterfly'. It was set in modern Japan and the scenery was quite reminiscent of the poor neighbourhood in 'Parasite' if you've seen that. As usual with that company I really enjoyed the small scale and intimacy, but - and it's a big but - they changed the ending. How can you change the ending of Madam Butterfly? I also saw a concert featuring various Baroque works including Purcell's 'The Yorkshire Feast Song', which was apparently commissioned for the annual dinner of the London Society of Yorkshiremen in 1690. Clearly the bastards have been banging on about how wonderful they are for centuries; although now I've written that I don't know why I am in the slightest surprised. Also on the programme was Handel's 'Eternal Source of Light Divine', a setting of the poem by Ambrose Philips. Whilst Philips was no great shakes as a poet, he was the original 'Namby-Pamby'; don't tell me this blog isn't educational.

Theatre: I saw a very fine, very dark version of 'Oliver Twist', by Ramps on the Moon, a company which mixes D/deaf, disabled and able bodied actors in productions which build captioning, sign language and other forms of accessibility right into the fabric of the show (see here for their version of 'The Threepenny Opera' - also, satisfyingly, composed by Weill) . In a way this production was the opposite of colour blind casting, with the actors' deafness being the crucial link that held Fagin's gang together. The Artful Dodger teaching Oliver to sign was as central as teaching him to pick pockets. Bill Sykes is one of the most terrifying characters in literature and drama, and the effect is only heightened by him not speaking. Also up was a really different take on 'Pride and Prejudice' with an all female cast giving us the sweary version that one must assume Jane Austen would have written were it not for all those boring nuances of etiquette in place at the time. I won't write a review (read this one if you're interested),  but it was just brilliant and laugh out loud funny all the way through.

Film: Jane Austen popped up in the cinema as well, with the current take on Emma being well worth watching. I thought that they managed to capture the essence of the characterisations - notably Mr Woodhouse's hypochondria - without reams of exposition. I mentioned it above, but 'Parasite' is obviously rather good, in an Alfred Hitchcock sort of way. Whether it's the best film of the last year or so is less clear. I also caught up with 'Rocketman' and thought it was great. It's fascinating that it and 'Bohemian Rhapsody' tell stories with some similarities of narrative and theme in such different ways.

Let's finish with some music to cheer us up. This is Townes Van Zandt and 'Waiting Around to Die':

I'm working like a Trojan

Although clearly not at writing blog posts. Partly that is because the Seven Years War campaign is not currently happening  - not dead, just sleeping - and also I have been, in a small way, engaged in trying to prove that democracy in this country is likewise merely resting with its eyes closed rather than completely moribund.

Indeed, the only thing that has appeared on here recently is a comment from Iain that 'Arms and the Man' was also set in the Balkans. I haven't seen the play for many years; in fact the more I think about it the more it seems to me that I am confusing it with 'Man and Superman' and that I have probably never seen it at all. Shaw's plays do still get produced these days - I have seen both 'Pygmalion' and 'Saint Joan' in the last couple of years - so let's hope it comes round soon.

There are a couple of tenuous connections (and you know that's the way I like them) between the play and the specific opera concerned (which was 'Idomeneo'), with a second opera as well plus a tiny, tiny bit of wargaming relevance. The phrase 'arms and the man' comes from the opening line of the Aeniad, Virgil's poem in which a member of the Trojan royal family sails off after the fall of the city to follow his fate by indirectly both founding Rome and causing the Punic Wars to take place. In Mozart's opera it is another Trojan, Aeneas' cousin Ilia, daughter of King Priam, who, having been brought back as a captive to Crete by Idomeneo, provides the romantic sub plot and causes Elettra, daughter of Agamemnon,  no end of grief; although as I pointed out previously her family have already done more than enough to tip anyone over the edge.

Kurt Weill wrote an opera called 'Der Kuhhandel'. A literal translation of that is 'cattle trading', but a more idiomatic one might be 'horse trading', e.g. of the kind that politicians are prone to. Anyway, the plot about arms dealing actually does prominently feature a cow. Its original English title was 'A Kingdom for a Cow', which is, of course, a Shakespearean allusion. Opera North performed it some years ago, but changed the title to 'Arms and the Cow', a Shavian reference which rather nicely sums up what the work is all about. At the time I rather annoyed my ex-wife by going on at length about how accurate was its depiction of the world of weapon sales based on my own experiences of the same; but let's face it, if I hadn't been that which irritated her then it would have been something else.

Enough of that, let's have Dido's Lament:

Poulenc

I have decided that I don't much care for Poulenc as an opera composer. I saw La Voix Humaine last night and didn't enjoy it any more than I had the previous time that Opera North did it. I thought that this staging was better and I had no complaints about Lesley Garrett's performance although I believe that some reviews have been decidedly lukewarm. I think it's more about Poulenc's choice of subject. Even by the standards of the genre he seems to have a rather unhealthy obsession with women's death. Have you ever seen The Carmelites? Grim.

For younger readers, this is a telephone

Dido and Aeneas was much better. The staging carried through some visual themes from the Poulenc (mostly women in negligees, but also green dressing gowns and red dresses) but, let's face it, the music is better and you get the singing of the chorus. It seemed to me (and feel free to correct me if I've got it wrong) that the sorceress and the witches (augmented by some dancers) were meant to be Dido's own subconscious. Thankfully they kept largely out of the way while she lamented and it all ended badly as a good opera should.

Dido is seated on the left

There is a very slight wargaming connection today. Aeneas was fleeing the Trojan War and is referred to by the libretto as a sailor. I'm afraid that's it.