Memo from London: Making Music with Christine Andreas & Martin Silvestri

 

Edith Piaf Photo - 01                   Christine - 01

Edith Piaf (1915 – 1963) was born in the 20th arrondissement of Paris.

Christine Andreas (it’s not polite to share a lady’s age when she’s still with us) was born in Camden, New Jersey.

Last week, at the legendary Angel Recording Studios in the Islington section of London, these two phenomenal women converged as Andreas recorded fourteen of Piaf’s most famous songs. Because of our longstanding friendship with Christine and her multi-talented husband, composer-arranger-musical director Martin Silvestri, AAC CPA and I were invited to attend the recording sessions.

We were literally seeing art created before our very eyes.

This recording follows the premiere of Christine’s sensational Piaf No Regrets, her 90-minute show performed at New York’s 54 Below last summer. She recalls “I wanted to present her to newer generations, while reminding older generations of the humanity in her. She came from nothing, she was just singing songs about the working class, as any good anti-bourgeoisie singer would do, she was a punk rocker. Someone called her Patti Smith with a French accent.”

With Marty as her musical director and arranger at the keyboard (and, occasionally, on the accordion), this initial engagement played for only four sold-out performances. However, the response caused such an uproar that she was immediately signed by Columbia Artists and plans are now underway for a national tour of the show beginning this fall. Rather than playing in intimate venues, such as 54 Below, Piaf No Regrets will play bigger venues so as to maximize Christine’s and Piaf’s exposure to much larger audiences.

15 - Marty and Christine
Christine and Marty

Once Christine and Marty agreed to take their act on the road, the next logical step was to record the songs from the show as a kind of calling card. This time, however, in place of Marty’s accompaniment, there would be a 35-piece orchestra backing Christine. Marty reached out to one of the most sought after conductors and orchestrators, Larry Blank, and, together, they created the arrangements for each song and Larry then set down the orchestrations. Their aim was to create a lush, historically authentic and yet modern sound that would be faithful both to Piaf and to Andreas.

Larry Blank
Orchestrator/Conductor Larry Blank

Having recorded at Angel Recording Studios several times over the past 20 years, including the West End original cast album of Marty’s and Joel Higgins’ The Fields of Ambrosia, and Christine’s Love Is Good and Here’s to the Ladies, Marty wanted to make the recording there. In fact, Marty’s recording engineer of choice, Gary Thomas, would come out of retirement to supervise the recording solely because he wanted to work again with Christine and Marty. Marty and Larry also requested certain orchestra members with whom they had worked previously and who, if available, would be part of the team.

01 - Gary in Control Booth
Recording engineer Gary Thomas at the controls

This recording would be a prestige project.

It is interesting to note that the building which houses Angel Recording Studios opened as the Islington Chapel in 1888, which itself replaced an earlier chapel built in 1815 and redesigned in 1847. The chapel closed in 1979, at which time the building was acquired by De Wolfe Music. Major renovations were undertaken and recording began in 1982.

Amongst the many artists who have recorded there are Adele, Placido Domingo, Liza Minnelli, and Kylie Minogue. Film soundtracks have also been recorded there, including GoldenEye, Jackie, Moulin Rouge!, Nine, Romeo + Juliet, The Crying Game, and The English Patient. Television scores recorded there include Downton Abbey.

Angel Studios - Exterior - Professional
Angel Studios in the Islington section of London

Studio 1 - Organ
The organ on the upper level of Studio 1 – a remnant of its prior existence as a chapel

And so, on a sunny Thursday morning in London, 3 dozen musicians, 1 conductor/orchestrator, 1 sound engineer and his assistant, 1 producer (Marty) and 1 chanteuse walked into Angel Recording Studios to get to work. Oh, yeah, AAC CPA and I were there as flies on the wall.

06 - AAC at entrance to Angel Studios
AAC CPA arrives at Angel Recording Studios to see the magic happen

The process went something like this:

The sequencing of the songs was based on the number of orchestra members needed for each arrangement. The recording schedule allowed 2 days to lay down all of the orchestral tracks for the 14 songs. For most of Thursday, the entire orchestra was required. On Friday, the number of players was reduced by half. By the end of the day, there were only about 4 or 5 players remaining.

12b - Larry with the Orchestra - Christine in Foreground
Larry with the orchestra, Christine in foreground

14 - Harpist.jpg
Legendary harpist, Skaila Kanga, awaiting her entrance

The layout of the studio had a large space for the entire orchestra. Each player or section had his/her/their own microphone(s) which enables the sound engineer to create a mix that features certain sections (more strings or horns or percussion) as needed. (Wires were everywhere – you had to be very careful where you stepped.) Just off of this main room was a soundproofed booth where Christine would record her songs. Video cameras were recording everything so that Larry and Christine could see each other at all times. Larry’s video would be preserved for later retakes and refinements that would be recorded by Christine after the orchestra had finished their work.

09 - Empty Isolation Booth
The isolation booth where Christine would lay down her tracks

04a - Christine in Isolation Booth
Christine, with headsets to hear the orchestra, in recording mode

10 - Christine Relaxes in Isolation Booth
Relaxing between takes

07 - Christine & Marty in Isolation Booth
Marty guest stars (and channels Bing Crosby) in a duet of “Poor People of Paris”, recorded in one perfect take!

Adjacent to both of these spaces was the control room. It was here where Marty would follow the proceedings with a full vocal/orchestral score and Gary would oversee the recording process. AAC CPA and I were seated at the enormous control panel, but out of the way.

05a Marty & Sylvia in Control Booth
Marty with “fixer” (orchestra contractor) Sylvia Addison

The recording of each song would begin with a run-through with Christine and the orchestra. What I found most interesting was that Larry and Christine each had a metronome app that they would consult before each take. Well before coming into the recording studio, Christine chose the tempo for each song that would complement her unique style and interpretation. It’s preparation like that and attention to every detail that saves time (and money) in the recording studio.

04 - Larry & Christine Rehearse in Studio 1Larry Blank and Christine rehearse

Following the run-through, Christine would step into her recording booth and a take would be made. Barring any kerfuffles (mostly due to ensemble issues or missed entrances), the entire song would be recorded. At that point, another take would immediately be recorded, or the principals would traipse into the control room for a listen.

08c - Larry, AAC, Christine, Marty & Gary in Control Booth
Larry, AAC CPA, Christine, Marty and engineer Gary Thomas listen to a take

In most cases, no more than 2 or 3 takes would be made before moving on to the next song.

Here’s the really impressive thing:

We were in the midst of absolute and complete artists who were there to get the job done. Singer, conductor, orchestra, producer and engineer worked together as a well-oiled machine, no muss, no fuss, no fits, no feuds and no egos. Amigos: they were totally concentrated on doing their best work and creating the best possible performance of each and every song. This must be the meaning of “professional”.

On Thursday and Friday, the two days when we had the orchestra with us, there were some interesting challenges.

In one instance, an accordion accompaniment to – what else? – “L’Accordéoniste”, was not quite what Christine, Larry and Marty had envisioned. When Marty had played the accordion for Christine at 54 Below, he had delivered exactly the emotion that the song demanded. The accordion chart that Larry had created was only the beginning – it needed some imagination and improvisation to convey accurately what the song was about which, by the way, was very challenging to achieve on the first or even second attempt. And so, at the end of the day and after the rest of the orchestra had been released, Mark, the accordionist, remained behind to rerecord his accompaniment. After thinking it through, he got into the groove and hit it out of the park. And now he, as well as Christine, Marty and Larry, were very pleased with the results.

Likewise, the final track of the recording, a reprise of “Milord”, which has a sort of curtain call or end credits feel, was missing a certain something from the clarinetist. The chorus is played three times and, for the 2nd and 3rd repeats, the clarinet needs to get a bit wacky and wild, again not something that had been orchestrated but relied, instead, on the imagination of the player. After 3 or 4 attempts, the clarinetist nailed it and then he, too, was done.

The really cool way that these patches are recorded is for the player to wear headphones, enabling him to hear the entire orchestra, and to follow the conductor. In the control room we’d hear both the prerecorded orchestra and what the player was now performing. Once everyone was happy with the patch, the new version would replace the original performance. Voila!

After a well-deserved day off, Christine, Marty, Larry and Gary returned to a smaller studio (no orchestra this time) to rerecord certain sections of those songs that required some refinements. In most cases, it was a matter of interpretation; in others it might be to perfect the pronunciation of a lyric, or it might just be that Christine wanted another go at a song.

01a - Gary & Marty in Control Room
Sunday morning – Gary and Marty in our smaller digs, Studio 2

Generally speaking, Christine would go into the recording booth and hear the orchestra through her headphones while watching video of Larry conducting the orchestra to assist her with entrances and exits. For the most part it was a fairly easy process, because she had originally recorded her tracks from the isolation booth in Studio 1 and, therefore, it was easy to separate her voice from the orchestra tracks.

03 - Gary & Christine - Studio 2
Gary adjusts the equipment before Christine records her first take of the day

Except for one song: “If You Love Me”. The initial take was recorded with Christine in the studio with the orchestra. There are tremendous advantages in having the soloist and orchestra in the same space – the synergy that is created makes for a heightened performance and the connection that Christine had with the orchestra enabled her to give a deeper reading of this particular song.

03c - Larry & Christine in Studio
Friday morning: first take of “If You Love Me” – Christine in studio with full orchestra

On Sunday, Christine wanted to rerecord a couple of passages, which presented an additional challenge. Gary, the recording engineer, told Christine that – in order to achieve a perfect edit – her phrasing would have to match precisely what she had originally recorded. Otherwise, there could be either a pre- or post-echo of the original take. It was absolutely riveting to observe Christine’s professionalism and concentration in order to get the desired result. A lot of it was technical, but most of it was her artistry. I also have to credit Gary, who worked closely with Christine to achieve a successful outcome. Once she and Marty were satisfied with what she had recorded and it was then edited into the original performance, it was completely seamless and did full justice to the material.

To heighten the experience, I had been taking photographs of the previous recording sessions from the safety of the control room. Marty suggested that, while Christine was reworking a few passages, I go into the recording booth to photograph her as she sang. Let me just say, for the record, that I was a total wreck that I’d make a noise and ruin the take. I have to hand it to Christine: she just went about her work as if I wasn’t there and I got some great photos.

04 - Christine Prepares
Sunday morning: Christine awaits her cue for retakes on “If You Love Me”

04b - Christine Retakes.jpg

04c - Christine Retakes

04e - Christine Retakes

04h - Christine Retakes

04i - Christine Retakes

04l - Christine Retakes

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Christine, in the zone, making beautiful music

At this point, I’d like to say a few words about Christine and Marty. Whenever you’re working on a strict schedule and you know you have limited time to complete your work, it can be nerve-racking and extremely tense. At no time did we observe any negative energy on anyone’s part. Christine and Marty knew what they had to accomplish and so, taking one step (song) at a time, they kept moving forward and doing their work. Not only that, but their professionalism shone through the entire three days we were with them. Relaxed (as much as one could be under the circumstances), enthusiastic, and very good-humored, but always aware of the task at hand, they kept their cool and created beautiful art.

AAC CPA and I were privileged to be a witness to this project and I hope that you, like us, are looking forward to the release of Piaf No Regrets this coming fall.

08 - THE END
It’s a wrap

Christine and Marty will be back in London to premiere Piaf No Regrets at the Pheasantry on the Kings Road on October 11th, 12th and 13th.

If you can’t make the trip across the Pond, but happen to find yourself in New York on November 8th, 9th, or 10th, Christine and Marty will be returning to 54 Below for three encore performances of Piaf No Regrets, which may very well be the last time Christine performs the show in a small venue prior to her national tour of the show.

As Piaf herself might have said (sung): “Musique à tout va” – “Music is everything”

Christine performs at the Pheasantry in London – October 2018

Christine performs at 54 Below in New York City – November 2018

Visit Christine’s website here

Sneak Preview: Watch Christine perform “La Vie en Rose”

 

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One Last Look At Where It All Began

In 1969, Stephen Sondheim was in a bind. He hadn’t been represented on Broadway since his collaboration with Richard Rodgers (a promise he’d made to his dying mentor, Oscar Hammerstein II, several years prior) on the ill-fated 1965 musical, Do I Hear a Waltz? And he hadn’t been heard as both composer and lyricist since the 1964 Anyone Can Whistle, which lasted all of 9 performances.

For the past several years, he and his collaborator, James Goldman, had been working on a new musical entitled The Girls Upstairs, which had been optioned by producer Stuart Ostrow. More recently, Sondheim and George Furth had started work on a new musical to be produced and directed by Sondheims’s long time friend, Harold Prince. At that point, it seemed that Sondheim would have two shows opening on Broadway during the 1969-70 season.

And then Ostrow let his option lapse on The Girls Upstairs. Sondheim lamented to Prince that he saw years of work going down the drain, to which Prince made the following proposition: If Sondheim would agree to finish the show with George Furth first, Prince would agree to produce and direct The Girls Upstairs as his next project.

Ever the pragmatist, Sondheim agreed, which turned out to be a stroke of profound good luck. The Sondheim-Furth collaboration turned out to be Company, which opened in April 1970 to strong reviews and potent box office. More importantly, the collaboration between Sondheim and Prince became a turning point in the American musical. Over the next eleven years, they would present six shows, all of them distinctly different from each other and, until the last of them, considered to be a high-water mark of musical theatre creativity, if not always commercially successful.

But back to The Girls Upstairs, which – to that point – told a realistic story of a reunion of former showgirls and their husbands and what had happened to them over the 30 years they had all known each other. The show also had hints of a possible murder mystery: during the first act, it developed that each of the four central characters had cause to commit murder; the second act would reveal why and what happened. But Hal Prince had other ideas.

He recalled a photograph that had been taken of Gloria Swanson in the ruins of New York’s Roxy Theater, which had been razed in 1960. Swanson had been one of the greatest silent film actresses and had fallen into obscurity until 1949, when Billy Wilder offered her the role of Norma Desmond in his masterpiece, Sunset Boulevard, which was released in 1950. As Norma herself said, it wasn’t a comeback, it was “a return”. Now, some 11 years later, she was immortalized in that photograph. And it occurred to Prince that he didn’t want to direct a realistic story about former showgirls with murder on their minds; he had something much bigger in mind. And that’s when Follies was born.

Gloria Swanson
Gloria Swanson amid the rubble of the Roxy Theater, 1960

As a result, James Goldman jettisoned most of the original plot and, instead, created a mood piece in which the former showgirls and their husbands were now obsessed with life-altering decisions they had made decades before and the ramifications of those actions. The play would now take place inside a theatre on the eve of its demolition. Goldman and Sondheim had discovered early on that, as they eliminated plot points, the play became more interesting. Additionally, in earlier drafts, the 4 central characters lapsed into behavior as if they were 30 years younger. Now a consequential decision was made, instead, to have their younger selves portrayed as characters in the play. They would, literally, be beside themselves with grief.

This was precisely the kind of theater that lit a fire in Hal Prince. Recognizing that this production would be bigger and more demanding than anything he had done before, he decided to elevate his choreographer on Company – a young man named Michael Bennett – to serve with him as co-director. As the score was now approaching 22 musical numbers, there would be plenty for both of them to do: Bennett would be responsible for the musical staging and Prince would direct the book scenes.

It was to be the most expensive show to date to open on Broadway with an $800,000 budget. The celebrated scenic designer, Boris Aronson, would create the magnificent sets, Florence Klotz, the hundreds of costumes required, and Tharon Musser the intricate lighting.

Set Model - Boris Aronson
Boris Aronson’s set model for Follies – note the apparitions on the upper levels

Loveland - B&W
The main set transformed into “Loveland”

Final Scene.JPG
The final set piece – the theater is now partially demolished

Loveland Beauties
Florence Klotz’s Loveland beauties

The set, in fact, was so complicated and challenging to work upon that Prince decided to rehearse the show at the scenic shop in the Bronx so that the cast, some of whom were already in their 60s and 70s, could grow accustomed to the stage, thus saving valuable time when the show moved out of town. So, every day, the cast would board a bus in midtown Manhattan and travel uptown for intensive rehearsals. (This move also created additional pressure on the scenic shop, as it reduced the time it had to build the sets.)

There was some anxiety over the fact that the musical score hadn’t been completed when the show went into rehearsal. With the show’s new structure, the last half hour consisted of a Follies-esque sequence entitled Loveland, during which the 4 principal characters would each confront their personal bête noir in a song or production number. But some of these numbers couldn’t be staged, because they hadn’t been written. It is said that Michael Bennett had to order costumes for two of these numbers without actually knowing what they were going to be. As the rehearsal period drew to a close, Sondheim delivered the missing numbers, which were quickly staged.

The company traveled to Boston for its out-of-town tryout and played its first performance by the seat of its pants on a Saturday night in February 1971. The physical production was so complex that it wasn’t until the first performance that the show could be run start to finish without stops. There were other problems. The opening sequence – a prologue in which all the characters and their “ghosts” were introduced – was confusing to the audience. A number written for Yvonne De Carlo, cast as a former showgirl now turned television star, was a one-joke song and much too long. As the show was intended to play in one act without intermission, pacing and flow became an issue. Alexis Smith, who had been cast at the regal Phyllis Rogers Stone, hadn’t yet asserted herself and lacked the confidence to take center stage and deliver a star performance.

And there was one other major problem bubbling up to the surface: Michael Bennett didn’t like Goldman’s book, feeling that it was too dark and depressing. While it couldn’t be argued that Follies was a dark show (it was intentionally so), it offered at least the possibility of hope at the end of the evening. Bennett wanted a play doctor (Neil Simon was rumored to be his choice) to come to Boston and add some lightness to the proceedings. But he was overruled by his co-director, Hal Prince, who (not insignificantly) was the show’s producer and, therefore, the “muscle”. He liked the doom and gloom and felt – along with Goldman and Sondheim – that it served a larger purpose. The theme of the show was that one must learn to live with the decisions that you’ve made in life, rather than to dwell upon the past and become paralyzed by the mistakes you may have made along the way. “The Road You Didn’t Take” is not the end of the line; it’s a detour to someplace else.

One of the brilliant aspects of the original production was that, as stated in the playbill, it took place “tonight” and was set at “a party on the stage of the Weismann Theatre” – meaning right now and in real time. It therefore gave the show an immediacy that cannot be reproduced in revival. The show looked back to 1941 – the last year of the fictional Weismann Follies – and, thus, created a context for its audience in 1971. Thus, the references in the score, which today’s audiences might not grasp: Benda Frazier, Windsor and Wally, Pinko and stinko, Beeby’s Bathysphere, heebie jeebies – would be recognizable to 1971 audiences. They would also recognize Prince’s original cast as names from their collective past: Alexis Smith, Dorothy Collins, Yvonne De Carlo, Gene Nelson. And those with longer memories might dimly recall some of the supporting players: Ethel Shutta (herself a Ziegfeld girl), Fifi, D’Orsay, Mary McCarty. John McMartin, whose brilliant performance as Ben Stone has never been surpassed, was a journeyman actor but – at that point – didn’t have the name recognition of the other leading actors.

Dorothy Collins & Alexis Smith
Dorothy Collins and Alexis Smith

Gene Nelson and John McMartin
John McMartin and Gene Nelson

Yvonne De Carlo
Yvonne De Carlo

Ethel Shutta
Ethel Shutta, introducing and immortalizing “Broadway Baby” at age 74

Fifi D'Orsay - Ah! Paris
Fifi D’Orsay

Mary McCarty
Mary McCarty leads the ladies in “Who’s That Woman?”

During the four-week Boston tryout, many changes were made. It took Bennett until the very end of the Boston run to come up with the prologue that would stick and absolutely and unambiguously set the tone for the evening. Sondheim locked himself in his hotel room to come up with a replacement song for De Carlo, a little ditty called I’m Still Here, which is said to have been based on the life of Joan Crawford and has become an anthem for cabaret ladies of a certain age. The show was tightened and the production fine-tuned to the point that it became a very well-oiled machine.

More importantly, during the Boston run and as the show began previews in New York prior to its official opening, Alexis Smith began to deliver the performance Prince knew she was capable of. It started with a replacement production number for her in the Loveland sequence, along with a new costume, which was much more complimentary and showed off her fabulous gams. Things like that can make all the difference.

Lucy & Jessie - 02
Alexis Smith, new costume and new song, takes center stage

And so, on the evening of April 4, 1971 at the Winter Garden Theatre in New York, the house lights dimmed, an ominous drumroll sounded followed by 4 somber chords from the brass section as the curtain rose on an empty and darkened stage. Downstage center was a spectral apparition, an impossibly tall and beautiful showgirl. She slowly raised her arms toward the audience – in welcome or in supplication? Imperceptibly at first, she started to move as if in slow motion, soon to be joined by other spectral figures: more showgirls, a dance team, and a line of 6 chorus girls, also in slow motion and silently mouthing the words to some forgotten tune as they strutted slowly around the stage. Suddenly, a major domo and a waiter or two strode through the scene in real time, as unaware of the apparitions all around them as the apparitions were of them. And then, breathlessly running onto the stage, appeared Dorothy Collins, as former showgirl Sally Durant Plummer, announcing to no one in particular how thrilled she was to be at this party tonight. As she began speaking, one of the chorus girl ghosts was wrenched from her position in the line and stopped dead in her tracks as her eyes bore into Dorothy Collins’ Sally – she was the ghost of the younger Sally observing what became of herself thirty years later and, perhaps, not liking what she saw. And that was how Follies began.

Follies Showgirls
Ghostly apparitions appearing during the prologue

Two hours and twenty minutes later, the curtain fell on the opening night performance. Amid many cheers, there were dissenters who didn’t go for the show feeling that, like Company the season before, it was cold and off-putting. I can well imagine that middle-aged audiences were certainly dismayed by the notion of characters who felt they had made wrong turns in their lives when younger and were now paying the price. And then there were others who, perhaps having been beguiled by the title of the show, thought they were attending a light entertainment. After all, No, No Nanette had opened to great acclaim just 3 months earlier – wasn’t Follies supposed to be more of the same?

Opening Night Relief
The cast immediately after the opening night curtain fell

Actually, anyone who took the trouble to take even a cursory look at the original poster for Follies – a somber face resembling simultaneously a Follies-type showgirl and the Statue of Liberty, with an enormous crack running down the right side – must have realized that No, No Nanette this wasn’t going to be.

Byrd Poster
David Edward Byrd’s brilliant poster design

The reviews ran the gamut from A to Z, as Sondheim might have said. Some critics loved it, some respected it, some even understood it; others dismissed it, except for the extraordinary physical production, which couldn’t be faulted.

When awards season came around, Follies was nominated in multiple categories and seemed to be the show to beat. It ultimately won seven Tony Awards: Alexis Smith (Best Performance by a Leading Actress in a Musical), Stephen Sondheim (Best Score), Harold Prince and Michael Bennett (Best Direction of a Musical), Michael Bennett again (Best Choreography), Boris Aronson (Best Scenic Design), Florence Klotz (Best Costume Design) and Tharon Musser (Best Lighting Design). With seven Tony Awards in the bag, it seemed inevitable that Follies was perfectly positioned to take the award for Best Musical of the season which went, instead, to Two Gentlemen of Verona, produced by Joseph Papp and originally presented in Central Park and later moved to Broadway. It is instructive to note, when discussing the history of Follies, that the two major Tony Awards it lost were for Best Musical and for Book of a Musical (which, ironically, also went to Two Gentlemen of Verona).

The show ran in New York for 522 performances and then went on the road, with almost the entire original cast, first for a week in St. Louis, and then to Los Angeles for an open-ended run to inaugurate the Shubert Theatre in Century City. The LA engagement was intended to be the first stop of a national tour. In LA, the show got the kind of reviews of which a producer can only dream. And yet, the show lasted not even 3 months before closing. In spite of the rave reviews, the show couldn’t establish an audience. And so, on October 1, 1972, the original production of Follies came to an end.

The production lost its entire investment.

For those of us who fondly remember that original production, we’ve waited for a new production to recapture the magic we experienced almost half a century ago. After many near misses and disappointments, it seems that lightning has struck again, this time at the National Theatre in London.

To be continued.

 

 

Christmas in Paris

Bon jour, mes amis! I hope that Santa was good to each and every one of you. I, myself, felt very blessed today. I woke up next to AAC, CPA and am in the beautiful city of Paris. As Ira once lyricized, who can ask for anything more?

When last I left you, we were about to prepare for our Christmas Eve festivities, starting with a cocktail downstairs at Le Bar Kléber, which was doing a brisk business when we arrived at about 7:00 PM. The barman was very talented and delivered our cocktails with great flourish and enthusiasm.

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The view from our barstools

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Christmas Eve Negronis, mais sur.

IMBIBING TIP: Le Bar Kléber

From Le Bar Kléber, we Uber’ed over to Bistro de L’Oulette, a charming restaurant on the Rue des Tournelles near the Place des Vosges. We’d eaten there a few years ago and have always wanted to return. It’s a tiny little place, probably no more than 12 tables, and has a very friendly and welcoming staff.

bistro-de-loulette

Once we were seated, the maitre ‘d approached with a plate of amuse bouche and offered us an aperitif, and we each opted for a glass of champagne. All were delicious.

As it was a holiday, the restaurant was featuring a 3-course pri-fixe for a very reasonable 52 EUR. The restaurant also has a delightful wine list at excellent prices and a wonderful variety of choices.

bistrot-table
Our table was decorated for the holiday.

Four our mains, AAC CPA had medallions of monkfish with a shrimp risotto, and I had medallions of lamp with a parsley crust, accompanied by crisp sauteed potatoes and mushrooms. Both were mouth-wateringly delicious.

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AAC CPA’s monkfish

bistrot-lamb
My lamb

Oh, and did i mention that we split a split of Joseph Drouhin Aloxe-Corton 2013 which perfectly complimented our entrees. Every bite was a taste sensation.

bistrot-wine
A beautiful pairing for our entrees, AAC CPA hides behind the wine.

CUISINE TIP: Bistro de L’Oulette

Following dinner, it was back into the Uber and a quick return to the hotel. By that point, we were pretty tired. We struggled to stay up for awhile and finally gave up the ghost around midnight.

And then we blissfully slept for over 9 hours. It was heaven.

This morning, we went down to Le Lobby, for breakfast. It’s a beautiful room, with a beautiful staff, providing beautiful service.

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The entrance to Le Lobby

AAC CPA went for the 45 EUR continental breakfast which could, in fact, feed us both. I opted for eggs and then I poached some of his goodies.

peninsula-breakfast-aac
A very happy AAC CPA checking out his continental breakfast

While we were eating, we noticed that a guitarist and vocalist were setting up shop right next to our table. We were at first concerned, because we noticed the amplification that accompanied them. However, once they started to perform, it was totally delightful. Their repertoire was a combination of holiday music and American Songbook. It was a really nice touch to provide live entertainment for us.

peninsula-breakfast-floorshow
Live music 6 feet away from us!

CUISINE TIP: Le Lobby

After breakfast, we decided to take a little constitutional, as the weather is mild today. We decided to check out the competition’s holiday decorations at the nearby Four Seasons Hotel George V. We’ve stayed there on occasion and have always been wowed by the floral arrangements in their lobby. Here’s what we saw today:

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four-seasons-02

four-seasons-07-lobby

Meanwhile, out in their courtyard:

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Ice blue penguins!!!

LODGING TIP: Four Seasons Hotel George V

‘Tis the season to be jolly, indeed!

And now, it’s time to great ready, once again, to prepare for our 2nd evening out in this enchanted city. The bill of fare: dinner at L’Opera, the restaurant adjacent to the historic Palais Garnier, home of the Paris Opera, where we have tickets to see Iphigénie en Tauride.

More to follow!

 

 

 

A Return Visit to Bayreuth!

Gentle Readers:

Over the past 10 months, TheCulturedTraveler has presented fresh content for every blog entry. However – and for the 1st time ever – I’m reblogging and updating a post from last November in honor of the start of the Bayreuth Festival in the little town of Bayreuth, Germany. In less than 2 hours from the publication of this post, the 2016 season will be underway.

Of course, what would a Bayreuth Festival be without some gossip and lots of controversy and, of course, this season is no exception. Each year, the Festival presents one new production. This year, it’s the Meister’s ultimate work, Parsifal, which is replacing a landmark production by Stefan Herbeim, retired in 2012. This year’s production was to have been conducted by Andris Nelsons but, less than 4 weeks before the premiere performance, which starts this afternoon at 4:00 PM Bayreuth time, he abruptly walked out of the production and out of Bayreuth.

Read about it here:

New York Times
And something a little more dishy here:
Slipped Disc
 
So I hope you enjoy our little trip down Bayreuth’s memory lane. Here goes:
There is a opera house in Bayreuth (pronounced bye-roit) Germany, which was built between 1872 – 75 for the express purpose of presenting Richard Wagner’s magnum opus, Der Ring des Nibelungen. For those of you unfamiliar with the Ring, Wagner spent over 20 years composing these 4 operas or, more specifically, a Prologue (Das Rheingold) with 3 operas to follow (Die Walküre, Siegfried and Götterdämmerung). If nothing else, the audacity of an artist creating an entirely new style of music and operatic presentation spread over 4 evenings (and 15+ hours) has to be respected. This grand work would be presented as a Festival and, indeed his theatre is called the Festspielhaus (Festival House). The demands (and, hopefully, the rewards) of presenting the Ring placed upon the singers, orchestra, designers and, not least, the audience, would be unprecedented.

Bayreuth - R Wagner
Richard Wagner – The Meister

Why Bayreuth? Wagner wanted a location that was far away from virtually anything that would interfere with the audience’s complete concentration on and attention to his Ring. Additionally, he needed a huge stage on which to present the operas. There is another opera house in Bayreuth that Wagner thought might work, as the stage was unusually deep. However, when Wagner saw the opera house, he thought it was too rococo for him and the Ring. He wanted something much simpler that, again, would not distract his audience from what he had called his Gesamtkunstwerk, defined by Webster as “an art work produced by a synthesis of various art forms (such as music and drama)”.

Bayreuth - the Other Opera House
The other opera house – too rococo??

And another challenge that continues to this day: Bayreuth is not easy to get to (unless you live somewhere in Europe and like to drive). The first time I attended the Festival, I was able to fly from New York to Frankfurt and then fly on a “puddle-hopper” to Bayreuth. Nowadays, you’d need a private plane to fly into Bayreuth, which, in the alternative, leaves you with a 4+ hour train ride from Frankfurt (with a change of train in Nuremberg). Or you could fly from Frankfurt to Nuremberg and then train it to Bayreuth. Any way you slice it, it’s a LONG trip!

Bayreuth Map
Getting to Bayreuth

In order to get his theatre built, Wagner finagled the funds from mad King Ludwig of Bavaria, who was entirely under Wagner’s spell ever since he had seen a performance of Lohengrin as a child. (Wagner had that effect on many people. He was, by most accounts, a specious person but, also, he was extremely seductive when he wanted something from you, and Wagner was, arguably, the most important and influential artist of the 19th century.)

Bayreuth Ludwig
King Ludwig of Bavaria

The theatre was unique when it was built and still is. Inspired by the Greek amphitheaters, the main floor is fan-shaped and has 30 rows. Behind and above are several sections (loge and balcony) and, of course, a royal box for the Swan King (Ludwig). There are 1,900 seats altogether and no boxes for the “important people”. Seating was intended to be entirely democratic.


The Festspielehaus

Bayreuth - Interior
Inside the Festspielhaus

The most unusual feature of the theatre is that the orchestra pit is famously and entirely concealed from view of the audience. Wagner intentionally designed it this way so that there would be no distractions when watching his grand works. Additionally, Wagner’s theatre was the first ever to present the operas with the house lights entirely turned off, an innovation at the time. In this way, the audience, sitting entirely in the dark, couldn’t “yoo-hoo” at friends and frenemies during the performance and had to pay attention. The beginning ofDas Rheingold with its ominous E-flat bass notes which morph into the music of the Rhine river is played in complete darkness, so dark that you can barely see your hand in front of your face. Imagine what that must have been like for audiences accustomed to a totally different experience when attending the opera. It was nothing less than revolutionary.

Bayreuth Orchestra Pit
The invisible orchestra pit

Wagner originally had the crazy idea that he would build this theatre, the Ringwould be presented and, afterwards, the theatre would be torn down. Well, that didn’t happen, did it? Wiser heads (including his own) prevailed and after the world premiere of the completed Ring in 1876, plans were immediately made for another Festival at which all of the mistakes of the first year (and there were many, many mistakes) would be corrected.

But it was another 6 years before the next Festival and, as it happened, the Ringwas not presented. Instead, it was the world premiere of Parsifal that the audience heard and which Wagner had composed with the Festspielhaus’ unique acoustic in mind. This time, Wagner had a complete triumph: the perfect opera, with the perfect cast and a perfect production (perfect, at least, for 1882). Buoyed by this success, plans were made to get the Ring back into the theatre pronto. And then, 6 months later, Wagner died in Venice.

It took several years, but the Festival was eventually resurrected by Wagner’s widow, Cosima (who, incidentally, was the daughter of Franz Liszt).

Bayreuth R Wagner Cosima Siegfried
Family Portrait: Cosima, Siegfried, Richard

Over time, certain traditions were created that continue to the present day. It was decided that, in addition to the Ring and Parsifal, only the Master’s matureworks (Der fliegende Holländer, Tannhäuser, Lohengrin, Die Meistersinger and Tristan und Isolde) would be presented. Without fail, the Festival would open each year on July 25th and close on August 28th. The Festival would be a workshop, at which each production would be presented for several years and, in each successive season, return to the rehearsal studio to refine, improve and rethink each opus.

After Cosima’s death, the Festival was handed over to her son, Siegfried (who, by the way, was GAY, but people didn’t talk about such things back then). Upon his premature death in 1930, the Festival was taken over (stolen??) by his widow (wait – he was MARRIED????), Winifred, who presided over the Festival for the next 14 tumultuous years.

You see, during the 1920s, she had become friends with this up and coming politician of whom she was much enamored. In fact, she was so bewitched by this charismatic young man that, or so the story goes, she provided him with the paper on which he wrote his most famous book: Mein Kampf. And that’s how Adolf Hitler – who was Richard Wagner’s #1 fan – came to be a fixture at Bayreuth through the 1930s and, finally, the 1944 Festival, after which the theatre shut down (almost for good).

Bayreuth - Hitler
Winifred, Adolf and Wagner Progeny

But wait: Siegfried and Winifred had 2 sons – Wieland and Wolfgang who, after the war (and after being denazified), were allowed to reopen the Festival in 1951. Because there was no money, and because there could be no compromises on the presentation of the music, Wieland caused another revolution by what he put on the stage which was, basically, nothing except the singers, some very simple set pieces (such as a circular platform for the presentation of the Ring) and the most effective lighting that had to that time been seen in a theatre. It caused a sensation: although the old guard was outraged at what they were (or more correctly, weren’t) seeing, there were others who were enchanted and, in fact, relieved not to be seeing all that Teutonic stuff strewn all over the stage.

I think it was a masterstroke of luck that the Festival was practically bankrupt after the war, which enabled Wieland and, to a much lesser extent, Wolfgang (who didn’t possess anywhere near the talent of his brother) to create a new style of presenting their grandfather’s work, which completely severed it from any connection to Hitler and the Nazis. In fact, Wieland was solely responsible for ushering in “Der Neue Bayreuther” or New Bayreuth.

Compare and contrast:

Bayreuth - Original Rheinmaidens
The original Rhinemaidens, 1876

Bayreuth - Chereau Rhinemaidens
Patrice Chereau’s Rhinemaidens, 1976

Since 1951 and the reopening of the postwar Festival, there have been more revolutions: the Centenary Ring in 1976, staged by the late, great Patrice Chereau and conducted by Pierre Boulez. It was Chereau’s concept to present the operas in Wagner’s own time (and during the Industrial Revolution) and to focus on the evils of capitalism and anti-Semitism. Chereau, who had directed only one opera before taking on the Ring, was a masterful director who had no preconceived notions about these operas and worked from the text. The singers in this production who most benefitted from working with Chereau – Gwyneth Jones as Brünnhilde, Donald McIntyre as Wotan, Peter Hofmann as Siegmund and Heinz Zednik as both Loge and Mime – gave the performances of their careers and presented acting that was so natural and believable that it created a very special experience for the audience.

Bayreuth - Chereau ca 1976
Patrice Chereau, ca. 1976

Bayreuth Chereau Rheingold

Bayreuth Chereau Walkure Jones Hofmann

Bayreuth Chereau Walkure

Bayreuth Chereau Gotterdammerung
Images from the Chereau Centenary Ring, 1976

Some interesting anecdotes about these premiere performances:

The initial performance of each opera was broadcast around the world and the audience got more and more testy as each production unfolded. Now it wasn’t necessarily unusual to hear booing at the Festspielhaus at the end of a performance, but how about at the beginning of Act III of GötterdämmerungDURING THE MUSIC?? You can actually hear the opening of the act, imagine the curtain rising and, then, there it is – LOTS of boos, along with some segments of the audience “shushing” the dissenters, or were THEY the dissenters?? The production was so controversial that it’s hard to tell.

My favorite report from that premiere Ring season – perhaps apocryphal – is the story of the two grande dames – middle or late age, impeccably dressed, of some importance – who got into a bit of an altercation at the conclusion of one of the performances. What began with some pushing and shoving and lots of verbal abuse, quickly escalated when one of them decided to pull off the other’s earring, not realizing that the other dame had pierced ears. Yes, you got it: she removed not only the other dame’s earring but the earlobe as well. Yes, Wagnerites are so passionate about the Master’s works that blood will be spilled.

Fast forward to the Festival of 1980 and the retirement of Chereau’s Ring. I happened to hear the very last performance of  Götterdämmerung on a radio broadcast and what a difference 4 years makes. At the conclusion ofGötterdämmerung, the curtain calls (and cheering, no boos this time) lasted for something like NINETY minutes! Whatever it was that repelled and outraged the audience in 1976, they were now completely under the spell of a masterful and game changing production.

So, after all that, you wanna go to Bayreuth? Any opera lover worth her salt should make that pilgrimage at least once. Hold on. It’s not that easy.

Remember when I said that the theatre had 1,900 seats? Generally speaking, there are 30 performances presented each year for a total of 57,000 available seats. However, attendees to Bayreuth are not going to travel all that way to see one show – they’ll probably want to see everything presented that season (usually the Ring and 3 other operas).

So, there are 57,000 available seats. But each year, the Festival gets something like 250,000 requests for seats. And each of those people wants to see everything, too. In the past, ticketing was managed by the “Wagner computer” and, if you applied every year without fail (you’d be punished if you missed even one year), the typical waiting period to actually get seats was about 10 years!!! Nowadays, some tickets for each season are available on the internet at the Festival’s website and, if you’re fast and lucky enough, you might even secure seats. These intrepid souls may actually hop to the front of the line and get in, and good luck to you!

2016 UPDATE: I just happened to go onto the Festival’s website this past weekend and – lo and behold!! – it was possible to snag a pair of excellent seats for the 2nd Ring, which starts in about 2 weeks. Over the past few years – due, in part to the German government’s intervention – tickets to the festival are becoming somewhat easier to obtain. If you are an intrepid (and somewhat obsessed) Wagnerite, you can now get to Bayreuth without waiting 10 years for the Wagner computer to admit you. Ho-jo-to-ho!!!

And even if you should be one of the chosen few, Wagner never factored comfort into the design of the theatre. What do I mean? Well, for instance, the seats are pretty uncomfortable (not much padding and no arm rests) and the theatre is not air conditioned. This may not seem like much, but I’ve been to Bayreuth during incredible heat waves and the temperature inside the auditorium rises to over 100 degrees. In the old days – I don’t know about now – formal attired was REQUIRED, so there you were in your tuxedo with the sweat running down your back.

And did I mention that Wagner’s operas are LONG?? Das Rheingold, the “prologue” to the Ring, runs anywhere from two hours, fifteen minutes to two hours, forty-five minutes (depending on the conductor) and is played in ONE ACT!!!!! No intermission!!!!!!! No bathroom breaks – no one would DARE to attempt to leave the theatre during a performance, and you couldn’t even if you wanted to!!! And in a theatre in which, during a heat wave, you could bake a cake!!!!!

But guess what? It’s totally worth it. On the right night, with the right singers and conductor, and with a director who knows what s/he’s doing, you will have the most magical, inspiring and moving experience you’re likely to have in an opera house.

CULTURE TIP: Bayreuth Festival Website

London Recap

Greetings and Salutations. And sorry to be MIA over the past few days – it’s been a very busy time and all that.

The last time you’d heard from me, we had just attended a performance of Funny Girl, at the Menier Chocolate Factory, which was a real treat. If you’re planning a trip to London in the spring (and beyond), you can get tickets to see the production, which is transferring to the Savoy Theatre in March. Ticket sales are quite brisk, I’ve been told.

CULTURE TIP: Purchase Tickets to Funny Girl

Otherwise, our trip to London last week was a raving success. We had a blast and, rather than talking about it too much, I thought I’d share some photos with you to give you the flavor of the trip – you’ll get the idea.

On our 1st full day in London, we took afternoon tea at The Georgian at Harrod’s. The place was all gussied up for the holidays, of course.

Day 2 - HarrodsWorld famous Harrods

Day 2 - Harrods GeorgianIt’s the Georgian for your afternoon tea.

Day 2 - Harrods Tea - AAC
AAC CPA anticipates his afternoon tea

Day 2 - Harrods Rose Tea
Rose Tea made with actual Roses!!

Day 2 - Harrods Tea Tray
And all of the tea goodies.

CUISINE TIP: Take Tea at Harrods

Our first show in London was Terence Ratigan’s 1948 comedy, Harlequinade, starring and co-directed (with Rob Ashford) by Kenneth Branagh, preceded by Ratigan’s 1968 one-woman monologue, All On Her Own, starring Zoë Wanamaker. This double-bill is part of an ambitious six production season that the Kenneth Branagh Theatre Company is presenting at the Garrick Theatre and is currently playing in rep with A Winter’s Tale, again starring Branagh alongside Judi Dench. The season culminates next summer and fall with Branagh taking on the touchstone role of Archie Rice in John Osborne’s The Entertainer. Needless to say, I already have my tickets for that one!

Day 2 - Harlequinade - AAC
AAC CPA does Harlequinade at the Garrick

CULTURE TIP: Kenneth Branagh Theatre Company

Following the performance, we had supper at one of our favorite London restaurants, the venerable J. Sheekey which serves, arguably, the best fish in town.

Day 2 - J Sheekey

Day 2 - J Sheekey Fish & Chips
AAC CPA had the fish and chips – enough for many

CUISINE TIP: J. Sheekey

Next day – typically cloudy but unusually mild for December – we were walking around our hood and snapped this pic of the Shard, where the Shangri-La is located:

Day 2 - Shard from a Distance

Following the Funny Girl matinee, we had dinner at another of our favorite London establishments, Hawksmoor, which is where you go for beef and great cocktails. There are several locations and we ate at the one just off Picadilly in Air Street:

Day 3 - Hawksmoor Exterior

Each Hawksmoor has its own distinct design and this one is Deco:

Day 3 - Hawksmoor Deco Detail
Fab Deco Chandelier

Day 3 - Hawksmoor AAC
AAC CPA anticipates his cocktail and dinner

The grub is really good here, too. In addition to amazing beef, this Hawksmoor has lots of fish on the menu. We shared the scallop appetizer:

Day 3 - Hawksmoor Scallops
Great presentation, right?

CUISINE TIP: Hawksmoor Air Street

We took an after dinner stroll and saw some fab sights on Picadilly:

Day 3 - Picadilly

Picadilly, itself

Day 3 - Burlington Arcade

Burlington Arcade

Day 3 - Fortnum & Mason

Fortnum & Mason all tarted up for the holidays

Next day, we woke up to a brilliantly sunny day. Look at the view from our room:

Day 4 - Shard Shadow over St. Paul's
Note the shadow of the Shard to the right of St. Paul’s

After breakfast at the hotel – by the way, a great deal when booking through the AmEx FHR program, because your breakfast is included – we checked out the lobby men’s room:

Day 4 - Bathroom with a View
A (Bath)Room with a View

Day 4 - Mens Room Amenity
The Shangri-La thinks of EVERYTHING!!

And, if you want a thrill, take note of how the hotel keeps its windows clean:

Day 4 - Window Cleaners
This photo was taken on the 35th floor, kids!

What trip to London would be complete without a visit to Covent Garden:

Day 4 - AAC - Covent Garden

That afternoon, we experienced our first Panto, a holiday tradition in which drag plays a prominent role and lots of audience participation is encouraged (and expected). Today’s Panto was Cinderella at the Lyric Hammersmith.

Day 4 - Panto - AAC
AAC CPA does Panto!

Day 4 - Panto Show Curtain
The Panto show curtain

Following the Panto, we rushed back to the hotel to change for the evening performance of Guys and Dolls at the Savoy Theatre where, last Spring, we had seen Imelda Staunton’s star turn as Madame Rose in Gypsy.

Day 4 - Savoy Guys and Dolls - 02
Doesn’t this photo remind you of a publicity still from the film?

Day 4 - Savoy AAC
AAC CPA studies the Hot Box Cuties

Day 4 - Savoy Show Curtain
Opening image of the set

Needless to say, the show was aces. It’s such a great musical, definitely one of the 10 best of all time. Even when the show ground to a halt in the last few minutes – technical difficulties, they said – the audience was totally enthralled by the show, roaring its approval at the end.

On our way out – no pix, please, we’re British! – we noticed, sitting directly behind us, Jim Carter (Carson on Downton Abbey, and a former Big Jule himself) and his celebrated wife, the aforementioned Imelda Staunton. I couldn’t help myself and, in a very un-British-like manner, told them how much we’d enjoyed their performances and thanked them. They looked a bit startled (I guess that my outburst just isn’t done) but thanked me very graciously.

After humiliating myself, we strolled over to The Ivy, which is our favorite London haunt. As I reported when we were there earlier this year, the place had a makeover last spring and looks terrific, but the service and congeniality of the place remain unchanged.

Day 4 - The Ivy Exterior
The one and only Ivy

Day 4 - The Ivy - AAC
AAC CPA anticipates his Americano whilst perusing the menu

CUISINE TIP: The Ivy

Next day – Christmas Eve – was another double-header, starting with Jim Broadbent starring as Scrooge in A Christmas Carol at the Noël Coward Theatre. Dickens’ story was adapted by Patrick Barlow (whose 4-actor adaptation of The 39 Steps played for years and years both in London and in New York) and was designed by Tom Pye and directed by Phelim McDermott. We initially wanted to see the show for Jim Broadbent, a fave actor of ours’ since the 1999 Mike Leigh film,  Topsy Turvy, in which Broadbent played W.S. Gilbert. As it turned out, we found the production imaginative, enchanting and surprisingly moving. I guess that Dickens knew what his was doing.

Day 5 - A Christmas Carol - Exterior
Marquee at the Noël Coward Theatre

Day 5 - A Christmas Carol - AAC
AAC CPA does Dickens

Day 5 - A Christmas Carol Show Curtain
A Christmas Carol show curtain

And, by the way, can I just put in a word about the London theatre-going audience and, in particular, the kids? We saw two matinees in which the audience was literally filled with children (as young as 4 or 5, I’d say). They were amazing! Respectful, attentive, and really into the experience. Dare I say that I prefer them to most of the audiences to be found on Broadway these day? OK, come and get me for that last remark.

Another rush back to the hotel to change for our Christmas Eve festivities. And look what we found in our room upon our return:

Day 5 - Christmas Tree
Our very own tree. AAC CPA thought it might be edible. It wasn’t.

That evening, we had a brand-new London experience, and long overdue! We attended the last performance of Carols By Candlelight at the famed Royal Albert Hall. This concert is an annual event and completely fills the 5,200 seat venue. It was a real thrill for us to be there.

Day 5 - RAH - Moon
World famous Royal Albert Hall with a full moon overhead

Day 5 - RAH - AAC
AAC CPA checks out the program pre-concert

Day 5 - RAH - Concert
The Mozart Festival Orchestra and Chorus in performance

Day 5 - RAH - Doris Day
For all you film buffs, AAC CPA has a Doris Day moment

We had a great time at the concert, although there was too much audience participation for my taste. I didn’t realize that we were expected to sing traditional carols!! Standing, no less, and I’d already had a long day. (Bah, humbug, you say?) And added to all that, most of the carols were sung to different tunes than their American counterparts. Who knew??

CULTURE TIP: Royal Albert Hall

After the concert, we had another magical view of the full moon over London:

Day 5 - Moon Over London

Merry Christmas, everyone!! Friday – our last full day in London – and did you know that the entire city shuts down?? We had thought we might go to a movie, or ride around, or something. Uh-uh!! No dice (as they’re currently saying at the Savoy Theatre). Fortunately for us, we were staying in a beautiful hotel with gorgeous views, so we didn’t mind hanging around our digs and relaxing after seeing 6 shows in the previous 4 days.

As we subsequently found out, Uber was available for getting around – whew!! We had decided to have our farewell dinner at another of our favorite London hotels, the Corinthia, and Uber got us there and back. Not only that, but Uber turned out to be cheaper than taking a cab (if we could have gotten one)!

Day 6 - Corinthia ExteriorThe gorgeous Corinthia Hotel in Whitehall Place

We started our evening at the Corinthia’s Bassoon Bar, one of our favorite watering holes in London.

Day 6 - Corinthia Bassoon AAC
AAC CPA chooses his cocktail from the iPad menu

We moved from the Bassoon to the Northall for our dinner. It’s a beautiful room and the food was delicious.

Day 6 - Corinthia Northall
My starter: Beef Tartare and it was yummy!

Day 6 - Corinthia Lobby
AAC CPA strolls through the Corinthia lobby after dinner

Ubering our way back to the Shangri-La from the Corinthia and look at what we saw:

Day 6 - Uber View of London Eye

By the way, did I mention that we ate on the early side so that we could get back to the hotel in time for – wait for it – the series finale of Downton Abbey? Yes, gentle readers, we had already seen all of season 6, save for the final holiday episode. How lucky are we? No spoilers here. Just know that we’ve seen it all, and mum’s the word.

Day 6 - Downton Finale
Opening Downton Abbey credits – for the very last time

All good things must come to an end and, on Saturday morning, we got into a taxi and made our way to Heathrow, where our BA flight was waiting to return us back home (and to reality).

Day 7 - BA Concorde Room - AAC
AAC CPA hanging out in the Concorde Room prior to boarding our flight

Day 7 - BA 177 - AAC
And settling in for the 8-hour flight home (with Mimosa)

Here’s our lunch menu:

Day 7 - BA 177 - Lunch Menu

I opted for the fillet of veal, which was pretty good:

Day 7 - BA 177 - Entree

And then, several hours later, it was time for afternoon tea, British-style:

Day 7 - BA 177 - Tea

Post-script: The flight landed a few minutes early but, due to some unexplained issue involving attaching the jetway to the plane, we were delayed for about 40 minutes!!

An imperfect end to a just-about-perfect trip.

Happy New Year, everyone!!

PS. Next week, we’re off to Buenos Aires and then, via Crystal Symphony, we’re sailing to Antarctica. More to follow!

Blog Detour – Bayreuth

Gentle Readers:

As I’ve previously mentioned, I’m enrolled in an online blogging course in order to improve my skills and, hopefully, to give you a better experience.

It turns out that today’s assignment is to write a post that builds on a comment that I posted on another blog that was of interest to me.

Therefore, I’ll apologize in advance for those of you who may say: “Why is he talking about that opera crap again?” But please bear with me, as you might find this post more interesting that you had originally thought.

Imagine this:

There is a opera house in Bayreuth (pronounced bye-roit) Germany, which was built between 1872 – 75 for the express purpose of presenting Richard Wagner’s magnum opus, Der Ring des Nibelungen. For those of you unfamiliar with the Ring, Wagner spent over 20 years composing these 4 operas or, more specifically, a Prologue (Das Rheingold) with 3 operas to follow (Die Walküre, Siegfried and Götterdämmerung). If nothing else, the audacity of an artist creating an entirely new style of music and operatic presentation spread over 4 evenings (and 15+ hours) has to be respected. This grand work would be presented as a Festival and, indeed his theatre is called the Festspielhaus (Festival House). The demands (and, hopefully, the rewards) of presenting the Ring placed upon the singers, orchestra, designers and, not least, the audience, would be unprecedented.

Bayreuth - R Wagner
Richard Wagner – The Meister

Why Bayreuth? Wagner wanted a location that was far away from virtually anything that would interfere with the audience’s complete concentration on and attention to his Ring. Additionally, he needed a huge stage on which to present the operas. There is another opera house in Bayreuth that Wagner thought might work, as the stage was unusually deep. However, when Wagner saw the opera house, he thought it was too rococo for him and the Ring. He wanted something much simpler that, again, would not distract his audience from what he had called his Gesamtkunstwerk, defined by Webster as “an art work produced by a synthesis of various art forms (such as music and drama)”.

Bayreuth - the Other Opera House
The other opera house – too rococo??

And another challenge that continues to this day: Bayreuth is not easy to get to (unless you live somewhere in Europe and like to drive). The first time I attended the Festival, I was able to fly from New York to Frankfurt and then fly on a “puddle-hopper” to Bayreuth. Nowadays, you’d need a private plane to fly into Bayreuth, which, in the alternative, leaves you with a 4+ hour train ride from Frankfurt (with a change of train in Nuremberg). It’s a LONG trip!

Bayreuth Map
How to get to Bayreuth

In order to get his theatre built, Wagner finagled the funds from mad King Ludwig of Bavaria, who was entirely under Wagner’s spell ever since he had seen a performance of Lohengrin as a child. (Wagner had that effect on many people. He was, by most accounts, a terrible person but, arguably, the most important and influential artist of the 19th century.)

Bayreuth Ludwig
King Ludwig of Bavaria

The theatre was unique when it was built and still is. Inspired by the Greek amphitheaters, the main floor is fan-shaped and has 30 rows. Behind and above are several sections (loge and balcony) and, of course, a royal box for the Swan King (Ludwig). There are 1,900 seats altogether and no boxes for the “important people”. Seating was intended to be entirely democratic.


The Festspielehaus

Bayreuth - Interior
Inside the Festspielhaus

The most unusual feature of the theatre is that the orchestra pit is famously and entirely concealed from view of the audience. Wagner intentionally designed it this way so that there would be no distractions when watching his grand works. Additionally, Wagner’s theatre was the first ever to present the operas with the house lights entirely turned off, an innovation at the time. In this way, the audience, sitting entirely in the dark, couldn’t “yoo-hoo” at friends and frenemies during the performance and had to pay attention. The beginning of Das Rheingold with its ominous E-flat bass notes which morph into the music of the Rhine river is played in complete darkness, so dark that you can barely see your hand in front of your face. Imagine what that must have been like for audiences accustomed to a totally different experience when attending the opera. It was nothing less than revolutionary.

Bayreuth Orchestra Pit
The invisible orchestra pit

Wagner originally had the crazy idea that he would build this theatre, the Ring would be presented and, afterwards, the theatre would be torn down. Well, that didn’t happen, did it? Wiser heads (including his own) prevailed and after the world premiere of the completed Ring in 1876, plans were immediately made for another Festival at which all of the mistakes of the first year (and there were many, many mistakes) would be corrected.

But it was another 6 years before the next Festival and, as it happened, the Ring was not presented. Instead, it was the world premiere of Parsifal that the audience heard and which Wagner had composed with the Festspielhaus’ unique acoustic in mind. This time, Wagner had a complete triumph: the perfect opera, with the perfect cast and a perfect production (perfect, at least, for 1882). Buoyed by this success, plans were made to get the Ring back into the theatre pronto. And then, 6 months later, Wagner died in Venice.

It took several years, but the Festival was eventually resurrected by Wagner’s widow, Cosima (who, incidentally, was the daughter of Franz Liszt).

Bayreuth R Wagner Cosima Siegfried
Family Portrait: Cosima, Siegfried, Richard

Over time, certain traditions were created that continue to the present day. It was decided that, in addition to the Ring and Parsifal, only the Master’s mature works (Der fliegende Holländer, Tannhäuser, Lohengrin, Die Meistersinger and Tristan und Isolde) would be presented. Without fail, the Festival would open each year on July 25th and close on August 28th. The Festival would be a workshop, at which each production would be presented for several years and, in each successive season, return to the rehearsal studio to refine, improve and rethink each opus.

After Cosima’s death, the Festival was handed over to her son, Siegfried (who, by the way, was GAY, but people didn’t talk about such things back then). Upon his premature death in 1930, the Festival was taken over (stolen??) by his widow (wait – he was MARRIED????), Winifred, who presided over the Festival for the next 14 tumultuous years.

You see, during the 1920s, she had become friends with this up and coming politician of whom she was much enamored. In fact, she was so bewitched by this charismatic young man that, or so the story goes, she provided him with the paper on which he wrote his most famous book: Mein Kampf. And that’s how Adolf Hitler – who was Richard Wagner’s #1 fan – came to be a fixture at Bayreuth through the 1930s and, finally, the 1944 Festival, after which the theatre shut down (almost for good).

Bayreuth - Hitler
Winifred, Adolf and Wagner Progeny

But wait: Siegfried and Winifred had 2 sons – Wieland and Wolfgang who, after the war (and after being denazified), were allowed to reopen the Festival in 1951. Because there was no money, and because there could be no compromises on the presentation of the music, Wieland caused another revolution by what he put on the stage which was, basically, nothing except the singers, some very simple set pieces (such as a circular platform for the presentation of the Ring) and the most effective lighting that had to that time been seen in a theatre. It caused a sensation: although the old guard was outraged at what they were (or more correctly, weren’t) seeing, there were others who were enchanted and, in fact, relieved not to be seeing all that Teutonic stuff strewn all over the stage.

I think it was a masterstroke of luck that the Festival was practically bankrupt after the war, which enabled Wieland and, to a much lesser extent, Wolfgang (who didn’t possess anywhere near the talent of his brother) to create a new style of presenting their grandfather’s work, which completely severed it from any connection to Hitler and the Nazis. In fact, Wieland was solely responsible for ushering in “Der Neue Bayreuther” or New Bayreuth.

Compare and contrast:

Bayreuth - Original Rheinmaidens
The original Rhinemaidens, 1876

Bayreuth - Chereau Rhinemaidens
Patrice Chereau’s Rhinemaidens, 1976

Since 1951 and the reopening of the postwar Festival, there have been more revolutions: the Centenary Ring in 1976, staged by the late, great Patrice Chereau and conducted by Pierre Boulez. It was Chereau’s concept to present the operas in Wagner’s own time (and during the Industrial Revolution) and to focus on the evils of capitalism and anti-Semitism. Chereau, who had directed only one opera before taking on the Ring, was a masterful director who had no preconceived notions about these operas and worked from the text. The singers in this production who most benefitted from working with Chereau – Gwyneth Jones as Brünnhilde, Donald McIntyre as Wotan, Peter Hofmann as Siegmund and Heinz Zednik as both Loge and Mime – gave the performances of their careers and presented acting that was so natural and believable that it created a very special experience for the audience.

Bayreuth - Chereau ca 1976
Patrice Chereau, ca. 1976

Bayreuth Chereau Rheingold

Bayreuth Chereau Walkure Jones Hofmann

Bayreuth Chereau Walkure

Bayreuth Chereau Gotterdammerung
Images from the Chereau Centenary Ring, 1976

Two interesting anecdotes about these premiere performances:

The initial performance of each opera was broadcast around the world and the audience got more and more testy as each production unfolded. Now it wasn’t necessarily unusual to hear booing at the Festspielhaus at the end of a performance, but how about at the beginning of Act III of Götterdämmerung DURING THE MUSIC?? You can actually hear the opening of the act, imagine the curtain rising and, then, there it is – LOTS of boos, along with some segments of the audience “shushing” the dissenters, or were THEY the dissenters?? The production was so controversial that it’s hard to tell.

Fast forward to the Festival of 1980 and the retirement of Chereau’s Ring. I happened to hear the very last performance of  Götterdämmerung on a radio broadcast and what a difference 4 years makes. At the conclusion of Götterdämmerung, the curtain calls (and cheering, no boos this time) lasted for something like NINETY minutes! Whatever it was that repelled and outraged the audience in 1976, they were now completely under the spell of a masterful and game changing production.

So, after all that, you wanna go to Bayreuth? Any opera lover worth her salt should make that pilgrimage at least once. Hold on. It’s not that easy.

Remember when I said that the theatre had 1,900 seats? Generally speaking, there are 30 performances presented each year for a total of 57,000 available seats. However, attendees to Bayreuth are not going to travel all that way to see one show – they’ll probably want to see everything presented that season (usually the Ring and 3 other operas).

So, there are 57,000 available seats. But each year, the Festival gets something like 250,000 requests for seats. And each of those people wants to see everything, too. In the past, ticketing was managed by the “Wagner computer” and, if you applied every year without fail (you’d be punished if you missed even one year), the typical waiting period to actually get seats was about 10 years!!! Nowadays, some tickets for each season are available on the internet at the Festival’s website and, if you’re fast and lucky enough, you might even secure seats. These intrepid souls may actually hop to the front of the line and get in, and good luck to you!

As if that weren’t enough, Wagner never factored comfort into the design of the theatre. What do I mean? Well, for instance, the seats are pretty uncomfortable (not much padding and no arm rests) and the theatre is not air conditioned. This may not seem like much, but I’ve been to Bayreuth during incredible heat waves and the temperature inside the auditorium rises to over 100 degrees. In the old days – I don’t know about now – formal attired was REQUIRED, so there you were in your tuxedo with the sweat running down your back.

And did I mention that Wagner’s operas are LONG?? Das Rheingold, the “prologue” to the Ring, runs anywhere from two hours, fifteen minutes to two hours, forty-five minutes (depending on the conductor) and is played in ONE ACT!!!!! No intermission!!!!!!! No bathroom breaks – no one would DARE to attempt to leave the theatre during a performance, and you couldn’t even if you wanted to!!! And in a theatre in which, during a heat wave, you could bake a cake!!!!!

But guess what? It’s totally worth it. On the right night, with the right singers and conductor, and with a director who knows what s/he’s doing, you will have the most magical, inspiring and moving experience you’re likely to have in an opera house.

CULTURE TIP: Bayreuth Festival Website

PS. Part of my assignment is to link this post to the blog which inspired it. Here ’tis:

Emily Abroad

SEX! LUST! MURDER! DEPRAVITY!! LULU RETURNS TO THE MET

Considered by many to be the greatest opera of the 20th century, Alban Berg’s 2nd and final opera, Lulu, will open in a new production by William Kentridge at the Metropolitan Opera on Thursday, November 5th. It is one of the most anticipated performances of the season.

See the Trailer for Lulu

Lulu had its Met premiere on March 18, 1977, in a John Dexter production, conducted by James Levine and with Carole Farley in the title role. At the time of his death in 1935, Berg had completed only portions of the 3rd act (including the opening, the interlude between scenes one and two, and the grim finale). The Met performed acts one and two and, then, interpolated a third act by using the material that Berg had completed, adding music from his Lulu Suite and spoken dialogue from the source material, Frank Wedekind’s two Lulu plays.

Lulu - 1977
Lulu at the Met in 1977

Even though Berg had left an incomplete score, there was enough material available for it to be finished. Following Berg’s death, Austrian musician Erwin Stein prepared a vocal score of the complete 3rd act, working from Berg’s sketches.

Berg’s widow – Helene – reached out to influential composer Arnold Schoenberg to complete the orchestration of the 3rd act, a task he at first accepted, but subsequently declined. The public story is that, upon reflection, he decided that the scope of work would be too time consuming; another explanation for Schoenberg’s change of heart is that he was offended by the use of an anti-Semitic slur – “Saujud” or “pig-Jew” – in the libretto. Helene, being fiercely protective of the opera, thereafter refused to allow anyone else to complete the 3rd act and, until her death in 1976, the opera was performed in the two-act version and sometimes, as in the 1977 Met production, a 3rd act was interpolated from material that was available.

Immediately following Helene’s death, the rights to complete the work became available and the project was entrusted to Viennese composer and conductor, Friedrich Cerha. Although his work was not finished in time for the 1977 Met performances, the world premiere of the complete Lulu was presented by the Paris Opera on February 24, 1979, conducted by Pierre Boulez, produced by Patrice Chereau (who, three years previously, had had a hugely controversial success with his production of the centenary Der Ring des Niebelungen at the 1976 Bayreuth Festival), and with famed Canadian soprano Teresa Stratas in the title role. The Met premiere of the three-act Lulu was in December 1980, again with Levine on the podium and Stratas onstage as Lulu.

Lulu - 1980
Teresa Stratas as Lulu – 1980

Berg based his opera on two plays by Frank Wedekind: Earth Spirit (1895) and Pandora’s Box (1904). (If Wedekind seems familiar to you, it’s because it was his source material that was used in the 2006 Broadway musical, Spring Awakening.)

A new production of Lulu is always met with great anticipation because of the demands placed on all participants – from the conductor to the singers to the director and the designers, and, not least, the audience – everyone is challenged to up his game.

What is it about Lulu that is so exciting and, yet, so formidable?

While it can be argued that many operas are music first and theatre second, Lulu is theatrical to its core. To borrow an unattractive phrase used to describe the “old style” of operatic acting: you cannot park and bark but, rather, you must give a fully committed performance both musically AND dramatically. Both the Chereau and Dexter productions were not only fastidiously musical but, also, fabulously theatrical and cast with amazing singing actors, led by the charismatic Stratas.

There are no fewer than 24 characters and, for purely dramatic reasons (and as indicated in Berg’s score), some singers play multiple roles. The title role requires not only the embodiment of the ultimate femme fatale, but also a voice that can handle a huge vocal range, coloratura, and declamation. In order to succeed, whoever portrays Lulu must also have star quality and the ability to seduce every character (less one) onstage as well as everyone in the audience. It is a tall order.

I am no musicologist by any measure, but I can tell you that the musical structure of Lulu is like a palindrome, which is fitting for the rise and fall saga of Lulu herself. While the musical composition relies on the 12-tone system, Berg brought to his score an intensely romantic approach. Operagoers who might be asked: “What would you prefer to see tonight – Aida or Lulu?” – will invariably choose the former because they believe that the music of Verdi will enchant them; but the more discerning operagoer must always choose Lulu: first, because it’s rarely presented and, more importantly, the musical riches and beauty of the score are irresistible.

The Met’s new production of Lulu will be directed by the great South African artist William Kentridge. He is renowned for his prints, drawings and – especially important to any production of Lulu – his animated films. He made a spectacular debut at the Met in 2010 with the company’s premiere production of Shostakovich’s opera, The Nose. Anthony Tommasini reported in his New York Times’ review of March 6, 2010:

“It has become commonplace at the Metropolitan Opera for directors and designers of new productions, especially modernist high-concept ones, to be lustily booed by a sizeable contingent of the audience during opening night ovations.

“But on Friday night, when the met introduced its production of Shostakovich’s early opera, ‘The Nose’, the South African artist William Kentridge, who directed this production, helped design the sets and created the videos that animate the staging, received the heartiest bravos.”

Lulu plays to all of Kentridge’s strengths as a director. Here is a brief interview with him from the Met’s website:

William Kentridge discusses Lulu

Print Interview with William Kentridge

The Met has assembled, arguably, the most luxurious cast available today. Marlis Petersen is today’s “go-to” Lulu, having appeared in many productions going back to 1997. Besides having the vocal chops to get through this marathon role, she is also a stage animal who makes this character come alive in the most disturbing ways. I saw her in the last revival of the Dexter production about 5 years ago and she was sensational. From Steve Smith’s New York Times’ review of May 9, 2010:

“In the German soprano Marlis Petersen, the Met has a charismatic, technically assured protagonist. That Ms. Petersen’s Lulu was rarely seductive in any genuine sense seemed to be precisely her point: more often than not, she was both a scarred adolescent fascinated with the powers of her sublime figure and face and an amoral kitten prone to remorselessly raking everything within reach. Her wasted placidity in the final scene was deeply affecting.”

MET-Lulu-2015
Marlis Petersen as Lulu

Making her role debut as the Countess Geschwitz, who may be the only character who truly loves Lulu (and, perhaps, the first openly lesbian character in all opera), will be Susan Graham, whose illustrious career includes such defining roles Didon in Les Troyens, the title character in Iphigénie en Tauride, and Marguerite in La Damnation de Faust. She has also championed contemporary opera, appearing in leading roles in Vanessa, The Aspern Papers, Dead Man Walking and The Great Gatsby.

Graham
Susan Graham

Finally, what would a new production be without a whiff of scandal? On Friday, October 2nd (a/k/a “news-dump-day”), the Met discreetly announced that James Levine, Music Director of the Met who has conducted all but a handful of the Met’s 35 performances of Lulu, had “dropped out” of the new production – 5 weeks before the work’s scheduled premiere. Mr. Levine has had many health challenges over the past half-dozen years, but it does seem odd that he would withdraw from performances of an opera that he has championed over the years so close to the first performance. Perhaps there’s more to tell, but that will have to wait for another day.

In the meantime, I encourage anyone with an interest in great music theatre to get your tickets for Lulu. And, if you’re unable to make it to the Met to see it, you could instead attend the high definition transmission, which will be shown all over the world, on Saturday, November 21st at 12:30 PM (ET).

See Lulu at the Metropolitan Opera

See Lulu at a Theatre Near You