December 30, 2007
Record Industry to Consumers: Even If You Bought The CD, You’re Still A Crook
Music
MADAMA BUTTERFLY
Last season’s new production of Giacomo Puccini’s opera, from Moshe Leiser and Patrice Caurier, is being given a revival at the Royal Opera House. Sung in Italian with English surtitles, Madama Butterfly shows the tragedy that follows after the American officer Pinkerton deserts his Japanese “butterfly”, Cio-Cio-San. Until 4 November. Royal Opera House, Covent Garden WC2. 020 7304 4000
THE RAPE OF LUCRETIA
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7, 8 November: The myth of the loyal wife and her tragic encounter with Tarquinius has been told and re-told countless times in art and music, and in Britten’s version of the tale, he manages to unite Roman history and English opera. Sarah Connolly and Christopher Maltman return for the English National Opera’s fully staged version, performed at the Barbican. It’s conducted by the ENO Music Director Paul Daniel, and directed by David McVicar. Barbican Centre, Silk Street EC2. 0845 120 7595
CLASSICAL CONCERTS
MAHLER’S SYMPHONY NO 2
4 November: For his fifth London performance of Mahler’s Resurrection, conductor Gilbert Kaplan will be joined by the Philharmonia Orchestra, soprano Diana Damrau and mezzo-soprano Nadja Michael. Kaplan studied the work for a year before he felt ready to give his first performance in New York in 1982, and he managed to acquire Mahler’s original manuscript score a couple of years later. Royal Festival Hall, Belvedere Road SE1. 020 7960 4242
YOUNG BALTIC TALENT
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2 November: The second annual Young Baltic Talent concert features the best undergraduate and postgraduate students from Estonia, Latvia and Lithuania, performing both classical and modern pieces. To help get into the swing of things, “Baltic bites” will also be available. Guildhall School of Music and Drama, Silk Street EC2. 020 7628 2571
ROCK & POP
Music
In the programme book, Cascioli said he picked Beethoven’s two sonatas, Op 26 and Op 27 No 1, because of their crucial place in the 30-year-old composer’s development, where he turned to explore new paths. True enough, but they are not the sort of works with which a young pianist can easily impress a new audience. Although Op 26 contains a splendid funeral march and Op 27 No 1 a substantial and vigorously argued finale, both have relatively low-profile first movements and limited opportunities for expressing extremes. Cascioli played them beautifully, with a great sense of security and ease, as well as the sort of mellow sagacity not readily associated with a 16- year-old. I could hardly believe my ears.
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But in Debussy’s first book of Preludes, which followed the interval, there could not be the slightest doubt that Cascioli was entirely prompted by his own imagination. This was playing not only of superlative technical finish, but real re-creation, in which the pianist seemed to identify completely with each piece and make it his own. Voiles was blissfully lazy, yet minutely precise in suggesting varied disturbances of an underlying calm. Le vent dans la plaine was exquisitely controlled, delicious-sounding, with its cracks of violence dead on target. The nuances of keyboard colour in Les sons et les parfums were perfectly judged, while Les collines d’Anacapri was a vivid tone picture of an Italian landscape and its associated sounds, almost tangibly evocative. Des pas sur la neige was more delicate than usual, neither ponderous nor sludgy, after which Cascioli created a hushed mood of muted threat at the start of Ce qu’a vu le vent d’ouest and built up from it tremendously.
Music
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MUSIC
Although only 12 tracks made the final cut, their impressive work ethic has paid off as they hit the No 1 spot, bringing the Arctic Monkeys’ three-week reign to an end. Minutes to Midnight is the first hard-rock No 1 since July, when both Lostprophets and Muse hit the top. At No 2, Rufus Wainwright (above) finally hits the commercial big-time with his fifth album Release the Stars, definitively beating his previous highest position of No 21 on the chart. Funeral for a Friend also score their first top 10 album with their third offering, Tales Don’t Tell Themselves.