Vitra Design Museu

"It's a 15 minute taxi ride from Basel in Switzerland to the Vitra Design Museum in Germany" said the hotel concierge to me. I rushed back to my room, got my passport and took off (in a taxi) with my friends to this famous design museum. I sit on a Vitra chair every day (.03) so naturally I'd quite like to visit its birthplace.

It is located in the middle of nowhere (Weil am Rhein) on ... wait for this ... No 1 Charles-Eames-Strasse!!! I normally object to the idea of a guided tour but in this instance, it's worth it because I was taken to see the buildings designed by Gehry, Grimshaw and Hadid. The latter was amazing - as Hadid designed this angular slightly deconstructed "Fire Station" that is now a function facility. Visitors on this tour could roam freely inside this building - check out the funky locker room or the masculine breakfast table on the first floor.

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Dialogues des Carmélites at the Royal Opera

Michael Levine's set design for Dialogues des Carmélites was minimalist. Actually, was there any set design? I suppose the director Robert Carsen was clever at introducing formation of human figures in many different ways to suggest the context of the opera. It kind of worked. Blanche, sung by Sally Matthews, was pretty good. Though I did find the whole work quite tedious - I think the intimate nature of the dialogues needed a small and intimate performing space i.e. not the Royal Opera House. The ending was worth waiting for. Dramatic. Poignant.

Der fliegende Holländer at the Royal Opera

I have managed to avoid all the reviews as I didn't want them to taint my experience of the new production of Der fliegende Holländer at the Royal Opera. The long overture was accompanied by a seascape - essentially water running down a curtain across the stage forming the sea. The set was clever without cluttering the stage. A moving shadow represented the ghost ship - which had to be one of the most economical and convincing effects I have ever seen on the Royal Opera stage. Bryn Terfel was magnificent as the Flying Dutchman singing with lyricism and drama. Senta, sung by Anja Kampe, had a Wagnerian voice with her top note ringing through the auditorium. Even the supporting cast of Hans-Peter König (Daland), Torsten Kerl (Erik) and John Tessier (Steersman) was strong. The chorus was fantastic - with enough singers carrying the drama. Marc Albrecht at the helm in the pit got the orchestra to play dynamically without losing the details. I am hoping this Dutchman will return to the...

Saul at Glyndebourne

What a superb revival production directed by Barrie Kosky. The big choruses were done with the singers doing slo-mo mannerism action. Markus Brück was particularly fine with Saul, and the rest of the cast did a super job to bring this oratorio to life. Laurence Cummings maintained dramatic momentum with the OAE while darting from the rostrum to the organ - including playing the solo intro on a spinning organ on stage!

Diary of a Culture Hedonist

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