Diary of a Culture Hedonist

It was the 3rd performance of the Tsar's Bride at the Royal Opera when I went. So I was not sure what to expect. Rimsky-Korsakov's score was great - lighter than I thought. As one would expect from a largely Russian cast, the basses boomed and the sopranos sang well on top of the orchestra. The diction was good and, as it is a repertory piece for most Russian opera houses, it came across polished.    The production and design was rather good. Even though the opera was set in sixteenth century Russia, the production was definitely 21st century metropolis: it moved from a swanky cafe to the shopping street of Moscow. Act 3 was set in a roof top penthouse with a swimming pool complete with glittering guests and well groomed waiting staff - how it reflected the decadence of the oligarchs. The amazing thing was that it really worked.

I am indifferent about Fidelio. I have seen it many times. It doesn't do it for me. So why did I see it again on Saturday??? Hmm. Act One. It's not good to hear a split note from the horns right at the opening of the work. Yes the orchestra played it together, but the brass was rough and the strings were sloppy. It sounded like a rehearsal but in fact it was the last performance of this run. That's bad. Kurt Rydll was a capable and sympathetic goaler. Nina Stemme, who was superb as Isolde a season ago, was a more subdue Leonore. The whole of this act, despite of the masses on stage and a suptuous production from The Metropolitan Opera, was dull, dull and dull. Act Two. It got off to a better start with Endrik Wottrich as the imprisoned Florestan. He sounded lyrical and pensive. Nina Stemme's subdue tone was replaced by an insistent and eventually vigorous one when she succeeded in rescuing Florestan. The final big sing scene was grand. David Syrus, Head of Music a...

Never turn down a restaurant recommendation from a Italian Manhattanite. Ovest was just round the corner on 10th Avenue an 27th Street. OK it was a business lunch so had to order food that could be eaten easily while talking. The risotto with lemon and prawns were great - very southern. And the granny's lemon tart (torta di limone nonno) was fluffy light and not too tart. Nice.

My plane from Chicago was running late, and I thought I might have to drag my suitcase from La Guardia to Lincoln Centre! Luckily the tailwind helped the plane catch up. So I got to the Met in good time for Capriccio. It was the 9th performance of Strauss's last opera Capriccio at The Met. I was surprised - I thought it would have been performed more often. The opera didn't get off to a good start. The sextet overture was scrappy and the phrasing was not entirely logical - it sounded like those playing in it didn't rehearse enough. And there were some excruciating moments. Never mind. Joseph Kaiser was Flamand the composer who looked and sang wonderfully at the opening. Russell Braun was Olivier the poet whose more mellow tone reflected the role well. Peter Rose sang the role of La Roche with depth and compassion - especially his rant which was superb. The star of the show, Renée Fleming, was superb - she delivered playfulness and class throughout, culminating in ...

OK, it was a very dull and grey day, but it was still great to see new wing at the Art Institute of Chicago Renzo Piano's. The new space was devoted to largely modern art - spacious and well lit.

It's apparently well-known to the locals. Greens is in one of the rejuvenated warehouses in Fort Mason on the other side of Fisherman's Wharf. Annie Somerville uses the most local, fresh and where possible organic ingredients to concoct lots of delicious vegetarian dishes. There were no nut-roast or big bowls of lentils - all the dishes celebrated vegetables as they were. There were lots of good flavours - the seasonal asparagus were great, the potato cakes were really wholesome, and the salads were amazing. BTW the view looking out to the Bay was spectacular at sunset.

The soloist Yundi was an up and coming star in the piano world until Lang Lang came along and stole the limelight. So it was a delight to get a chance to listen to Yundi play Tchaikovsky piano concerto no 1. The opening movement had a certain briskness to it. Yundi's long phrases were punctuated by percussive interjections from the brass section of the orchestra. Apart from a few slips, this movement was well played. The second movement had an unsteady start - with Yundi pushing for a brisker tempo than what the orchestra was prepared to give - so the first few phrases rocked a little. But everyone was soon back in "concert". The last movement was probably the best - the orchestra kept pace with the soloist. The fiendishly difficult cadenza gave Yundi the opportunity to show off his virtuosity - fingers flying cross the keyboard. The second half of the concert was Sibelius second symphony. This gave me the real opportunity to hear the San Francisco Symphony Orchestra ...