Diary of a Culture Hedonist

Robert le diable was very interesting for me on so many counts. In David Cairns' biography of Hector Berlioz, there was a lot of mention of Meyerbeer in Paris at the time - yet I'd no exposure to Meyerbeer's operas. Then a friend of mine said "there are reasons why some operas don't get performed much - they weren't any good". And there was my sheer curiosity to be exposed to one of the first "grand operas". So, voila, Robert le diable at the Royal Opera. Laurent Pelly's new production was grand. Lots of movements and textures. Lots of people. The cast of many sang well - and in particular Bryan Hymel. Not sure whether the "ballet" worked in the middle act - it was dancing around lots of obstacles. And how was it in the end? There was not a dull moment. Musically? No, it's no match for later grand operas. But then one has to put this pioneering work into context. For sure, one felt entertained for the evening. Perhaps it...

It was an epic journey. Having seen the complete Ring a few times now, I still found myself completely immersed in the experience. Here were some memorable moments (good and bad): Sarah Connolly as Fricka was a surprise. Having seen her mainly in trouser roles, she was a convincing Wagnerian mezzo! Bryn Terfel as a less bombastic and more pensive Wotan. His best yet.  The ring of fire had a hiccup  at the end if Die Walküre - but the fire came on eventually so all as well. Simon O’Neill was super as Siegmund, and well matched by Eva-Maria Westbroek as Sieglinde - their duet at the end of Act I was exhilirating. It took me a long time to get used to Stefan Vinke as Siegfried - there is something odd in the way he shaped the beginning of the words. Then again, you can't beat him for the stamina he'd demonstrated throughout Siegfried. Woops,  Wotan's spear was shattered before Siegfried got there ... there was this collective gasp in the audience!  ...

OK. This is a film. But it's Don Giovanni. Oh wait, it's not an opera on film. But it's a film opera. Or is it opera film? Anyway, I went to a private screening of JUAN and it was surprisingly good. Kasper Holten (current Director of Opera at the Royal Opera) directed the film. The plot is based on Don Giovanni - but with a big chunk cut out. It's in English. Christopher Maltman (singer, not librettist) translated Da Ponte's text. The film was engaging, intriguing, and not bad entertainment. If you have not seen it, give it a whirl - you might like it!

The New Department of Islamic Art was only opened on the 22 Sept 2012. As I was in Paris, this had to be a must stop! And I was not disappointed. As more and more museums around the world re trying to raise the profile of this great culture, none was more bold than this at the Louvre - a new wing, exciting architecture and superb curatorship. One of the most amazing pieces of art on display was the mosaic from the Damascus Mosque in Syria. The colours are so vivid and exiting, yet the abstract quality (when looked at up close) almost pointed to impressionist art that was yet to come. The curves, lines, motifs and chiaroscuro were just enchanting. There were a wealth of display of ceramic, tiles, mosaics etc., and one needed at least a couple of hours to give the exhibits justice. Do go!

I couldn't cope with the hordes of tourists inside Musée du Louvre. So, breakfast had to be at Café Marly. It's one of my old favourites and I'm glad to report that the staff continued to be professional with just enough politeness to stop you thinking how rude Parisians can be. Sadly, even this establishment was showing signs of economic strain - look at the chipped plate.

Yes, Paris, on a rainy night eating alone. Les Fines Gueules was just round the corner from where I was staying near Place des Victoires. Having read about it in the Time Out Paris guide, I thought I'd pop round for a late bite. The Veloute aux Petits Pois was delicious - enough substance to feel and taste the pea, yet velvety smooth in texture. Lovely. Next up was the steak with mash. Sounds simple. It was beautifully done - the beef was of very good quality (diners nearby had it a la tartar ). Each bite was juicy and full of that beefy taste. A delight. Dessert. I have to confess I didn't have enough space to eat this whole hazelnut pastry with a hazel cream sandwiched. But every mouthful was an explosion of ... praline! It was wonderful.

Britten's Albert Herring really works in an intimate theater - such as the Linbury Studio. This ETO production was pretty well cast: with most singers falling into their roles well. Mark Wilde' Albert Herring was earnest, fun and whimsical. Lady Billows (Jennifer Rhys-Davies) had the right sort of pomposity. The rest of the cast sang well. Diction was good. Michael Rosewell conducted the Aurora Orchestra which was relatively tight, though there were the occasional intonation problem. The direction from Chirsopher Rolls was effective at portraying the kind of small village of Loxford that Britten wanted to depict. Above all, it was funny - and the audience enjoyed it very much.