ENO bringing Egyptian archaeology to life on stage with Philip Glass’ opera Akhnaten. ENO encourages photos of their theatre’s interior and the curtain-calls; my phone’s lens gives just a taster of this production’s sumptuous costumes and props. #enoakhnaten
Philip Glass - Akhnaten
Thirty-five years or so on from the premiere of Akhnaten, Philip Glass’ opera about the Egyptian sun god, we are much more practiced at reading symbolism and conceptualism on stage. This now seems like a period piece, rather grand and indulgent but still at first sight, also rather vacuous. The thrill is in seeing Egyptian archaeology come to life on stage with so much precision movement and synchronised juggling which reflects Philip Glass’ minimalist music composed of so many repetitive structures.
So Matthew Bourne’s Swan Lake is not just mainstream, but striped across the schedule for up to two performances per day at Sadler’s Wells theatre as the main Christmas programme. Maybe we shouldn’t be surprised, in its original version Matthew Bourne’s Swan Lake was uncannily true to Tchaikovsky’s music and spookily accurate with its reading of the Prince as emotionally stunted, almost sociopathic and the swans as the voices in his head of good and evil.
Colourful, exuberant and loud: I’ve been at the afternoon performance of one of the most popular of all of this year’s Prom concerts, there are two performances of the same programme; not many programmes get a second airing. The broad audience for musical theatre queued in their droves, this a clearly a bargain for the many tourists who come to London for the musicals. and I am told that the queue for day tickets was already long at 9am. A predominantly girlie audience amongst the promenaders down at the front of the arena. And the concert performance was great fun with lots of exuberant energy. Orchestra and singers with amplification, which is required for the style of musical theatre but does reduce the subtlety of the sound.
Charlie Hides as Judy Garland performing “All I want for Christmas” the Royal Vauxhall Tavern. Her Christmas set this year also includes items as Cher, Abba and (bizarrely) Delia Smith.
I thoroughly enjoyed this Prom. It was fun, it thrilled and it had light moments as well as the dark. The colour was turned right up full for the Alpine Symphony, the BBC Scottish Symphony Orchestra and conductor Ilan Volkov seemed to be enjoying the piece and that came over in an exuberant joyous performance. The glacier amazed, the mountain peak thrilled and the storm threatened. The homecoming and the final resting peace completed Richard Strauss’ complicated score for a large orchestra. They carried it off with aplomb and more, a pride and sense of occasion. Lots of genuine smiles at the applause. Maybe it helps that they are Scottish and have their own mountains: surely many of them will take their boots to the hills when not performing.
The Alpine Symphony was certainly "maximum acoustic drama" on stage but it was Mozart’s Serenade K286 for Four Orchestras that was billed as "maximum acoustic drama" because the four bands performed from different locations in the hall, the stage, the rear of the arena, in the gallery and the circle. So this was like an Ambisonics demo with sound both all the way around and with height. I was standing down the front and the timing, as the themes were handing around by the score, reminded me of those attempts on the Last Night of the Proms to get remote audiences to sing along to the audience in the Albert Hall. But Mozart’s music thrived on the effect, transporting one to a warm summer evening performance in, say, a castle or a palace