July 17, 2015

Shadows is here!

EVERYMAN

 

Admetus, Peter and I went to the live cinema screening of the National Theatre’s EVERYMAN tonight—yes, the medieval morality play*, yanked into the present day and adorned with bad language and cocaine by Carol Ann Duffy, of whom I am a besotted and drooling fan**, and when I saw this play existed and that, furthermore, the National Theatre was going to live-screen it I WANTED TO GO.***

IT IS WONDERFUL AND AMAZING AND POWERFUL AND TERRIFIC.  GO IF YOU HAVE THE CHANCE.  They do rescreenings for these live things some times . . . check your local listings.

* * *

* Which I read in college.  Hey, it’s shorter than Bunyan’s frelling PILGRIM’S PROGRESS.  Even us English majors have our limits.  Although I read most of Bunyan too.^

^ And I like Spenser, who usually appears on the same class syllabus.  Sue me.

* I admire both her poetry and her politics.  Generally speaking I remember a pressing engagement on the other side of the planet as soon as some arty type starts coming out in political activism like a rash, but there are a few who do it with aplomb, Duffy being one of them.  The fact that she’s hot on women’s and sexual and gender rights AND HAS A SENSE OF HUMOUR WITH IT might have something to do with this.^

^ Also my wet-liberal tendencies are getting larger and meaner and shorter-tempered+ as my Street Pastor and Samaritan duty hours rack up.

+ Frightening.  Yes.

*** There followed several months of frustration.  I cannot BELIEVE the level of meatloafhood in many and possibly most arts and entertainment web sites.  ARRRRRRGH.  I think I only found out about either the play or the live screening because I’m on the NT’s STREET MAIL CATALOGUE LIST.  But you have to buy your tickets from your local cinema, supposing you can find the right local cinema, since the cinema list on the NT site will not match the local cinema’s information when, the NT link being dead or missing, you try your local cinema’s own web site.  This tarantella of frustration is further enhanced by the original performance site—in this case the National Theatre, but it is by no means the only perpetrator of this variety of on line crime—whining continuously in obtrusive pop-up boxes for your location so it can give you a personally tailored web site experience, and, when you cave and give it to them, and it is, let’s say, Hampshire, immediately offering you 1,000,000 cinemas in London.  THANKS EVER SO.  I KNOW IT SOMETIMES LOOKS LIKE THE ENTIRE SOUTH OF ENGLAND IS A LARGE BEDROOM COMMUNITY FOR LONDON BUT SOME OF US REALLY LIVE HERE.^

Meanwhile . . . I could not persuade my local cinema to take my money and give me some seats for EVERYMAN, and since it’s a flapdoodling cinema chain, you can’t get a local human being on the phone—nor is the on-the-ground ticket office open during ordinary town-errand-running day hours—to tell you if it’s coming to your particular local.  The chain’s theatre local to a town 300 miles away is not really what you are after.  ARRRRRRGH.  So the NT web site went on saying it was here, and here went on saying Page Not Found.  So I finally threw up my hands^^ and bought tickets at a theatre in Greater Footling, which isn’t impossibly far from here.^^^  I didn’t find out that yes, indeed, EVERYMAN is coming to the local scion of national cinema glory until we walked in to see the Royal Opera House live screening of GUILLAME TELL~ there a fortnight ago, and saw large flashy posters for EVERYMAN on the walls.  AAAAAARRRRRRRRGH.

BUT THE STORY DOES NOT END HERE.  In the first place, there are two theatres belonging to this other incompetently head-officed and web-sited cinema chain, AND with nearly the same name, ie the Toadstool and the Toadstool Phoenix, both of them not merely in Greater Footling but the same end of Greater Footling and Greater Footling is not exactly a gazillion-citizen megalopolis AND BOTH OF THEM WERE SCREENING EVERYMAN.  Go figure.  Admetus had looked up how to find the Toadstool Phoenix and I had looked up the Toadstool, and there was a certain amount of frantic cross-checking yesterday.

Well we got that sorted and we even successfully arrived at the Toadstool~~.  Now my on line booking was, according to what I printed out to take with me, only a booking and we had to get there HALF AN HOUR EARLY to pick up the tickets.  Fortunately, having wasted time going in several wrong directions, we got there only about a quarter hour early . . . fortunately because the box office was not open.  The ticket machine did not show EVERYMAN.  The androids behind the snacks counter were only programmed to provide snacks.  The whole dranglefabbing complex was pretty comprehensively deserted and since there are 1,000,000 screens at the Toadstool Stepford we might still be there wandering hopelessly down identical corridors except the screen number was on my booking page.  We went there.  We decided we didn’t like the seats I’d booked—who can tell anything from a web schematic—and sat somewhere else.  Since there were only about ten of us perched randomly in a theatre that would probably seat 200 it didn’t matter too astonishingly.  And no one ever checked our booking, or asked for our tickets, or offered us a wet fish or a glass of Prosecco, or anything else.  But there must have been a Stepford minion pressing the button for the show to run, because it did run.  Yaaaaaay.

^ The worst offender in the web site visitor location category however is the frelling New York Metropolitan Opera.  I don’t know what the frelling doodah is going on with the Met Live this year—tickets should be on sale by now—and I can’t find a cinema anywhere around here that admits to screening it, including the one I’ve always used in the past.  But if you click through all the dazzle to the Met Live page on the Met Opera site, and ask it to find you your local cinema, it will ask you for your country and then for your city.  I clicked hopefully on Mauncester, which is even on the Met Live drop down menu of Hampshire cities . . . AND THE CINEMA LIST STARTS OFF IN AUSTRIA.  THEN GERMANY.  THEN . . . Belgium, I think.  I forget.  But you’ve scrolled down several pages before you ever get to the UK at all.  If they’re trying to impress me favourably with the number of cinemas worldwide that screen the Met Live this is not having the desired effect.

^^ There may have been language.

^^^ Especially when Admetus is driving.  Ahem.

~ The now nationally if not internationally notorious new ROH production of GUILLAUME TELL.  Yes, yes, William Tell, but Rossini was an Italian writing for the French opera, okay?  Whatever you call it it’s supposed to be Rossini’s unknown masterpiece, never put on because it’s five hours long and you’re only allowed to write operas longer than four hours if you’re Wagner.+  I was THRILLED when I heard that the ROH was going to do it, and QUADRUPLY THRILLED that they were going to live stream it and live stream it at a cinema close enough for me to drive to.  YAAAAAAAAAAY.  I bought tickets more or less the moment they went on sale and was enormously looking forward to it.  ENORMOUSLY.

The beginning of that week I got a text from Admetus saying, erm, have you seen the reviews for the opening night of GUILLAUME TELL?  I hadn’t.  The hot young director++ in his creative capacity as an enormous flaming asshole had decided that the bad guys’ bad-guy-ness—whatever else you do with it, the story is still basically about a bunch of locals being stomped by an invading army—needed to be heightened, and never mind that Rossini and his text provider actually took quite good care of making the bad guys bad in the libretto—and so staged an extremely graphic rape scene during the chirpy ballet+++ at the beginning of the third act.  A local woman is harassed and molested by a gang of the bad-guy officers . . . and then stripped naked, thrown on the banqueting table and gang raped.  BECAUSE THE AUDIENCE NEEDS TO UNDERSTAND ABOUT THE BRUTALITY OF WAR.

Opening night was booed so thoroughly that (according to reports) you couldn’t hear the music.  Quite a lot of ink, newspaper and virtual, was spilled subsequently (most of which you can still find on line if you’re interested) and I spent rather too much of that week reading reviews and feeling ill.  I almost didn’t go.  I don’t need to understand about the brutality of war, or about the gross inhumanity of man to man or men to woman# and I don’t think the first night reaction was anything about British parochialism, which is one of the things that was elitistly suggested.

They’d toned it down some## by the day of the cinema broadcast . . . but I did go, and that scene still made me feel physically sick and I almost walked out.  The only reason I finally went at all was because the reviews were also universal that it was exquisitely sung AND I WANTED TO FRELLING HEAR IT which is where we came in.  And it was exquisitely sung, and I in fact came home and ordered the CD with the same cast and conductor which gets about twelve stars in the Penguin Guide as well.  But for gratuitous, inappropriate, stupid, pretentious shock value, the rape scene takes some kind of gigantic toxic biscuit.  I’m also happy to say that the controversy did not put bums on seats around here:  I’d never seen the cinema so empty for an opera screening.###

+ I will probably never see Parsifal, partly because I’d be throwing rubbery carrots and small dead animals at the stage by the end of act two, but also because, supposing I hadn’t been ejected yet, I’d have pressure sores by the end of act twelve, or whenever it finally stops.

++ On whose head let there be a positive avalanche of small dead animals in an advanced state of decomposition

+++ French operas of that period apparently HAD to have ballets.  There are a lot of standard rep grand operas that seem suddenly and startlingly to come to a thundering [sic] halt for the ballet.  Good time to sneak out for another glass of Prosecco.  Especially if it’s GUILLAUME TELL under this director.

# Oh, and?  The actress does not—or at any rate did not—get a mention in the credits.  Several of us saw some further symbolism in this.

## After both director and ROH head did the blustery bit about artistic integrity and said they weren’t going to change a thing

### There was a lot of raging stupidity elsewhere in this production.  Why the freedom fighters took their shirts off—rarely a performance plus in a large group of opera singers—to smear themselves in blood and dirt before they went into battle was not clear, and went CLANG in a production that had more or less updated the story to the 20th century.  And there is a scene at the end that I’m surprised was even allowed, when the villagers’ children are stripped down to their underwear and bathed in a series of small tubs dotted across the stage.  Presumably it was to indicate Fresh Young New Beginnings, the bad guys having been against the odds seen off, but it was creepy in the extreme.

~~ Some of our wrong turnings tonight looked very familiar since Fiona and I had made them a while back when we tried to find the Toadstool.  We had of course complicated the issue by stopping at a yarn store first which for some reason Peter and Admetus were not interested in.  Men.  Sigh.

 

It’s Friday, it must be handbells

 

Have I told you I’ve gone back into therapy because I Am Not Coping with Reality Very Well Right Now?*  I went in for an assessment a while ago but it took them some time to find a slot for me.**  I’ve seen Metis a few times now and like her—if ‘like’ is quite the word you want to apply to your shrink—and have some hope that she’ll crack me open like whacking off the top of your soft-boiled egg with an egg-spoon.***  But it’s still early days.  Yesterday she taught me a relaxation technique.  Chiefly it served to demonstrate that I do not relax.   Nadia could have told her this.  Sigh.†

But weekly therapy meetings are one more thing on the schedule.  And in the last fortnight I seem also to have been to three concerts†† and not merely done my standard weekly Sam duty but the frelling occasional-required long overnight duty which reduces you to a little pile of sticky ashes even if you’re healthy††† plus picking up an extra (late, not everyone’s favourite time of day for some reason) duty when someone went down sick at the last minute.‡

And of course there’s still monks.  And singing.‡‡  And the hellmob.  And the garden, which is booming into early summer.  And bell ringing, although tower ringing has taken a hit the last fortnight due to all the other excitements.  But handbells . . . it’s Friday.  There were handbells.‡‡‡

* * *

* I’m an American, we believe in therapy.  And my best friend is a New Yorker and everyone in Manhattan is in therapy, it’s a civic ordinance.  You want to live there, you need to sign up with a therapist before you try to find a place to live.  Your rental agreement or your mortgage application will have a query on it something like ‘Are you currently actively engaged in seeking self-development by way of a professional relationship with a psychotherapist whose name appears on this year’s list of Persons Licensed to Charge More Than $1000 an Hour which you gladly disburse for the Privilege of Discovering What a Hopeless Dolt You Are?’  You need to be able to fill in the ‘yes’ box.  Residents of the Tri-State Area are given a tax rebate for being in therapy, although it doesn’t run to $4000 a month.  Hey, what do you want, healthy, well nourished children and a car that runs^ or greater self awareness?^^

^ All the festering DRIVING involved in my proliferating life-enrichment programmes is a pain.  It’s worth it but IT IS A PAIN.  And while I’m both a careful and a law-abiding driver I do kind of yell a lot.  I had a Classic Robin Moment on my way to my last voice lesson.  I was late, of course, because I’m always late, and I got stuck behind this moron going thirty-five miles an hour in a SIXTY MILE AN HOUR ZONE.  I was not doing my singing voice any good in my description of his heritage and his likely future.  Then we hit town—I’ve tried going the back way and all that happens is that I get stuck behind tractors, and that doesn’t do my singing voice or my blood pressure any favours either—and the slow wiggly main road was made even slower and wigglier by the plethora of frelling LORRIES parked on it while they unloaded shoes and sausages and hammers and mattresses into all the frelling shops.  So you and your soon to be overheating car are ducking back and forth from one single lane to the other, depending on where the latest lorry is parked and you are getting later and later for your voice lesson and CRANKIER AND CRANKIER.  Now, despite my malevolent views of other drivers, I’m quite the—ahem!—Samaritan about letting other drivers in, especially in a situation like this one where we’re all suffering.  Well I’d got stuck behind the final lorry and no one was letting me into the other lane.  Guess who finally did.  Yep.  Thirty Five Miles an Hour in a Sixty Mile an Hour Zone Man.  I waved gratefully but I hope he doesn’t lip-read.

^^ Note that Metis’ practise does not charge £646 an hour.  Trust me, I would not be there.

** It’s a group practise.  I imagine them sitting around at their admin meeting and saying, okay, we have an axe murderer, a pathological collector of HP Lovecraft t shirts^, someone who thinks they’re Napoleon/Marie Stopes/Edward Cullen and a writer with writer’s block . . . and a chorus of voices reply eagerly, I’ll take the axe murderer!  I’ll take Lovecraft, AT THE MOUNTAINS OF MADNESS is the best novel of the 20th century!  I’ll take Marie Stopes! . . . Silence.  I am fully booked, says the person remaining.  I totally must shampoo the cat, and then sort the contents of the kibble bin by size.  Fluffy is so particular.  I can’t consider taking on a new client till someone else has been desperate enough to take the wri—I mean, probably not till next year.

^ ::whistles::

*** Personally I scramble my eggs.  But Peter does the egg-spoon trick.

† Note to self:  Metis and Nadia must never meet.

†† If Jackie Oates http://www.jackieoates.co.uk/live-dates/ comes anywhere near you and/or you have a friend who is willing to do the driving, speaking of driving,^ and unless you are one of these poor sad creatures who doesn’t get good folk music, go.  And listen especially closely to the newly arranged and adapted 21st-century lyrics to A Cornish Young Man, which are delicious.

^ Fiona and I found a new yarn shop.  I was doing pretty well+ till I made the mistake of checking out the sale bin again.  I had thought on the way in that the Yarn Pet percentage might be a little perilous but at that point I had a whole shop to be endangered by and adrenaline was running high.  And I then managed (mostly) to resist the breathtakingly gorgeous single-skein small-local-indie-dyers gauntlet, chiefly because I have some self-protective resistance to spending more than a New York City shrink’s hourly rate on a one-off that there isn’t even enough of to make a scarf.  A fichu maybe.++

AND THEN I WENT BACK TO THE FRELLING SALE BIN.  Alpaca is evil.  Especially when it is mixed in big fat fluffy skeins with merino.  You can frelling hear it purring when you cradle it in your arms.+++

+ I say nothing about how Fiona was doing

++ If you’re small and flat-chested.

+++ Dogs purr too, you know.  At least every dog I’ve ever had purrs when it settles in your lap.  Whether it fits in your lap or not.

††† And/or stay up late and don’t do mornings anyway.  Although some annoying person^ has pointed out that I do do mornings, I do a lot of mornings, I just do the, you know, little end.

^ I never name names on this blog but this particular person is very annoying about handbells.+

+ What do you mean you can’t ring handbells tomorrow, the next day, the day after that and three times on Madnessday?  —GO AWAY.  YOU’RE RETIRED.  SOME OF US ARE STILL WORKING FOR A LIVING# AND FURTHERMORE MAY POSSIBLY DO OTHER THINGS IN THEIR SPARE [SIC] TIME THAT AREN’T HANDBELLS. ##

# Or at least staring despairingly at an empty computer screen regularly.

## Aren’t . . . handbells? this person murmurs brokenly.

‡ And this potent sacrifice was absolutely worth it for the barrage of brownie points thus accrued.  I can probably spill scalding coffee on the director/the fancy new computer/the delicately poised for heightened reactivity electronic fire alarm and no one will say anything.

‡‡ Your Body Is Your Instrument I Wish I Had Taken up the Guitar When I Was a Teenager Like Everyone Else Did.  Nadia told me the last time I was beating up Batti Batti O Bel Masetto to skip the allegro, which has all those frelling runs in it AND goes up to a high B.  Last time, as I recall, I did leave it alone.  This time I was idly leafing through it again when a little light went on and I said, Hey!  It’s a B flat!  I can (usually) get to B flat!  —So, occasionally, late at night^, when my voice is feeling all relaxed^^ and warm and willing I sing the allegro.  I can’t frelling sing and play the piano at the same time, but I do have a finger poised to hit that B flat to make sure I’m hitting it, if you follow me.  I usually am, in my squeaky un-self-confident and death-defying-not-in-a-good-way way^^^.

And next time through I can’t hit G.  I can always hit a friggleblasting doodahing G, give me a flapdoodling BREAK.  Yes, I can always hit a G, except right after I’ve hit an A sharp/B flat and my voice says NO WE DON’T DO THAT and shuts down.  That’s SHUTS. DOWNArrrrrrgh.  And then it’s back to Edwardian parlour ballads till it forgives me.  ARRRRRRGH.

^ Or in a little morning hour

^^ Sic

^^^ Yes I can hear the unglefrakking difference when Nadia manages to persuade me to float down from above a note rather than ramping up at it from underneath like a guerrilla attack on a dangerous enemy.  Sigh.  Sometimes I’m very flat indeed.  Sometimes I just . . . sound like I’m attacking an enemy I’m terrified of.+  SIGH.

+ I also indulge in a concomitant worry that St Margaret’s will decide they’re not that desperate for singers at the evening service.

‡‡‡ And brownies.  I had told Niall firmly that if there were no brownies I would remember a prior engagement.  What prior engagement? said Niall suspiciously.  Well, I forget, I said, there are brownies, right?

Hi there ::waves::

 

Sorry everyone.  I’m just so freaking tired.*  It’s been a somewhat action-packed week/ten days/fortnight/century.  The good news is that I haven’t knocked Peter over with the car again recently.  YAAAAAY.  But we’ve had three lots of visitors** and assorted emergencies.***  And Niall and I seem to be teaching more people to ring handbells.

Also, it’s definitively spring.  The weather is still jerking us around† but the primroses are flowering like mad—AND MY SNAKESHEAD FRITILLARIES YAAAAAAAAAY—and the early pansies, and the early tulips and there are daffodils and hellebores everywhere as thick as marmalade on toast and it is unmistakably SPRING.  So I’m out there frantically potting up little things that keep arriving in the post†† . . . and occasionally I’m also potting up things that I stuck in some perlite because I was REALLY IRRITATED that I or a member of the hellmob or some discourteous frelling typhoon broke off a perfectly good branch of something or other and if I sliced it up in pieces and stuck them in perlite . . . well, they’d die, of course, but at least I’d’ve tried.

Occasionally they live.  I now have five abutilon megapotamicum.  If they’re happy, they can get to eight foot.  The original one—the one that got blown off the kitchen window shelf and snapped off a long limb—is getting on for six foot.  It’s a terrific plant—it flowers all year.  But FIVE of them???  This is just possibly superfluous to requirements.

And now, if you’ll excuse me again, I have to go sing something:  voice lesson tomorrow.†††  I’m supposed to be learning Rachmaninoff’s Vocalise . . . but it’s in four sharps, and I don’t like sharps, and it’s all foolhardy lines of unusual intervals—these blasted great composers are so frelling unpredictable—and he keeps flatting and/or double-sharping things that in some cases don’t have a black key there anyway AND YOU HAVE TO KEEP TRACK OF ALL THIS STUFF and . . . my brain hurts.‡  I may be leaning on YouTube a little more than I should be.  Was that a chromatic scale when you strip out all the persiflage or wasn’t it?  No.  It wasn’t.  That would be too easy.  Quack.  Quaver.  But possibly the most annoying thing . . . Nadia told me I can just miss out the line with the high C in it—unless it’s a C flat which would make it some kind of B, and I occasionally have a high B—and I was wibbling along with YouTube and not thinking about it . . . okay, maybe the singer I was yodelling with had knocked it down a semi-tone or so but I got to the end and thought . . . wait a minute.  I sang that line.

Haven’t been able to do it again of course.  Your body is your instrument.  Your instrument is a gibbering neurotic nutso.  Sigh. . . .

* * *

* I’m reading a nice restful book^ in which our heroine winds up briefly hospitalised and is driven mad by having nothing to read, and when a sympathetic nurse loans her a copy of HELLO! magazine . . . she reads it as a desperate alternative to ripping her sheets into long thin strips and using broken clothes-hangers as knitting needles^^.  And I read this with a feeling of cold deep horror and thought again THIS IS WHY MY KNAPSACK WEIGHS MORE THAN A HELLTERROR.  It’s my phobia about being trapped somewhere WITH NOTHING TO READ.^^^  And given the number of times Peter has closed his hand in a door—never mind the serious stuff—and we’ve spent several unscheduled hours in A&E/Emergency, I am not being paranoid I am being practical.

^ THE JANUS STONE by Elly Griffiths which is the second in her murder-mystery series about Ruth Galloway who is a forensic archaeologist.  And which are fabulous.   Ceridwen loaned me the first one and when I read it in about forty-eight hours+ laughed in an evil and knowing manner, and loaned me the second.

+ despite not being able to read it in the bath because it belonged to someone else and IT WOULD NOT BE GOOD IF I DROPPED IT.  I have quite a few paperbacks with curly pages . . . and I barely have a knitting magazine that doesn’t have curly pages.

^^ Okay, I made the extreme knitting alternative up, but personally I might have gone for it over HELLO!

^^^ Or knit.+  Granted most knitting weighs considerably less than three paperbacks and a fully charged iPad,++ and I don’t think they’ve started commercial production of ununseptium needles, possibly because they would be a trifle unstable as well as heavy, and my knitting doesn’t need any help in instability, but the Scarf as Big as the Universe sure takes up a lot of space.  I keep being tempted to take it OUT of my knapsack and finish it at home where it can have its own room+++ but I know this way madness lies.  I would just have the 1,000,000,000th unfinished woolly object lying around somewhere for me to trip over in the middle of the night.

. . . But starting NEW woolly objects is fun.  Especially during that early halcyon period before you’ve made any really ghastly errors that you can’t figure out how to fix.

+ I actually went to an AGM recently.#  WITH MY KNITTING.  THANK YOU, GOD, FOR KNITTING.

# Reasons not to join things:  the dreadful possibility of an AGM.

++ Note that I take my charging cable with me everywhere too.  Just in case.

+++ Mind you in my house it would be sharing that room with 1,000,000 other yarn projects, 1,000,000,000 books and 1,000,000,000,000 All Stars.  Plus assorted miscellaneous items.#  But the rooms at the cottage, while small, are all larger than a knapsack.

# The miscellaneous-item problem is worse than usual at the moment because the American government in its wisdom~ decided that I had to re-prove that I live here and have lived here for quite some time and so you find salient documentation of ten-plus years ago, especially less than a year after a major house move when everything that CAN be shoved into the back of an attic HAS been shoved into the back of an attic including gruesome old paperwork.  My tribulations began with the question which attic?, but more or less climaxed with insane-even-for-me tottering piles of everything all over my office floor at the cottage.  Sigh.  Which, the adrenaline of panic having worn off, I have no enthusiasm for sorting out and putting away again.~~

~ ????????????????

~~ Putting away WHERE? %

% Er.  ‘Putting away’?

** NECESSARY HOUSEWORK.  NOOOOOOOOO.  Failing this activity would certainly be a way of ensuring that people don’t come back, but unfortunately anyone who gets as far as being invited to stay is probably someone I want to come back which leaves me in a terrible predicament.  I keep trying to teach the hellhounds to pull the hoover.  And the hellterror to mop the floor.  Nobody does much about the cobwebs.  Or the dust.^

^ Ways to Tell What I Am Really Truly Currently Reading:  it’s not dusty.

*** See *, ^^^, +++, # above

† If I put long johns on in the morning^ I will be hot and cranky at 3 pm.  But if I don’t put long johns on^^ I will be cold and cranky at . . . 3 am.

^ Oh all right, when I get dressed.  There are drawbacks to sleeping in something you can answer the door in, because you can also put your gardening apron and your wellies on and do some gardening—just while your tea steeps, you know.  Today this innocent activity led to my realising I was due to ring handbells in an hour while I was still in my nightgown equivalent and hadn’t had breakfast/lunch or hurtled any of the waiting hurtlables in this household.

I was late for handbells.  Never mind.  This fresh victim is catching on way too quickly and will be ringing Surplice Maximillian while I’m still trying to sort out the details of Basic Stupid.  Which I have been for the last . . . decade.  Siiiiiigh.  And Niall is, I fear, only too accustomed to me being late for handbells.  He may have a much-punctured dartboard somewhere with my face on it but . . . he doesn’t let even lumpy, brain-fogged semi-handbellers escape without a struggle.  AND HE’S PUT AN AWFUL LOT OF HOURS INTO ME OVER THE LAST DECADE.  I think I’m doomed.  No, I know I am.  But so is he.  However as he throws darts at my face I’m sure he murmurs to himself, If I can teach her to ring handbells I CAN TEACH ANYONE.

I’m a good thing, really I am.  Really.  I set the standard.  Ahem. . . .

^^ When I get dressed

†† More, or sometimes less, suitably attired.  Hey, what’s wrong with a simple cotton jersey dress with a BLUE HILL MAINE sweatshirt over, a muddy apron and hot pink wellies?

††† Okay, I am now loud.  When do I get to the hits the right notes part?  I went off and stood in a corner and sang into the wall again tonight at church.  I’m assuming God doesn’t mind, but the congregation might.

‡ It’s not just handbells.

I finally got to a Live at the Met this Saturday*

 

This one:  http://www.metopera.org/opera/la-donna-del-lago-rossini-tickets  [If the link dies at the end of the season:  LA DONNA DEL LAGO by Rossini]

In the first place it was fabulous.  I’m enormously glad I went.  The singing from the four principals was AMAZING.**

In the second place, however, it’s way up there on the silly scale—not quite ERNANI but close.   REALLY SILLY PLOT.  REALLY REALLY SILLY.  REALLYSILLY.  I also felt the translation was more cack-handed than was strictly required.***  We want to know what’s going on, we don’t necessarily want the exquisitely precise rendering of the Italian, which word choice may have more to do with how it sings rather than whether it makes any sense at all as something anyone might ever say, even two hundred years ago in a Walter Scott novel. †

In the third place, it’s all about Joyce Di Donato’s breasts.

I admit I wasn’t expecting this last.  I’m fine with the fact that she has breasts, but I wasn’t expecting them to be Triumphant Before Everything, aka Beware the Bustier.††   I suppose the designer/costumer might be trying to make sure we know that Di Donato is the girl, since her boyfriend is played by another mezzo soprano†††, and the boyfriend is, furthermore, in a kilt, which is perhaps not the best choice for a girl playing a trouser role.  I mean a kilt role.  It turns out that the entire Highland army—you got it that this is Sir Walter Scott, yes?—is in kilts, but you haven’t taken this in yet when Malcolm first strides on stage/screen and starts mooning over Elena.  Even knowing that Malcolm is going to be a mezzo the urge to giggle is powerful when she appears in a kilt.  It took me about four bars into her, um, his, um, her first aria however to become her drooling slave and beyond that I couldn’t care less. ‡

But I get ahead of myself.  The first bloke we see on stage is Juan Diego Florez ‡ in really icky plastic leather.‡‡  He’s the king, who has allowed himself to be distracted from stamping the crap out of the Highland rebels by tales of a mysterious beauty, whom he has disguised himself to get a glimpse of.  I mean, you don’t expect to see your king in plastic leathers, do you?  Elena is picking plastic‡‡‡ heather in another one of production/design’s curious choices for stage business.  She, for some reason, thinks he needs help§ and offers to take him home with her.  That loud bang you just heard was plot credibility exploding.  HONEY.  YOU’RE OUT IN THE MIDDLE OF NOWHERE WITH A MAN YOU’VE NEVER MET BEFORE§§ WHO IS, FURTHERMORE, SHOWING SIGNS OF FINDING YOU HOT §§§.  I THINK YOU MIGHT AT LEAST MENTION THAT YOU LIVE WITH YOUR DAD, AND THAT A CHORUS’ WORTH OF HENCHPERSONS IS JUST OVER THAT PAPIER MACHE HILL.  I think.  The operatic geography remains a trifle underexplained.  Because the show is called The Lady of the Lake~ there has to be a lake, which our heroine rows across every day, apparently, to gather plastic heather and have random encounters with gleaming-eyed strangers.  After that, beyond a throwaway reference to taking the current random stranger back to the shore~~ the characters just hop around from set piece to set piece.  Special non-points are awarded for Elena’s cottage, which is a small roof on two walls, like a capital letter ‘E’ stood on its front with the central bar removed, plonked down in the middle of the stage, and through which the henchpersons/chorus eventually swirl, and to give themselves something to do, set up some banqueting tables out back.  Hope it doesn’t rain.~~~

I was regularly distracted from all the nonsense by the sheer glory of the music.  I like Rossini, I like bel canto, and I’m now passionately in love with not one but two mezzos.=  But this is one of those evenings when I came away thinking, It does not have to be this daft.  It does not have to be this daft.  It’s hard to do a lot of acting when you’re a girl in a trouser role dressed in a kilt, the king is mainly required to flounce variously, which is fortunately one of Florez’ skills, the superfluous tenor has nothing to do, poor man, but stomp about looking heroic== and be spurned by his affianced bride, who wants to marry the other mezzo.  But Di Donato is a really effective actress, and watching her creating small shining bits of sense within all the doolally is almost worse than if she’d been a student of the Leontyne Price school.&

Let’s also just take a moment to contemplate the character of the king.  Okay, he falls for Elena big time in that insta-whammy way popular in both opera and Hollywood romcom.  He’s the king.  What is he planning to offer this small-time laird’s daughter, before or after he finds out she’s one of the revolting scum raising arms against him?  I kinda doubt it’s anything her dad would recognise as honourable, even if her dad weren’t a member of the revolting scum.  And this is an era when the male relatives get to dispose of the bodies of the females, you know?  And when the short hero she doesn’t want to marry objects to her clear loathing of him, her dad tries to play it off as virginal modesty.  Uh huh.

But the king is supposed to be a good guy.  Well, I think.  I think he’s supposed to be being a good guy when he leaves the battle to go hunt up Elena and give her a ring that he says, rolling his eyes theatrically, if she shows to the king he will be merciful and give her safe passage to somewhere or other.  Tahiti.  Guam.  But there’s this hilarious exchange between them when he’s trying to go for her again&& and she says No no no!  I’m in love with the other mezzo!  And he replies, in what I feel is not wholly inexplicable bewilderment, Well, why didn’t you discourage my ardour when you took me HOME WITH YOU the other day?  Well, yes.  Although possibly because she’d only set eyes on him half an hour ago and she was wrapped in a sweet naïve mist of Scottish hospitality and concentrating on her rowing.  Oh, and she’s already in love with the mezzo named Malcolm.  But I repeat . . . what exactly is the king of Scotland OFFERING her?  A big fat dowry to cover up the fact that she may be pregnant when he pats her on the . . . head and sends her on her way again?

I’d forgive either the story or the staging a lot if the last scene weren’t quite so determinedly demented.  So, the rebels have been crushed absolutely, the (short) heroic rebel tenor has been conveniently killed, and Elena, with the safe-passage ring&&& has gone up to the palace to try begging for the life of her dad and her beloved.  And she meets the bloke she last saw in plastic leathers now all decked out in white and gilt and she says, oh, hi, I’m here to see the king, um, I have this ring that this random guy gave me . . .  um, you gave me.  You’ll see the king, the random guy says.  Grandly.%  So now we have languours of daftitude while the court all processes in and does galliard-y type things around Florez, who stands there looking like a stuffed prat, while poor Di Donato has to go on and on and on and on and on NOT GETTING IT.  She doesn’t get to get it till one of the courtiers plonks a frelling crown on Florez’ head.

Okay, whatever.  Cue general rejoicing.  The king pardons both dad and Malcolm and is apparently not requiring them to emigrate to Tahiti or Guam, which is very nice of him, and proves that he is supposed to be a good guy.  And if he draws Malcom aside later and mutters something about droit de seigneur, it doesn’t happen till after the curtain comes down.

I’m glad I went!  The music was spectacular and my head is still full of it!%%  I just wish—um—I just wish—um!

. . . And if not writing regular blogs causes me to write three thousand words when I finally get around to it again, even under the extreme provocation of an opera to rant about, I’d better rethink.  Um.  Again.

* * *

* How Christianity Ruins Your Life.  My Saturday evenings are now dedicated to sitting in the dark with monks.  The thing is that I want to sit in the dark with monks, but I miss my Live at the Mets.^  I have not figured this out yet. ^^  There are slowly more live opera broadcasts at your friendly neighbourhood cinemas but the New York City Met is my opera company and they broadcast to the distant punters on Saturday afternoons in New York, which is Saturday evening sitting in the dark with monks time in Hampshire, England.  Also, most cinema web sites are possessed by demons.  For example, apparently the ROH^^^ is streaming a Guillaume Tell which I would love to attend and THEORETICALLY it’s coming to my cinema but my cinema’s web site won’t discuss it.  ARRRRRRGH.  And since it’s a chain, you can’t get a local on the phone—and because something is coming to the chain, that does not mean it is coming to all the individual theatres belonging to that chain.  ARRRRRRRRRGH.

^ Including the prosecco and knitting in the interval.  There’s no reason I couldn’t do prosecco and knitting at home, I just don’t.  Way too self-indulgent somehow.  Because of course I am never self indulgent.  Ever.  About anything.+

+ Choooooooocolate.  Also how many books in the TBR pile(s)?  And we’re not even going to mention yarn. #  Or All Stars. ##

# Or for that matter furry four-legged creatures of the night.~  Some people would consider three of these somewhat self-indulgent.  Personally I just call it dangerously insane.

~ Although the ‘of the night’ part is kind of my fault.  I go to bed late.

## I had to THROW OUT A PAIR OF PINK ONES recently.  I’m still in mourning.  But the amount of water they were letting through the holes in the soles was getting kind of extreme.

^^ I have told Alfrick that they should lay on more silent sitting-in-the-dark contemplative services.  Only one a week seems, you know, careless.  Unprofessional.  For a bunch of monks.

^^^ Royal Opera House.  Which is one of my problems.  The ROH tend to be up-themselves scum-sucking banderglizzards.  When I first moved over here a quarter century ago and was bouncing all over the landscape with JOY at the prospect of two, count  ’em, TWO, world-class opera houses only a little over an hour away+, my heart was quickly won by the English National Opera, which was the other one, both because it was CHEAPER++ and because they hired real human beings who answered phones and personned the front of house if you wandered in off the street and who were nice.  The ROH hired scum-sucking banderglizzards.  And, guys, in today’s economy, including twenty-five years’ ago economy, you can’t afford not to take the money of vulgar Americans who want to buy full-price+++ seats and you should behave accordingly.  Vulgar Americans don’t necessarily think brass-balled rudeness in a British accent is charming.  Some of those memories linger.  Although the memory of going to The Huguenots at the ROH on what I think was my first birthday in England, with Peter in a dinner jacket and me in green velvet, also rather lingers.   I’m not sure what Peter has done with his dinner jacket but I still have the green velvet.

Anyway.  The ROH does beam some of its screenings down here to the one cinema within my driving range, but the ENO does not.  Yet.  I hope they’re planning to cast their webby net wider soon.

+ Especially the way Peter used to thunder up the motorway when he and Wolfgang were a lot younger.

++ And before any ROH supporters tell me, with lashings of dudgeon, that the ROH offers cheap seats too, it didn’t use to.  And I’m only taking it on faith that you can actually hear and/or see anything from the cheap seats.

+++ AAAAAAAUGH

** I admit I didn’t think the supporting-role baritone was quite up to the standard set by the two tenors and two mezzo-sopranos, but that may be the sheer physical facts of a low voice emerging from a human voice box.  Are there coloratura baritones?  I don’t know.

*** But I think I’m losing my grip on the whole translation question as a result of struggling with the Bible.  There are a lot of WHAT? moments about the Bible anyway and groping hastily for some other translation usually only makes it worse.

† What is it with opera composers and Sir Walter Scott?  Surely they could have got their silly from a wider range of sources?

†† That’s bust-ee-ay as in corset, not bust-ee-er as in possessing more bust.

††† And as the off-duty operatic soprano doing the backstage introduction to us nonpresent audience drones finished her plot synopsis by saying:  and so the mezzo gets the mezzo, and tough luck to the two tenors.^

^ Note that this opera has a HAPPY ENDING.  YAAAAAAAAY.   Mind you this happy ending requires the killing-off of the awkward superfluous tenor, but hey.  He starts breathing again in time for the curtain calls.

‡ Her name is Daniela Barcellona.  And it’s just as well she doesn’t have an enormous back catalogue or I’d be taking out a bank loan.

Just for the record, they kiss.  Which I like to think is another blow for irrelevant-detail-blind staging.^  Like the Oscar Wilde play—I can’t even remember which one—I saw in London about twenty years ago where the actor playing the female lead was black:  which I’m afraid is the first time I’d seen historical-drama colour-blind anywhere but Shakespeare.  Yessssss.  But while Wilde plays don’t call for black actors and Malcolm in DONNA DEL LAGO is written for a mezzo,  Di Donato and Barcellona’s duet that the kiss is at the end of is so frelling ravishing you’ve probably forgotten everything but ohmygodohmygodohmygod, and also, Barcellona is TALL, so she can do the male-swagger thing, including the looming protectively over the girl, pretty well.  Better, in fact, than most tenors, who tend to be bandy-legged midgets.  Barcellona towered over both of last night’s tenors.  Just by the way.

^ Maybe Rossini was thinking about gay sex really.  But the story on stage is het.

‡ Who is a SHORT TENOR.  Di Donato, who doesn’t look very tall herself, was in flats.  Florez’ boots had substantial heels on them.  But he is a bloke.

‡‡ Or if it was real leather, the Met needs a new buyer.

‡‡‡ I perceive a pattern.  Not in a good way.

§ HE’S IN PLASTIC LEATHERS. IF HE WERE A GOOD GUY HE’D BE WEARING A KILT. 

§§ WHO IS WEARING PLASTIC LEATHER.

§§§ I know you’re a legendary beauty and all, but the bustier is not really supportive^ of the modest Scottish virgin thing. And while Florez does the overheated Latin^^ lover persona very well the character he’s playing in this case would be forgiven for the thought bubble appearing over his head saying NOBODY TOLD ME THE LEGENDARY BEAUTY IS FAST.

^ hahahahahaha

^^ He looks about as Scottish as Barcellona looks like a bloke.  I can deal with this.  The plastic leathers must go.

~ Um, why?  The Lady of the Lake as an Arthurian trope has been around a long time, and Scott must have known Malory’s Arthur?  Surely?  Or is there some Arthurian resonance in the Scott novel that I’ve forgotten?^  And if Rossini’s librettist cut it out why didn’t they CHANGE THE TITLE?

^ I read shedloads of frelling Scott at various times in my misspent youth, but in my memory, never my best feature, the stories have all mooshed together in one gargantuan wodge of forsoothly, studded with hopelessly wet, floppy heroines.  Don’t Rebecca me.  She only looks good in comparison.

~~ And leaving him there?  What?

~~~ It’s the Scottish Highlands.  IT NEVER RAINS THERE.  NOOOOOOO.

= The tenors are fine.  And I’ve been a fan of Florez for a long time.  But . . . give me one of those mezzos.  Please.^

^ I am of course Giving Up Singing Forever again.  Had a voice lesson today. . . .  No, no, this blog post is already reader-numbingly too long.

== which is harder still when you’re the shortest person on the stage.  Pav is taller than this bloke.

& Stand Like Fence Post, Wave Arms and Sing.  I adored Price and have a lot of her recordings but she was not an actress.

&& Nothing like a little rumpy-pumpy to soothe those battlefield nerves.

&&& I mean, how much can you trust someone wearing plastic leathers?

% Trying not to take a cheap shot here.  But grandly is not Florez’ metier.

%% To the extreme detriment of my own singing.  Sigh.  Why didn’t I take up the xylophone?

Crazy Singing Lady

 

. . . NO NO NO NO I CAN’T POSSIBLY START WITH THAT FIRST LINE, SOMETHING MIGHT BE LISTENING. . . .  ::DANCES THE FANDANGO IN A DISTRACTING MANNER::* . . . It’s been a pretty crappy almost everything lately, you can hardly blame me for being paranoid.  So, what I was risking saying was, I’ve had two surprisingly okay, engaged, useful, whatever, voice lessons in a row . . . just in time however for a three-week holiday break during which I will doubtless go to flat, unrhythmic little splinters again.  So the powers of entropy don’t have to be paying attention.  The gremlins can just lie back and giggle.  Throw the occasional brickbat if they feel inspired.  Although I may dare to hope for metaphorical brickbats.**

My attitude = not great.

I managed to whomp the whatsit out of myself with a not-very-metaphorical brickbat just before last week’s voice lesson and I mean whomp.  The gremlins would have been proud of me.  You may recall that this is A New Computer.***  I was rummaging a fortnight ago, in the scary dark interstices of the EVERYTHING folder, where files you haven’t seen since before you had a computer may lurk undetected for centuries, or at least till they make the next gazillion storage media redundant.†   And, lo and behold, I unearthed a couple of the recordings I’d made of voice lessons YEARS ago, or at least I hope it was years.  And I made the very nearly fatal mistake of listening to one of them.††

DEAR GOD IN HEAVEN I KNEW I WAS BAD BUT I HAD NO IDEA I WAS THAT BAD.†††  I also remember that when I played them back at the time I was a little discouraged‡—also I had some other great emotional drama playing out in my life at the time and I’m learning that this always has a Florence-Foster-Jenkins-izing‡‡ effect on my singing—but I don’t think I wanted to find a bridge to jump off of.  I should have wanted to find a bridge to jump off of, or at least to stop singing forever and let Nadia fill my slot with someone she can teach to SING.  AAAAAAAAAAAAUGH.

About the only thing to say for this utterly demoralising experience is that I didn’t consider giving up singing forever.  It’s too late.  I sing for sanity.‡‡‡  But I pretty much went in for my lesson on my hands and knees last week and Nadia, bless her, said I FORBID YOU TO LISTEN TO THAT RECORDING.  EITHER BURY IT IN THE BACK GARDEN OR—RECOMMENDEDDELETE IT.  YOU’RE JUST HURTING YOURSELF LISTENING TO IT NOW.  . . . The real point being she did NOT say, actually, I’ve been meaning to discuss giving your slot to someone I can teach to sing. . . .  She did say that I’ve improved.  WELL I COULD HARDLY HAVE GOT WORSE.

I came out of this at last week’s lesson like a bull terrier going for her supper Kong and SANG.§  It may not have been pretty but it was energetic.  And this is the time of year when you can probably even sing (audibly) on the street without people thinking you’re the Crazy Singing Lady§§ and I’m having my annual frenzy of learning all the rest of the verses to my top favourite 1,000,000 Christmas carols§§§—which I admit is cutting into proper practise time but it does mean I’m singing.#

And . . . (re)learning Christmas carols## this year, I came to In the Bleak Midwinter and . . . hmmm.   It hadn’t really registered with me till I moved over here, but it’s (perhaps) Peter’s favourite and has become one of mine.  But this year, singing it, I thought, this isn’t a carol, this is a song that happens to be about Christmas.  So I’m going to learn it properly—I took it in to Nadia today—and sing it all year.  And become the Crazy Singing Lady who sings carols in midsummer.   If I’m going to become the Florence Foster Jenkins of the 21st century I might as well do it with some flourish and swagger.

* * *

* And me dancing the fandango would be very distracting.^  Not in a good way.

^  Eh.  You need a partner for the fandango.  ::Eyes the hellmob+::  Hellhounds get that ‘oh help and glory she’s not going to shove FOOD at us again is she???  But we just ate last week’ look on their faces, delicately rearrange themselves to face the wall and appear to be deeply preoccupied with going to sleep.  Hellterror throws herself up on her hind legs and starts demonstrating her idea of a fandango, shouting, ME, COACH!  PUT ME IN!  I CAN FANDANGO!  ALL I NEED IS A CARMEN MIRANDA HAT!

+ Or hellhorde, as some enterprising forum poster suggested.

** You probably think gremlins are metaphorical.  NOT IN MY LIFE.

*** The old one is still in a box under Raphael’s desk because he’s going to find time to resuscitate it any minute.^  You know, like maybe March.  2016.  Not that I feel that I’m not getting my contract support hours out of him however:  it’s a good day when I have texted/emailed/screamed-so-they-could-hear-me-in-Dorset him about the ultrabook’s^^ latest little ways fewer than 4,612 times.

^ Yes, since you ask.  There’s still stuff on it that I’m missing.+  And you’re totally up to date with your back ups, your files are flawlessly labelled and you’re all ready for Christmas, right?  GOAWAY.

+ Besides the remnants of my sanity.  Sanity, computers and I are really not an integrated whole.  We’re kind of this universe, the anti-universe, and a third thing nobody’s discovered yet but it makes an even bigger bang. 

^^ I’ve already complained to you about how you can’t say LAPTOP any more?  That’s just so turn of the century.  No, it’s ULTRABOOKS now.  Ewww.  I thought ‘laptops’ was naff, but ultrabooks has that Marketing Genius pong about it.  Go away.+  Go shed your fuzzy, asthma-inducing fashionability on someone else’s carpets.  I just want a computer that will fit in my knapsack.

+ I probably shouldn’t be repeating ‘Go away’ so often three days before Christmas, right?  . . . GO AWAY.~

~ I know.  You saw that coming.  Sorry.  It’s been a hard year.

† So, how about all those cassette tapes and floppy discs?

†† Well, I had a row of knitting to finish.  And then about a skein and a half of rows after that.

††† May I grovel in apology here to the two or three people I’ve taken along to my voice lessons.  In my pathetic defense I took them because I wanted them to meet Nadia and see/hear how totally cool and interesting and exact and responsive she is, and the way she can adjust what she says to what the student can take on.^  It’s true that part of the experience is that they have to hear me sing, but . . . well, I knew I wasn’t good, but . . . GROVELS EXTENSIVELY.  I’LL NEVER DO IT AGAIN.  NEVER EVER.  I PROMISE.

^ I get a lot of horse riding metaphors.

‡ I also remember I blogged about it, but I don’t want to go back and read what I said.

‡‡ One of the things I might have found interesting if I hadn’t been having a nervous breakdown is what Nadia has been telling me for years about what she tactfully calls my ‘tuning’ issues which is to say that I spend most of my time going flat, not because I have no ear^ but from nerves.  No no I can’t possibly do that whatever it is!  FLAT!!!!  And she’s right.  It’s the exposed notes that go flat;  it’s got pretty much nothing to do with pitch.  I’ll go flat on a frelling C if it’s the top note of the bar;  in the next bar I’ll sing an F on pitch if there’s a G above it I can go flat on instead.  Why don’t I stick to knitting?^^

^ I haven’t got much ear but I generally recognise flat when I hear it.  Except when I’m deaf from the throbbing in both ears.

^^ Because I’m also a lousy knitter?  Sigh.  Although until my life placids out a little I’m not even interested in doing anything more exciting than stocking or garter stitch with maybe the odd bit of ribbing for variety.  I knit for tranquillity+.  But then I sing for sanity.++

+  HAHAHAHAHAHAHAHA.

++ Um.  Yes.  And I’d be even less tranquil without my error-liable knitting.  SIGH.

‡‡‡ Yes.  As previous footnote.  Also, for some inexplicable reason, my church likes my singing.  They are even more desperate and/or tone deaf than I realised.

§ Any of you know Brother James’ Air? It is so pretty.

§§ Which they think the rest of the year. Crazy Singing Lady with a Variety of Dogs.

§§§ Every year they come back a little quicker. How long have I been taking voice lessons, and singing increasingly shamelessly on the street?^ By the time I die of extreme old age I’ll probably be quavering my way through all sixteen verses of everything at Christmas.

^ It’s done me serious good the last few months, I think, despite what the neighbours think, because of the adjusting-to-new-sitting-room-with-new-acoustics thing which was a much bigger issue than I’d expected.  Silly me.  Of course it was going to be an issue.  In a little tiny sitting room I can—and do—make the blasted lamps rattle, because I have so little frelling control.  I’m either loud or shut down to a faint creak.  Sigh.

# Singing for sanity.  As I keep saying.  Thank God for singing (if badly) and knitting (if badly).

## There’s also the ever-interesting topic of the way the British keep jerking the tunes around.  An exploration for some other evening.

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