Cecilia Bartoli in London last night was a sheer delight.
The sell-out Barbican show, part of a European tour to promote her new album, Sacrificium, focussed on an obscure collection of Baroque pieces by unknown composers written for castrati.
So Bartoli’s set list was recherché, to say the least. And, let’s face it, some of the music was mediocre, forgettable.
Even so, the performances all evening were magical, demonstrating to the max the great Roman mezzo’s mellow tone, enviable range and peerless control. And her remarkable bond with a smitten audience.
Like all the best shape-shifting musicians, from Bob Dylan to Miles Davis, Bartoli bravely follows her muse, regardless. Her new collection unearths hitherto invisible musicians, just as she has championed unknowns like Salieri and Malibran in recent years.
Like Dylan, she chooses not to tour the world churning out crowd-pleasing hits shows. And her core fanbase thanks her for that – and for consistently challenging, extending them.
The band – the Milanese chamber orchestra Il Giardino Armonico - were spectacularly good foils: I’d be very happy to see them without a singer to support.
A perfect 10, then?
Not quite. Someone needs to have a quiet word about the diva’s cross-dressing. The concept might be appropriate for the role in hand, but the kit itself did the singer few favours.
And the Barbican management surrounded the players on stage with about 80 paying guests.
Mistake: they were a distraction. If the venue should ever repeat the error, it should at least vet the incumbents to ensure we’re forced to gaze only at hand-picked, stylish citizens.
Regular visitors to Music for Grown-Ups might remember reading similar glowing reviews here of other Bartoli London gigs over the years: Cecilia is a firm favourite of this website.
And last night confirmed what we already knew - Ms Bartoli is probably the leading singer on the world stage.
Brava Bartoli!
Gerry Smith
Wednesday, 25 November 2009
Monday, 23 November 2009
Two free Dylan exhibitions - London’s Trafalgar Square
Readers who happen to be in central London with half an hour to spare will be interested in two free Dylan exhibitions very near Trafalgar Square, the heart of London’s tourist district.
Hard Rain is a travelling open air exhibition (ie viewable 24/7) mounted on the Courtyard railings of St Martin-in-the-Fields church, juxtaposing each line of Dylan’s classic song with a striking photograph illustrating “Our Headlong Collision With Nature”. It closes on 13 December.
The project is documented in a book of the same name, by Mark Edwards; the third edition is on sale (discounted) in the shop in the Crypt, in normal retail hours.
www.hardrainproject.com
If you visit Hard Rain in normal gallery hours, you can also pop across the road to the National Portrait Gallery to view the small exhibition of Barry Feinstein Dylan photographs, Real Moments.
If you can make half a day for it, so much the better: the National Portrait Gallery has a breathtaking permanent collection, too.
www.npg.org.uk
And, from one of the newsagents in the area, why not pick up a copy of the new issue of UNCUT, which has yet another Dylan cover feature?
In central London at the moment, Dylan’s everywhere…
Gerry Smith
Hard Rain is a travelling open air exhibition (ie viewable 24/7) mounted on the Courtyard railings of St Martin-in-the-Fields church, juxtaposing each line of Dylan’s classic song with a striking photograph illustrating “Our Headlong Collision With Nature”. It closes on 13 December.
The project is documented in a book of the same name, by Mark Edwards; the third edition is on sale (discounted) in the shop in the Crypt, in normal retail hours.
www.hardrainproject.com
If you visit Hard Rain in normal gallery hours, you can also pop across the road to the National Portrait Gallery to view the small exhibition of Barry Feinstein Dylan photographs, Real Moments.
If you can make half a day for it, so much the better: the National Portrait Gallery has a breathtaking permanent collection, too.
www.npg.org.uk
And, from one of the newsagents in the area, why not pick up a copy of the new issue of UNCUT, which has yet another Dylan cover feature?
In central London at the moment, Dylan’s everywhere…
Gerry Smith
Monday, 16 November 2009
Bob and Miles from Sony: Bootleg Series v Miles boxes
Thanks to Chris Gill:
“Good to know that there’s at least one other Dylan fan out there who’s also a serious lover of Miles’ music!
“I agree with your assessment of how Columbia treats its Dylan and Miles riches.
“Dylan fans have fared better than Miles freaks in one major respect: the Bootleg Series sets are more coherent, enjoyable and better value than the series of Miles boxes documenting every take, every false start, every cough and fart in the Columbia studio.
“I’m still grieving, though, over the way in which Warner, Miles’ last label, was forced to pull its eagerly-awaited box of late Miles gems.”
(13 November)
Bob Dylan and Miles Davis: Sony’s big box sets compared
As far as Bob Dylan and Miles Davis, its major assets, are concerned, Sony does a creditable job managing the treasures locked away in its priceless vaults.
However much hardcore fans might moan about the slow drip-feed of the unreleased Dylan riches, Columbia Legacy is to be commended on its Bootleg Series.
Columbia Legacy also manages its Miles Davis assets pretty astutely, though some Miles aficionados whinge that Sony has released too much inconsequential blathering by the Prince Of Darkness!
But the imminent release of the Complete Miles Davis Columbia Album Collection will leave Bobfans drawing unfavourable comparisons with the Zim equivalent, 2003’s Bob Dylan Revisited: The Reissues Series.
The two reissue projects are similar in key respects – all the albums in both collections have remarkable upgraded sound and both boxes reintroduce the original album artwork, in seductive card formats.
But, in other ways, the new Miles box is more compelling:
* it pulls together all of the label’s Miles albums – Bob Dylan Revisited: The Reissues Series was selective, with only 15 titles, against the Miles box’s whopping 52, many of them double albums!
* many of the Miles albums carry worthwhile bonus tracks – the Dylan reissues eschewed any.
* even if you already own most of the original recordings, the incentives to buy the Miles box are persuasive – a newly released live DVD, a couple of previously unreleased CDs-worth of music, a substantial 250 page book by two leading Miles experts, and striking packaging.
* value: the “street” launch prices of the two boxes are similar, but the Miles box gives you far more bang for your buck.
Bottom line: I already had virtually all releases by both musicians. I passed on the Dylan box; I’ve ordered the Miles box.
Gerry Smith
“Good to know that there’s at least one other Dylan fan out there who’s also a serious lover of Miles’ music!
“I agree with your assessment of how Columbia treats its Dylan and Miles riches.
“Dylan fans have fared better than Miles freaks in one major respect: the Bootleg Series sets are more coherent, enjoyable and better value than the series of Miles boxes documenting every take, every false start, every cough and fart in the Columbia studio.
“I’m still grieving, though, over the way in which Warner, Miles’ last label, was forced to pull its eagerly-awaited box of late Miles gems.”
(13 November)
Bob Dylan and Miles Davis: Sony’s big box sets compared
As far as Bob Dylan and Miles Davis, its major assets, are concerned, Sony does a creditable job managing the treasures locked away in its priceless vaults.
However much hardcore fans might moan about the slow drip-feed of the unreleased Dylan riches, Columbia Legacy is to be commended on its Bootleg Series.
Columbia Legacy also manages its Miles Davis assets pretty astutely, though some Miles aficionados whinge that Sony has released too much inconsequential blathering by the Prince Of Darkness!
But the imminent release of the Complete Miles Davis Columbia Album Collection will leave Bobfans drawing unfavourable comparisons with the Zim equivalent, 2003’s Bob Dylan Revisited: The Reissues Series.
The two reissue projects are similar in key respects – all the albums in both collections have remarkable upgraded sound and both boxes reintroduce the original album artwork, in seductive card formats.
But, in other ways, the new Miles box is more compelling:
* it pulls together all of the label’s Miles albums – Bob Dylan Revisited: The Reissues Series was selective, with only 15 titles, against the Miles box’s whopping 52, many of them double albums!
* many of the Miles albums carry worthwhile bonus tracks – the Dylan reissues eschewed any.
* even if you already own most of the original recordings, the incentives to buy the Miles box are persuasive – a newly released live DVD, a couple of previously unreleased CDs-worth of music, a substantial 250 page book by two leading Miles experts, and striking packaging.
* value: the “street” launch prices of the two boxes are similar, but the Miles box gives you far more bang for your buck.
Bottom line: I already had virtually all releases by both musicians. I passed on the Dylan box; I’ve ordered the Miles box.
Gerry Smith
Friday, 13 November 2009
Bob Dylan and Miles Davis: Sony’s big box sets compared
As far as Bob Dylan and Miles Davis, its major assets, are concerned, Sony does a creditable job managing the treasures locked away in its priceless vaults.
However much hardcore fans might moan about the slow drip-feed of the unreleased Dylan legacy, Columbia Legacy is to be commended on its Bootleg Series.
Columbia Legacy also manages its Miles Davis assets pretty astutely, though some Miles aficionados whinge that Sony has released too much inconsequential blathering by the Prince Of Darkness!
But the imminent release of the Complete Miles Davis Columbia Album Collection will leave Bobfans drawing unfavourable comparisons with the Zim equivalent, 2003’s Bob Dylan Revisited: The Reissues Series.
The two reissue projects are similar in key respects – all the albums in both collections have remarkable upgraded sound and both boxes reintroduce the original album artwork, in seductive digipak format.
But, in other ways, the new Miles box is more compelling:
* it pulls together all of the label’s Miles albums – Bob Dylan Revisited: The Reissues Series was selective, with only 15 titles, against the Miles box’s whopping 52, many of them double albums!
* many of the Miles albums carry worthwhile bonus tracks – the Dylan reissues eschewed any.
* even if you already own most of the original recordings, the incentives to buy the Miles box are persuasive – a newly released live DVD, a couple of previously unreleased CDs-worth of music, a substantial 250 page book by two leading Miles experts, and striking packaging.
* value: the “street” launch prices of the two boxes are similar, but the Miles box gives you far more bang for your buck.
Bottom line: I already had virtually all releases by both musicians. I passed on the Dylan box; I’ve ordered the Miles box.
Gerry Smith
However much hardcore fans might moan about the slow drip-feed of the unreleased Dylan legacy, Columbia Legacy is to be commended on its Bootleg Series.
Columbia Legacy also manages its Miles Davis assets pretty astutely, though some Miles aficionados whinge that Sony has released too much inconsequential blathering by the Prince Of Darkness!
But the imminent release of the Complete Miles Davis Columbia Album Collection will leave Bobfans drawing unfavourable comparisons with the Zim equivalent, 2003’s Bob Dylan Revisited: The Reissues Series.
The two reissue projects are similar in key respects – all the albums in both collections have remarkable upgraded sound and both boxes reintroduce the original album artwork, in seductive digipak format.
But, in other ways, the new Miles box is more compelling:
* it pulls together all of the label’s Miles albums – Bob Dylan Revisited: The Reissues Series was selective, with only 15 titles, against the Miles box’s whopping 52, many of them double albums!
* many of the Miles albums carry worthwhile bonus tracks – the Dylan reissues eschewed any.
* even if you already own most of the original recordings, the incentives to buy the Miles box are persuasive – a newly released live DVD, a couple of previously unreleased CDs-worth of music, a substantial 250 page book by two leading Miles experts, and striking packaging.
* value: the “street” launch prices of the two boxes are similar, but the Miles box gives you far more bang for your buck.
Bottom line: I already had virtually all releases by both musicians. I passed on the Dylan box; I’ve ordered the Miles box.
Gerry Smith
Thursday, 5 November 2009
More on: New Age rock: But Is This Music for Grown-Ups? #1
Thanks to Phil Swann:
“You ask: But is this music for grown-ups?
“I’d say – not a chance.
“An essential ingredient of music for grown-ups is that it’s original. This kind of stuff is just so derivative. How can people listen to this when they can spend the same time listening to the original music?”
“You ask: But is this music for grown-ups?
“I’d say – not a chance.
“An essential ingredient of music for grown-ups is that it’s original. This kind of stuff is just so derivative. How can people listen to this when they can spend the same time listening to the original music?”
Wednesday, 4 November 2009
New Age rock: But Is This Music for Grown-Ups? #1
The record label have sent me details of a new album “which transforms popular rock bands like Bob Dylan, The Beatles and U2 into relaxing meditation music.”
But is this music for grown-ups?
Gerry Smith
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
Information and song samples:
www.modernmeditations.com
FROM THE PRESS RELEASE:
Slated for release November 17, the ³Modern Meditations² series¹ ³Rock Classics² and ³Modern Classics² 12-track collections feature meditative renditions of some of rock music¹s best-known
and most beloved songs. Also available on November 17 is an album dedicated to the songs of The Beatles. Aimed at introducing a brand new, modern rock perspective on ³new age² music fare, the ³Modern Meditations² series will be available for purchase at all traditional music retail outlets and online services, as well as distributed to many high-end lifestyle retailers.
Featuring the work of renowned producers from across the globe, ³Modern Meditations² has transformed contemporary rock favorites into meditation music for the rock & roll generation. Shimmering rock guitars and warm percussion create lush instrumental soundscapes. While yoga, Pilates, and meditation have all entered the mainstream, the music has not. The ³Modern Meditations² series aims to introduce an alternative to traditional new age fare to the growing modern rock audience.
The first of two compilation releases, ³Rock Classics,² features serene instrumental versions of songs from classic rock¹s most revered artists including Bob Dylan, The Beatles, The Rolling Stones, The Police, Led Zeppelin and many others. ³Modern Classics² dives into the contemporary rock catalog with tranquil renditions of songs by The Verve, U2, The Cure, Oasis, R.E.M., Nirvana and more.
But is this music for grown-ups?
Gerry Smith
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
Information and song samples:
www.modernmeditations.com
FROM THE PRESS RELEASE:
Slated for release November 17, the ³Modern Meditations² series¹ ³Rock Classics² and ³Modern Classics² 12-track collections feature meditative renditions of some of rock music¹s best-known
and most beloved songs. Also available on November 17 is an album dedicated to the songs of The Beatles. Aimed at introducing a brand new, modern rock perspective on ³new age² music fare, the ³Modern Meditations² series will be available for purchase at all traditional music retail outlets and online services, as well as distributed to many high-end lifestyle retailers.
Featuring the work of renowned producers from across the globe, ³Modern Meditations² has transformed contemporary rock favorites into meditation music for the rock & roll generation. Shimmering rock guitars and warm percussion create lush instrumental soundscapes. While yoga, Pilates, and meditation have all entered the mainstream, the music has not. The ³Modern Meditations² series aims to introduce an alternative to traditional new age fare to the growing modern rock audience.
The first of two compilation releases, ³Rock Classics,² features serene instrumental versions of songs from classic rock¹s most revered artists including Bob Dylan, The Beatles, The Rolling Stones, The Police, Led Zeppelin and many others. ³Modern Classics² dives into the contemporary rock catalog with tranquil renditions of songs by The Verve, U2, The Cure, Oasis, R.E.M., Nirvana and more.
Wednesday, 17 December 2008
Joyce DiDonato: three world-ranking mezzos #2
Of the three world-ranking mezzo-sopranos performing in London this week, the Kansan Joyce DiDonato is the least established.
She’s a fast-rising star, though – I’ve previously enjoyed her 2006 performances in Barber Of Seville, the lovely Rossini opera, at Covent Garden, in a semi-staged Handel opera at the Barbican, and a Wigmore Hall recital.
Saturday’s Barbican gig, backed by chamber orchestra Les Talens Lyriques, was part of a European tour promoting the singer’s new disc, Furore: Handel’s Scenes Of Madness.
The lovely setlist and striking performances cemented DiDonato’s growing reputation. She has a rich, creamy tone, an expressive, intelligent reading of the texts and enviable voice control – her dynamics and legato are always a thrill. She delivered a very enjoyable gig: must buy the album.
But the empty seats in the hall told you that DiDonato isn’t quite yet first division – Bartoli, Gheorghiu, Fleming, for example, are substantially more popular – but I wouldn’t bet against her morphing into a top drawer diva in the next few years.
Another odd Barbican audience! As for Roberto Alagna earlier this year, a mix of the cognoscenti you also encounter at Covent Garden or Vienna’s Musikverein, alongside an overabundance of Classic-Lite seniors who get way too excited (usually over the wrong things).
Gerry Smith
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
EARLIER RELATED ARTICLE:
Barber of Seville - another Rossini triumph for Covent Garden
Contrary to some tepid reviews, the new Royal Opera House production of The Barber of Seville, Rossini’s mature comedy, is a delight. While the Financial Times critic thought the staging “tedious, gaudy, boxy, contrived”, I found the production to be thoroughly engaging. And very funny.
Joyce DiDonato’s Rosina was well-nigh perfect. Her rich voice and expressive acting come from the top drawer: DiDonato’s a talent to follow carefully. Ditto George Petean, in the title role.
And, just as they triumphed with last season’s Rossini at Covent Garden, Il Turco, directors Leiser and Caurier presented a colourfully witty feast for the eyes.
She’s a fast-rising star, though – I’ve previously enjoyed her 2006 performances in Barber Of Seville, the lovely Rossini opera, at Covent Garden, in a semi-staged Handel opera at the Barbican, and a Wigmore Hall recital.
Saturday’s Barbican gig, backed by chamber orchestra Les Talens Lyriques, was part of a European tour promoting the singer’s new disc, Furore: Handel’s Scenes Of Madness.
The lovely setlist and striking performances cemented DiDonato’s growing reputation. She has a rich, creamy tone, an expressive, intelligent reading of the texts and enviable voice control – her dynamics and legato are always a thrill. She delivered a very enjoyable gig: must buy the album.
But the empty seats in the hall told you that DiDonato isn’t quite yet first division – Bartoli, Gheorghiu, Fleming, for example, are substantially more popular – but I wouldn’t bet against her morphing into a top drawer diva in the next few years.
Another odd Barbican audience! As for Roberto Alagna earlier this year, a mix of the cognoscenti you also encounter at Covent Garden or Vienna’s Musikverein, alongside an overabundance of Classic-Lite seniors who get way too excited (usually over the wrong things).
Gerry Smith
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
EARLIER RELATED ARTICLE:
Barber of Seville - another Rossini triumph for Covent Garden
Contrary to some tepid reviews, the new Royal Opera House production of The Barber of Seville, Rossini’s mature comedy, is a delight. While the Financial Times critic thought the staging “tedious, gaudy, boxy, contrived”, I found the production to be thoroughly engaging. And very funny.
Joyce DiDonato’s Rosina was well-nigh perfect. Her rich voice and expressive acting come from the top drawer: DiDonato’s a talent to follow carefully. Ditto George Petean, in the title role.
And, just as they triumphed with last season’s Rossini at Covent Garden, Il Turco, directors Leiser and Caurier presented a colourfully witty feast for the eyes.
Tuesday, 16 December 2008
Bach, Lou Reed, Count Basie
FREE! Music for grown-ups on the BBC in the next 10 days
Hidden among its vast TV and radio output, the BBC broadcasts some magnificent music for grown-ups every week of the year. Xmas week 2008 is spectacularly good. And it’s all free - well, sort of….
Thurs 18 Dec
2100 Louis Armstrong, Omnibus – BBC Four
2210 Louis Armstrong, Show Of The Week – BBC Four
2300 Louis Armstrong, Good Evening Ev’rybody – BBC Four
2300 Bob Dylan, Theme Time Radio Hour – BBC Radio 2
Fri 19 Dec
2130 & 0220 The Swing Thing – BBC Four
Sat 20 Dec
1215 Puccini Season, Music Matters – BBC Radio 3
1600 Count Basie, Jazz Library – BBC Radio 3
1700 Massenet’s Thais, from the Met, with Renee Fleming – BBC Radio 3
1900 Louis Prima, Legends – BBC Four
2100 Count Basie & His Orchestra – BBC Four
2200 Bob Dylan, Theme Time Radio Hour – BBC Radio 2
2330 Artie Shaw, Quest For Perfection – BBC Four
Sun 21 Dec
1900 Bach, Christmas Oratorio from Weimar – BBC Four
2230 Oscar Peterson In Concert – BBC Four
2300 Billie Holiday, Reputations – BBC Four
2400 Bob Dylan, Theme Time Radio Hour – BBC 6Music
Mon 22 Dec
1200 & 2200 Puccini, Composer Of The Week
(1/5, continues Tues-Fri) – BBC Radio 3
1900 Bach at Christmas (1/3, continues Tues-Wed) – BBC Radio 3
2200 Bach, Christmas Oratorio from Weimar – BBC Four
Wed 24 Dec
1830 Carols from King’s – BBC2
Thurs 25 Dec
1400 Festival Of Nine Lessons & Carols, from King’s – BBC Radio 3
1500 Hansel und Gretel, from Covent Garden – BBC2
1950 Handel’s Messiah, LSO/Davis, from The Barbican – BBC Four
2300 Bob Dylan, Theme Time Radio Hour – BBC Radio 2
Fri 26 Dec
1400 Bob Dylan, Theme Time Radio Hour – BBC 6Music
2200 Quincy Jones: The Many Lives Of Q – BBC Four
Online access: many BBC radio programmes are broadcast live online - please see the channels’ web sites for details. Some BBC radio and TV programmes are also accessible online via iPlayer for a short period after transmission:
www.bbc.co.uk/iplayer
And on the commercial networks:
Tues 23 Dec
0125 Spectacle: Elvis Costello with Lou Reed – C4
Gerry Smith
Hidden among its vast TV and radio output, the BBC broadcasts some magnificent music for grown-ups every week of the year. Xmas week 2008 is spectacularly good. And it’s all free - well, sort of….
Thurs 18 Dec
2100 Louis Armstrong, Omnibus – BBC Four
2210 Louis Armstrong, Show Of The Week – BBC Four
2300 Louis Armstrong, Good Evening Ev’rybody – BBC Four
2300 Bob Dylan, Theme Time Radio Hour – BBC Radio 2
Fri 19 Dec
2130 & 0220 The Swing Thing – BBC Four
Sat 20 Dec
1215 Puccini Season, Music Matters – BBC Radio 3
1600 Count Basie, Jazz Library – BBC Radio 3
1700 Massenet’s Thais, from the Met, with Renee Fleming – BBC Radio 3
1900 Louis Prima, Legends – BBC Four
2100 Count Basie & His Orchestra – BBC Four
2200 Bob Dylan, Theme Time Radio Hour – BBC Radio 2
2330 Artie Shaw, Quest For Perfection – BBC Four
Sun 21 Dec
1900 Bach, Christmas Oratorio from Weimar – BBC Four
2230 Oscar Peterson In Concert – BBC Four
2300 Billie Holiday, Reputations – BBC Four
2400 Bob Dylan, Theme Time Radio Hour – BBC 6Music
Mon 22 Dec
1200 & 2200 Puccini, Composer Of The Week
(1/5, continues Tues-Fri) – BBC Radio 3
1900 Bach at Christmas (1/3, continues Tues-Wed) – BBC Radio 3
2200 Bach, Christmas Oratorio from Weimar – BBC Four
Wed 24 Dec
1830 Carols from King’s – BBC2
Thurs 25 Dec
1400 Festival Of Nine Lessons & Carols, from King’s – BBC Radio 3
1500 Hansel und Gretel, from Covent Garden – BBC2
1950 Handel’s Messiah, LSO/Davis, from The Barbican – BBC Four
2300 Bob Dylan, Theme Time Radio Hour – BBC Radio 2
Fri 26 Dec
1400 Bob Dylan, Theme Time Radio Hour – BBC 6Music
2200 Quincy Jones: The Many Lives Of Q – BBC Four
Online access: many BBC radio programmes are broadcast live online - please see the channels’ web sites for details. Some BBC radio and TV programmes are also accessible online via iPlayer for a short period after transmission:
www.bbc.co.uk/iplayer
And on the commercial networks:
Tues 23 Dec
0125 Spectacle: Elvis Costello with Lou Reed – C4
Gerry Smith
Monday, 15 December 2008
Angelika Kirschlager: three world-ranking mezzos #1
With a rare chance to compare three world-ranking mezzos in London in the space of five days, I saw the first, Angelika Kirschlager, in Hansel und Gretel at Covent Garden last Friday.
She – and the opera - were magnificent. In her usual “trouser role”, this time playing a youthful country boy, Kirschlager impressed all night long. Her singing was supple yet powerful, her comic and dramatic acting delightful.
Ms Kirschlager wasn’t the only reason for my visit, though - locally revered baritone Thomas Allen was predictably luminous as the confused Father and Diana Damrau is a compelling soprano whose acting eventually matched Kirschlager’s. The house band under Colin Davis was consistently reliable, occasionally moving.
My pre-show doubts about a fairy tale subject written by a one-hit wonder (Humperdinck) were entirely misplaced. This is an engaging version, directed by the Leiser/Caurier duo who’ve been responsible for some outstanding Covent Garden shows in recent years.
You can catch it on BBC Radio 3 tomorrow, Tuesday 16 December, at 1930.
Gerry Smith
She – and the opera - were magnificent. In her usual “trouser role”, this time playing a youthful country boy, Kirschlager impressed all night long. Her singing was supple yet powerful, her comic and dramatic acting delightful.
Ms Kirschlager wasn’t the only reason for my visit, though - locally revered baritone Thomas Allen was predictably luminous as the confused Father and Diana Damrau is a compelling soprano whose acting eventually matched Kirschlager’s. The house band under Colin Davis was consistently reliable, occasionally moving.
My pre-show doubts about a fairy tale subject written by a one-hit wonder (Humperdinck) were entirely misplaced. This is an engaging version, directed by the Leiser/Caurier duo who’ve been responsible for some outstanding Covent Garden shows in recent years.
You can catch it on BBC Radio 3 tomorrow, Tuesday 16 December, at 1930.
Gerry Smith
Thursday, 11 December 2008
Kirschlager, DiDonato and Bartoli: three world-ranking mezzos play London
In the space of the next five days, I’m due to see Angelika Kirschlager, Joyce DiDonato and Cecilia Bartoli, three world-ranking mezzo-sopranos, singing at three different London gigs:
· Kirschlager in Hansel und Gretel at Covent Garden tomorrow,
· DiDonato singing Handel repertoire at the Barbican on Saturday,
· and Bartoli in a Rossini recital, also at the Barbican, next Wednesday.
Music for Grown-Ups Heaven!
Having seen all three before, several times each, my expectations are astronomically high: three of the greatest female voices on the planet - on show in one city at virtually the same time. It’ll be instructive, if invidious, to compare and contrast. Watch Music For Grown-Ups for reviews.
Gerry Smith
· Kirschlager in Hansel und Gretel at Covent Garden tomorrow,
· DiDonato singing Handel repertoire at the Barbican on Saturday,
· and Bartoli in a Rossini recital, also at the Barbican, next Wednesday.
Music for Grown-Ups Heaven!
Having seen all three before, several times each, my expectations are astronomically high: three of the greatest female voices on the planet - on show in one city at virtually the same time. It’ll be instructive, if invidious, to compare and contrast. Watch Music For Grown-Ups for reviews.
Gerry Smith
Tuesday, 9 December 2008
Louis Armstrong, The Police, Angelika Kirschlager
FREE! Music for grown-ups on the BBC in the next 10 days
Hidden among its vast TV and radio output, the BBC broadcasts some magnificent music for grown-ups. Every week of the year. And it’s all free - well, sort of… .
Wed 10 Dec
1200 & 2200 Robert Schumann, Composer Of The Week
(3/5, continues Thurs-Fri) – BBC Radio 3
Thurs 11 Dec
2300 Bob Dylan, Theme Time Radio Hour – BBC Radio 2
Fri 12 Dec
2100 Roy Orbison, Legends – BBC Four
2200 Roy Sings Orbison – BBC Four
Sun 14 Dec
2400 Bob Dylan, Theme Time Radio Hour – BBC 6 Music
Tues 16 Dec
1930 Hansel und Gretel, featuring Angelika Kirschlager,
live from Covent Garden – BBC Radio 3
Thurs 18 Dec
2100 Louis Armstrong, Omnibus – BBC Four
2210 Louis Armstrong, Show Of The Week – BBC Four
2300 Louis Armstrong, Good Evening Ev’rybody – BBC Four
2300 Bob Dylan, Theme Time Radio Hour – BBC Radio 2
Fri 19 Dec
2130 & 0220 The Swing Thing – BBC Four
Online access: many BBC radio programmes are broadcast live online - please see the channels’ web sites for details. Some BBC radio and TV programmes are also accessible online via iPlayer for a short period after transmission:
www.bbc.co.uk/iplayer
And on the commercial networks:
Mon 15 Dec
2405 Spectacle: Elvis Costello with The Police - C4
Gerry Smith
Hidden among its vast TV and radio output, the BBC broadcasts some magnificent music for grown-ups. Every week of the year. And it’s all free - well, sort of… .
Wed 10 Dec
1200 & 2200 Robert Schumann, Composer Of The Week
(3/5, continues Thurs-Fri) – BBC Radio 3
Thurs 11 Dec
2300 Bob Dylan, Theme Time Radio Hour – BBC Radio 2
Fri 12 Dec
2100 Roy Orbison, Legends – BBC Four
2200 Roy Sings Orbison – BBC Four
Sun 14 Dec
2400 Bob Dylan, Theme Time Radio Hour – BBC 6 Music
Tues 16 Dec
1930 Hansel und Gretel, featuring Angelika Kirschlager,
live from Covent Garden – BBC Radio 3
Thurs 18 Dec
2100 Louis Armstrong, Omnibus – BBC Four
2210 Louis Armstrong, Show Of The Week – BBC Four
2300 Louis Armstrong, Good Evening Ev’rybody – BBC Four
2300 Bob Dylan, Theme Time Radio Hour – BBC Radio 2
Fri 19 Dec
2130 & 0220 The Swing Thing – BBC Four
Online access: many BBC radio programmes are broadcast live online - please see the channels’ web sites for details. Some BBC radio and TV programmes are also accessible online via iPlayer for a short period after transmission:
www.bbc.co.uk/iplayer
And on the commercial networks:
Mon 15 Dec
2405 Spectacle: Elvis Costello with The Police - C4
Gerry Smith
Monday, 8 December 2008
“New” Neil Young live album – and then there were ten
I’ll be buying Sugar Mountain, the new Neil Young live album, later this week. But I’ll be buying it – the tenth live album by Young - only through force of habit, the need to keep the Shakey collection complete.
Hell, I already have nine live albums, and I only ever listen to the top three - Live Rust, Weld and Unplugged. Young’s a great live performer, but do I really need ten gigs?
I’ve been swayed because Sugar Mountain was recorded very early – Nov 1968, just before the release of the disappointing eponymous first album – and it could repay careful scrutiny.
The other Young live albums are:
Live At the Fillmore East (1971>2006)
Live At Massey Hall (1971>2007)
Time Fades Away (1973)
Live Rust (1979)
Weld (1991)
Arc (1991)
Unplugged (1993)
Year of the Horse (1997)
Road Rock vol 1 (2001)
Gerry Smith
Hell, I already have nine live albums, and I only ever listen to the top three - Live Rust, Weld and Unplugged. Young’s a great live performer, but do I really need ten gigs?
I’ve been swayed because Sugar Mountain was recorded very early – Nov 1968, just before the release of the disappointing eponymous first album – and it could repay careful scrutiny.
The other Young live albums are:
Live At the Fillmore East (1971>2006)
Live At Massey Hall (1971>2007)
Time Fades Away (1973)
Live Rust (1979)
Weld (1991)
Arc (1991)
Unplugged (1993)
Year of the Horse (1997)
Road Rock vol 1 (2001)
Gerry Smith
Thursday, 4 December 2008
Music for grown-ups on the mag racks: two new Miles, one new Dylan cover
Key musicians for grown-ups Miles Davis and Bob Dylan feature prominently on the magazine racks this month.
Promoting the sooopah-dooopah new Kind Of Blue box, my two favourite jazz mags both have Miles cover features. Jazzwise (Dec/Jan) uses one of the iconic Sony photos for its eight-page feature.
Jazz Magazine (Paris) uses a less familiar shot of Miles on the evocative cover of its Dec issue to trail a multi-part feature.
They nicely complement the striking portrait used by Jazziz for its September issue.
www.jazzwise.com
www.jazzmagazine.com
www.jazziz.com
The new issue (1066, 27 Nov) of the redesigned Rolling Stone has a mid-‘60s Dylan photo on its cover (he’s one of four different collectors’ covers) announcing its Special Issue – The 100 Greatest Singers Of All Time.
Dylan manages seventh place in the top 100, which was compiled by polling a couple of hundred celebs/music bizzers. I didn’t bother reading any of the short articles on the “great singers” (Dylan’s praises are sung by Bono), but the issue is a lovely addition to the collection of Dylan cover issues.
Surprisingly, there’s no place in the top 100 for tenors like Pavarotti, sopranos like Callas or lounge greats like Sinatra and Ella. Rolling Stone must have run out of space to insert the qualifying adjectives “Baby Boomer-plus rockpop” between “Greatest” and “Singers Of All Time”. Without them, the title of the otherwise admirable 40-page feature is laughable.
www.rollingstone.com
Gerry Smith
Promoting the sooopah-dooopah new Kind Of Blue box, my two favourite jazz mags both have Miles cover features. Jazzwise (Dec/Jan) uses one of the iconic Sony photos for its eight-page feature.
Jazz Magazine (Paris) uses a less familiar shot of Miles on the evocative cover of its Dec issue to trail a multi-part feature.
They nicely complement the striking portrait used by Jazziz for its September issue.
www.jazzwise.com
www.jazzmagazine.com
www.jazziz.com
The new issue (1066, 27 Nov) of the redesigned Rolling Stone has a mid-‘60s Dylan photo on its cover (he’s one of four different collectors’ covers) announcing its Special Issue – The 100 Greatest Singers Of All Time.
Dylan manages seventh place in the top 100, which was compiled by polling a couple of hundred celebs/music bizzers. I didn’t bother reading any of the short articles on the “great singers” (Dylan’s praises are sung by Bono), but the issue is a lovely addition to the collection of Dylan cover issues.
Surprisingly, there’s no place in the top 100 for tenors like Pavarotti, sopranos like Callas or lounge greats like Sinatra and Ella. Rolling Stone must have run out of space to insert the qualifying adjectives “Baby Boomer-plus rockpop” between “Greatest” and “Singers Of All Time”. Without them, the title of the otherwise admirable 40-page feature is laughable.
www.rollingstone.com
Gerry Smith
Wednesday, 3 December 2008
Sting sings Dowland in Sydney: encore
Thanks to Jerry Crew:
“Enjoyed reading the review from Andrew Robertson. For those who would like to hear/see/learn more about this phase of Sting’s career, you can pick up the excellent CD/DVD combo pack titled “The Journey & The Labyrinth: The Music of John Dowland”.
“It contains excerpts from a performance by Sting and Edin Karamazov at St. Luke’s in London, which sounds to be similar to the Sydney performance.”
“Enjoyed reading the review from Andrew Robertson. For those who would like to hear/see/learn more about this phase of Sting’s career, you can pick up the excellent CD/DVD combo pack titled “The Journey & The Labyrinth: The Music of John Dowland”.
“It contains excerpts from a performance by Sting and Edin Karamazov at St. Luke’s in London, which sounds to be similar to the Sydney performance.”
Tuesday, 2 December 2008
Herbie Hancock, Roy Orbison, Robert Schumann
FREE! Music for grown-ups on the BBC in the next 10 days
Hidden among its vast TV and radio output, the BBC broadcasts some magnificent music for grown-ups. Every week of the year. And it’s all free - well, sort of… .
Wed 3 Dec
1200 & 2200 Olivier Messiaen, Composer Of The Week
(3/5, continues Thurs-Fri) – BBC Radio 3
Thurs 4 Dec
2300 Salif Keita, BBC Four Sessions – BBC Four
2300 Bob Dylan, Theme Time Radio Hour – BBC Radio 2
Fri 5 Dec
2315 fRoots magazine’s Album of the Year, World On 3 – BBC Radio 3
Sun 7 Dec
2400 Bob Dylan, Theme Time Radio Hour – BBC 6 Music
Mon 8 Dec
1200 & 2200 Robert Schumann, Composer Of The Week
(1/5, continues Tues-Fri) – BBC Radio 3
2315 Herbie Hancock At The London Jazz Festival – BBC Radio 3
Thurs 11 Dec
2300 Bob Dylan, Theme Time Radio Hour – BBC Radio 2
Fri 12 Dec
2100 Roy Orbison, Legends – BBC Four
2200 Roy Sings Orbison – BBC Four
Online access: many BBC radio programmes are broadcast live online - please see the channels’ web sites for details. Some BBC radio and TV programmes are also accessible online via iPlayer for a short period after transmission:
www.bbc.co.uk/iplayer
Gerry Smith
Hidden among its vast TV and radio output, the BBC broadcasts some magnificent music for grown-ups. Every week of the year. And it’s all free - well, sort of… .
Wed 3 Dec
1200 & 2200 Olivier Messiaen, Composer Of The Week
(3/5, continues Thurs-Fri) – BBC Radio 3
Thurs 4 Dec
2300 Salif Keita, BBC Four Sessions – BBC Four
2300 Bob Dylan, Theme Time Radio Hour – BBC Radio 2
Fri 5 Dec
2315 fRoots magazine’s Album of the Year, World On 3 – BBC Radio 3
Sun 7 Dec
2400 Bob Dylan, Theme Time Radio Hour – BBC 6 Music
Mon 8 Dec
1200 & 2200 Robert Schumann, Composer Of The Week
(1/5, continues Tues-Fri) – BBC Radio 3
2315 Herbie Hancock At The London Jazz Festival – BBC Radio 3
Thurs 11 Dec
2300 Bob Dylan, Theme Time Radio Hour – BBC Radio 2
Fri 12 Dec
2100 Roy Orbison, Legends – BBC Four
2200 Roy Sings Orbison – BBC Four
Online access: many BBC radio programmes are broadcast live online - please see the channels’ web sites for details. Some BBC radio and TV programmes are also accessible online via iPlayer for a short period after transmission:
www.bbc.co.uk/iplayer
Gerry Smith
Monday, 1 December 2008
Sting sings Dowland in Sydney
Thanks to Andrew Robertson (in Adelaide)
Why, if a person who plays the flute is a flautist, is a person who plays the lute a lutenist?
On Sunday night, we saw Sting playing his “lute concert” at the Sydney Opera House, the day after the architect who had designed the Sydney Opera House, Joern Utzon, had died. Before the concert started the boss of the Opera House came out and spoke warmly about Utzon, although the history of Utzon and his Opera House was controversial. He hadn’t been appreciated and acknowledged appropriately at the time, and the project went way over budget. As a result, Utzon had never actually seen the finished building and I believe felt some bitterness about it right to the end. Maybe there are people who know more about this than me?
Sting then spoke about his excitement and pride of playing in such an iconic venue, particularly at this poignant time. He said he’d been coming to Australia for 30 years and had never thought he’d be playing at the Opera House.
And in a world where the word “iconic” has lost some of its currency through over-use, there is no doubt that the Sydney Opera House is an icon. Catching a ferry across the harbour framed by the Sydney Harbour Bridge and the Opera House is one of the world’s great travel experiences – no matter how often you do it, it can still take your breath away.
So to the concert, and what a thoroughly charming evening it was.
I was asked what were the other differences between the flute and the lute, apart from the names of those who play them, and I said the way they are played – one is played with the lips and the other with the fingers. I was informed, with a glint in her eye, that this is a big and important difference indeed! I wonder what she meant…
The concert opened with a trio comprising grand piano, cello and classical guitar playing original music (written by the pianist) which was warm and inviting, somehow contemporary in style but also with a sense of timelessness, as great classical music is. Was this great music? I am not sure, as I am probably not qualified to judge, but it was a great experience sitting there listening to it.
Then after a short interval where champagne was obligatory as we stepped outside the Opera House to look across the water at the Bridge in lights, out came Sting, accompanied initially only by Edin Karamazov, a man who I am sure is the finest lutenist in history. As the concert continued, in some songs they were accompanied by an 8 piece choir, 4 male and 4 female voices, with all of the right mixes of baritone, tenor and the rest – beautiful, although possibly slightly under-utilised as they seemed to be really only providing the harmonies when I’m sure they were capable of more. But when you have a voice like Sting’s, what more do you need?
Having heard Sting in his own jazz-inflected band back in the early ‘90s (around the time he was pursuing South America influences to create some really wonderful music) and also more recently in the Police reunion tour, I didn’t realize how good his voice really is. In the pop/rock/jazz idioms the vocal is often competing for space against all of the other instruments, and also against the sheer volume of the sounds, but against a musical backdrop of the lute, the whole lute and nothing but the lute, the voice was on full display. I am not musically literate enough to know how describe it, but I am sure it is a classical voice of rare quality.
He commented that after playing to audiences of 20-30,000 people that it was a bit intimidating to play to a small audience where he could actually see everyone’s face. The Opera House has a number of auditoriums, and this concert hall was quite small – at a guess, not more than 2,000 people, possibly less. We were close, and it was wonderfully intimate. If he was intimidated, it didn’t show – he was in command, it was very definitely his show, but in a way that expressed confidence rather than arrogance. It was also very honest – here he was doing something heartfelt, following his own musical journey and arguably risking much in terms of his reputation and audience.
The music was the songs of John Dowland from 16th century England – but songs which resonated today. Musically Sting had been quoted as saying that these songs had a direct lineage through to the Beatles, and in the encore when he played In My Life it was as if to demonstrate that. The encore also included Fields of Gold and Message In A Bottle, both of which worked beautifully in this context.
Prior to the concert I had wondered what other accompaniment he would have, other than the lutenist Karamazov. I was surprised that there was none other – but it didn’t need any more, the lute was such a rich accompaniment on its own. Particularly played the way Edin Karamazov played it. Sting also played the lute, in about half the songs, possibly more – he was good, but kind of like the rhythm lutenist to Karamazov’s lead.
Sting was very generous in his appreciation of Karamazov, and also the backing choir. Again, he came across as very human and very likeable.
In a world in which I think experiences are more valuable than things, this was a priceless experience.
Why, if a person who plays the flute is a flautist, is a person who plays the lute a lutenist?
On Sunday night, we saw Sting playing his “lute concert” at the Sydney Opera House, the day after the architect who had designed the Sydney Opera House, Joern Utzon, had died. Before the concert started the boss of the Opera House came out and spoke warmly about Utzon, although the history of Utzon and his Opera House was controversial. He hadn’t been appreciated and acknowledged appropriately at the time, and the project went way over budget. As a result, Utzon had never actually seen the finished building and I believe felt some bitterness about it right to the end. Maybe there are people who know more about this than me?
Sting then spoke about his excitement and pride of playing in such an iconic venue, particularly at this poignant time. He said he’d been coming to Australia for 30 years and had never thought he’d be playing at the Opera House.
And in a world where the word “iconic” has lost some of its currency through over-use, there is no doubt that the Sydney Opera House is an icon. Catching a ferry across the harbour framed by the Sydney Harbour Bridge and the Opera House is one of the world’s great travel experiences – no matter how often you do it, it can still take your breath away.
So to the concert, and what a thoroughly charming evening it was.
I was asked what were the other differences between the flute and the lute, apart from the names of those who play them, and I said the way they are played – one is played with the lips and the other with the fingers. I was informed, with a glint in her eye, that this is a big and important difference indeed! I wonder what she meant…
The concert opened with a trio comprising grand piano, cello and classical guitar playing original music (written by the pianist) which was warm and inviting, somehow contemporary in style but also with a sense of timelessness, as great classical music is. Was this great music? I am not sure, as I am probably not qualified to judge, but it was a great experience sitting there listening to it.
Then after a short interval where champagne was obligatory as we stepped outside the Opera House to look across the water at the Bridge in lights, out came Sting, accompanied initially only by Edin Karamazov, a man who I am sure is the finest lutenist in history. As the concert continued, in some songs they were accompanied by an 8 piece choir, 4 male and 4 female voices, with all of the right mixes of baritone, tenor and the rest – beautiful, although possibly slightly under-utilised as they seemed to be really only providing the harmonies when I’m sure they were capable of more. But when you have a voice like Sting’s, what more do you need?
Having heard Sting in his own jazz-inflected band back in the early ‘90s (around the time he was pursuing South America influences to create some really wonderful music) and also more recently in the Police reunion tour, I didn’t realize how good his voice really is. In the pop/rock/jazz idioms the vocal is often competing for space against all of the other instruments, and also against the sheer volume of the sounds, but against a musical backdrop of the lute, the whole lute and nothing but the lute, the voice was on full display. I am not musically literate enough to know how describe it, but I am sure it is a classical voice of rare quality.
He commented that after playing to audiences of 20-30,000 people that it was a bit intimidating to play to a small audience where he could actually see everyone’s face. The Opera House has a number of auditoriums, and this concert hall was quite small – at a guess, not more than 2,000 people, possibly less. We were close, and it was wonderfully intimate. If he was intimidated, it didn’t show – he was in command, it was very definitely his show, but in a way that expressed confidence rather than arrogance. It was also very honest – here he was doing something heartfelt, following his own musical journey and arguably risking much in terms of his reputation and audience.
The music was the songs of John Dowland from 16th century England – but songs which resonated today. Musically Sting had been quoted as saying that these songs had a direct lineage through to the Beatles, and in the encore when he played In My Life it was as if to demonstrate that. The encore also included Fields of Gold and Message In A Bottle, both of which worked beautifully in this context.
Prior to the concert I had wondered what other accompaniment he would have, other than the lutenist Karamazov. I was surprised that there was none other – but it didn’t need any more, the lute was such a rich accompaniment on its own. Particularly played the way Edin Karamazov played it. Sting also played the lute, in about half the songs, possibly more – he was good, but kind of like the rhythm lutenist to Karamazov’s lead.
Sting was very generous in his appreciation of Karamazov, and also the backing choir. Again, he came across as very human and very likeable.
In a world in which I think experiences are more valuable than things, this was a priceless experience.
Friday, 28 November 2008
Dylan in London, 1962/63
If you missed Bob’s Big Freeze, Tuesday’s one-hour Radio 2 documentary on Dylan in London in 1962/63, you can still catch it online - until next Tuesday, 2 Dec (2230 GMT).
It’s a richly detailed account of Dylan’s first trip outside North America. Martin Carthy claims the trip was vital in Dylan’s development as a writer, exposing him to sources which inspired some of the big early anthems like Spanish Boots, Girl From The North Country and Bob Dylan’s Dream. The first masterpiece LP, Freewheelin’, followed in mid-1963.
Strengths? Apart from the evocative music clips, it’s a well-researched feature - as you’d expect from a co-production by long-time Dylan scribe Patrick Humphries. The number and variety of eye witness accounts is impressive.
And don’t be put off by the extraneous noises in the first few minutes of the playback – Nigel Ogden on the organ, and a trail for another Radio 2 show.
Bob’s Big Freeze: recommended.
www.bbc.co.uk/iplayer
Gerry Smith
It’s a richly detailed account of Dylan’s first trip outside North America. Martin Carthy claims the trip was vital in Dylan’s development as a writer, exposing him to sources which inspired some of the big early anthems like Spanish Boots, Girl From The North Country and Bob Dylan’s Dream. The first masterpiece LP, Freewheelin’, followed in mid-1963.
Strengths? Apart from the evocative music clips, it’s a well-researched feature - as you’d expect from a co-production by long-time Dylan scribe Patrick Humphries. The number and variety of eye witness accounts is impressive.
And don’t be put off by the extraneous noises in the first few minutes of the playback – Nigel Ogden on the organ, and a trail for another Radio 2 show.
Bob’s Big Freeze: recommended.
www.bbc.co.uk/iplayer
Gerry Smith
Thursday, 27 November 2008
Maria Callas: favourite female opera singer
Maria Callas receives the same level of media attention as Bob Dylan or Miles Davis. It’s easy to see why; she’s Music for Grown-Ups readers’ clear favourite female opera singer, as our poll a couple of years ago established.
Favourite female opera singer: results
Maria Callas 46.8%
Cecilia Bartoli 28.1%
Anna Netrebko 9.3%
Magdalena Kozena 9.3%
Renee Fleming 6.2%
Angela Gheorghiu 0%
Gerry Smith
Favourite female opera singer: results
Maria Callas 46.8%
Cecilia Bartoli 28.1%
Anna Netrebko 9.3%
Magdalena Kozena 9.3%
Renee Fleming 6.2%
Angela Gheorghiu 0%
Gerry Smith
Wednesday, 26 November 2008
Roy Orbison: readers’ favourite ‘50s rocker
Gearing up for the start of In Dreams: Roy Orbison, the four part series starting on BBC Radio 2 next Monday (1 Dec) at 2330, I dug out the poll conducted here a few years ago which showed Orbison to be even more popular among readers than Elvis!
Favourite ‘50s rockers:
Roy Orbison 26%
Elvis Presley 24.6%
Chuck Berry 21.9%
Buddy Holly 17.8%
Everly Brothers 9.5%
Little Richard 0%
Much as I rate the Big-O, I’d personally rank him after Buddy Holly and the Everly Brothers.
Gerry Smith
Favourite ‘50s rockers:
Roy Orbison 26%
Elvis Presley 24.6%
Chuck Berry 21.9%
Buddy Holly 17.8%
Everly Brothers 9.5%
Little Richard 0%
Much as I rate the Big-O, I’d personally rank him after Buddy Holly and the Everly Brothers.
Gerry Smith
Tuesday, 25 November 2008
Roy Orbison, Charlie Parker, Olivier Messiaen
FREE! Music for grown-ups on the BBC in the next 10 days:
Hidden among its vast TV and radio output, the BBC broadcasts some magnificent music for grown-ups. Every week of the year. And it’s all free - well, sort of… .
Thurs 27 Nov
2300 Bob Dylan, Theme Time Radio Hour – BBC Radio 2
2300 Georgie Fame, BBC Four Sessions – BBC Four
2400 Van Morrison, BBC Four Sessions – BBC Four
Fri 28 Nov
1930 Mahler’s 2nd Symphony – BBC Four
2100 The Clash: Westway To The World – BBC Four
2200 The Clash Live – Revolution Rock – BBC Four
Sat 29 Nov
1600 Charlie Christian, Jazz Library – BBC Radio 3
1730 Berlioz, La Damnation de Faust (from the Met) – BBC Radio 3
2400 Charlie Parker, Jazz Library – BBC Radio 3
Sun 30 Nov
2400 Bob Dylan, Theme Time Radio Hour – BBC 6 Music
Mon 1 Dec
1200 & 2200 Olivier Messiaen, Composer Of The Week
(1/5, continues Tues-Fri) – BBC Radio 3
2330 Roy Orbison, In Dreams (1/4) – BBC Radio 2
Thurs 4 Nov
2300 Salif Keita, BBC Four Sessions – BBC Four
Fri 5 Dec
2315 fRoots magazine’s Album of the Year, World On 3 – BBC Radio 3
Online access: many BBC radio programmes are broadcast live online - please see the channels’ web sites for details. Some BBC radio and TV programmes are also accessible online via iPlayer for a short period after transmission:
www.bbc.co.uk/iplayer
Gerry Smith
Hidden among its vast TV and radio output, the BBC broadcasts some magnificent music for grown-ups. Every week of the year. And it’s all free - well, sort of… .
Thurs 27 Nov
2300 Bob Dylan, Theme Time Radio Hour – BBC Radio 2
2300 Georgie Fame, BBC Four Sessions – BBC Four
2400 Van Morrison, BBC Four Sessions – BBC Four
Fri 28 Nov
1930 Mahler’s 2nd Symphony – BBC Four
2100 The Clash: Westway To The World – BBC Four
2200 The Clash Live – Revolution Rock – BBC Four
Sat 29 Nov
1600 Charlie Christian, Jazz Library – BBC Radio 3
1730 Berlioz, La Damnation de Faust (from the Met) – BBC Radio 3
2400 Charlie Parker, Jazz Library – BBC Radio 3
Sun 30 Nov
2400 Bob Dylan, Theme Time Radio Hour – BBC 6 Music
Mon 1 Dec
1200 & 2200 Olivier Messiaen, Composer Of The Week
(1/5, continues Tues-Fri) – BBC Radio 3
2330 Roy Orbison, In Dreams (1/4) – BBC Radio 2
Thurs 4 Nov
2300 Salif Keita, BBC Four Sessions – BBC Four
Fri 5 Dec
2315 fRoots magazine’s Album of the Year, World On 3 – BBC Radio 3
Online access: many BBC radio programmes are broadcast live online - please see the channels’ web sites for details. Some BBC radio and TV programmes are also accessible online via iPlayer for a short period after transmission:
www.bbc.co.uk/iplayer
Gerry Smith
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