Gearing up for Yule


I don’t care how many shopping days, what matters now is, how many singing days are there til the Solstice?

And how many reading days? My evenings are  split roughly equally between singing and promoting the books between now and Christmas.

Rehearsals every Monday for Vivaldi Gloria at Blackheath Halls Christmas Concert

Tuesdays at the Horniman Museum preparing for the end of term Raise the Roof concert (the last under the organic direction of Melanie Harrold)

Lester Simpson workshop on 1st December (folk carols, my favourite kind.)  All afternoon get tickets to join in here

Squeezing in Summer All Year Long rehearsals for our gig at Hills & Parkes in aid of Shelter on 15th December at 3:30, which might be followed by other places including Brockley Christmas Market.

Reading STATIONS at Canvas & Cream Wednesday 28th November 7pm

and Deptford Lounge Thursday 29th November at 7pm

The Official Launch at Brunel Museum on Sunday 2nd December 12:30-2:30

Hills & Parkes Wednesday 5th December at 6pm

and Brick Lane Bookshop Thursday 6th December at 7pm

So, no I don’t care how many shopping days it is, because I’m not going shopping! Friends and Family: your choice – you can have a copy of Stations or London Lies as your festive gift, or I could sing you a carol…?

music is taking over my life


Raise the Roof at the Horniman

Haven’t written anything here (or anywhere else much) for a while, and I blame that pesky singing lark. It has taken over.
We are rehearsing Ramirez’s Navidad Nuestra, carols and RTR stuff for Blackheath Halls on the 16th December, end of term concert for Raise the Roof at the Horniman Museum TODAY!!!! 2.30pm,
and a selection of more unusual carols with Summer All Year Long in aid of Crisis for 17th December,
3pm at Crofton Park Library, 4pm at Hills & Parkes Deli 49 Honor Oak Park and 5pm at The Broca Cafe Coulgate Street Brockley, right by the station.
It’s all huge fun, but time consuming, and there’s always room to be made for just one more extra rehearsal, or (Latin American) Spanish to be written out phonetically and big enough to be read (Score is unreadable), or posters to be designed, printed, distributed.
Would I have it any other way?
No.
But the garden is neglected, I was writing Christmas cards at 5am this morning, and Christmas shopping started yesterday – normally I’d have it all tied up by September!
That said I highly recommend Cockpit Arts in Deptford (and Holborn) for Christmas presents of a very classy kind. I won’t go into detail or everyone will get previews of what will be in their stockings on the 25th… but check out their website.
And when not rehearsing or performing I’m attending musical events.
Highlights recently Coope Boyes and Simpson at the Goose is out, Goose is out singaround at the Mag, two versions of Figaro… and yet to come Lewisham Choral Society at St Mary’s Ladywell on the 10th, and Nunhead Community Choir on the 11th
I had high hopes of getting to lots of the Spitalfields Winter Festival, which has some really exciting things on, but there’s so much on locally that I think I’ll be lucky to make it to even one, and then of course there’s the Welcome Yule at Southbank on the 18th, might try to squeeze that in.
And there’s been less successful outings, a disappointing Eugene Onegin at ENO, which was too static, under characterised, and had a very odd libretto although the sets were wonderful (I worry when the sets are what I’m praising – I also worry when people laugh at Onegin’s anguish when he realises what a disastrous mistake he’s made), I really think rough edges not withstanding our Blackheath production was vastly superior… followed by an APPALLING Castor and Pollux also at ENO, which by comparison made Onegin look like a shining light of dramatic excellence. I know I shouldn’t judge an opera by it’s dramatic punch, but I do, if I just wanted the music I could listen to a disc. Rameau’s music is exquisite and I can’t fault the orchestra nor the singers, particularly Allan Clayton as Castor, but the director showed very little respect for his singers, who were required to (I was going to say act, but really; no) behave like disturbed and sexualised toddlers. I winced for them I really did.

The storyline was rather throw away too, I didn’t much care which of the brothers died and I wasn’t moved by their dilemma, mainly because the production (and lack of it) detracted from the music in a depressingly consistent way. I can only assume the budget for scenery and costume had been blown on the other productions, This was naff, and I was not surprised that Roderick Williams (Pollux) was taken ill, the amount of compost and glitter they were probably breathing in, I hope no one sustained permanent damage… My dad was groaning in anguish and muttering imprecations through out. This would have been better as a concert performance, then we could have allowed Rameau to light our imaginations and conjured up Hell and Jupiter for ourselves, rather than having it channelled for us by Little Britain doing zombiesRus.

I found myself wisting after the productions of Handel (Xerxes, Ariodante) that ENO did many years ago, which were directed with wit and aplomb, and with a knowing nod to the audience; and still manage to move me; I still quote a tiny bit of recitative from Xerxes where Arsemenes is asked to woo his own beloved on behalf of his brother, the timing and phrasing of his ‘I’d rather die’ summed up his entire character.  That was great singing, great acting and great direction.  Handel had a hand in  it too, but Rameau is good enough to deserve that kind of attention.

Enough grumbling, got to go and SING!!

copyright Cherry Potts 2011