Very good news just in from my man in Japan.
Seiji Ozawa is back in action, and on top form. Here’s the word from Rob Weir, principal bassoon of the San Francisco Orchestra, in Matsumoto:
Just wanted to pass along to you that I can very happily report for the Saito Kinen Matsumoto Festival, that Seiji Ozawa is in his fabulous fine form conducting Bluebeard’s Castle here in Matsumoto. It is so wonderful seeing him looking so fit and, while still a little thin, vigorous and so thoroughly the inspiring and inspired maestro.
The performances beginning, next week, will be sensational with the incredible baritone, Matthias Goerne, Mezzo Elena Zhidkova, and Andra Palerdi, bass. Wish you could be here to listen. I am happily making whatever contribution I can as principal bassoon for these performances and for the Miraculous Mandarin complete ballet. A pure joy in making music with this collection of international orchestral stars.
Ozawa, 75, has been out of action for more than a year after surgery for oesophageal cancer and hernia.
In the wee hours of a white Finnish night, I told Valery Gergiev that he had changed the music world forever. (You can hear part of our conversation at 10.15 tonight on the Lebrecht Interview).
‘How exactly?’ he demanded.
‘By introducing perestroika to the Tchaikovsky Competition,’ I replied. ‘No self-respecting contest will ever take place again behind closed doors.’
I expand on the issue in the September issue of the Strad, out this week. Here’s the nub of the argument:
The 2011 Tchaikovsky was a game-changer. There can be no more contests where one judge votes reciprocally for another’s pupil, where talent is drilled to conform, where fear and loathing predominate. My inbox overflows with accounts of dirty deeds at classical music contests, of flagrant injustice, institutional prejudice and favours of every kind. Reform is resisted on grounds of ‘maintaining standards’. But that cover is blown by modern media. When an outvoted judge or a wounded player can take a grievance instantly to youtube, music competitions had better shape up, or ship out….
So what’s to be done? First, learn the lessons of the Tchaikovsky triumph: world-class judges, online streaming, total openness. Second, allow the public to vote. They almost did in Moscow, why not Indiannapolis? Third, regulate the competition circuit to exclude rotten apples… Too many competitions are diluting talent rather than promoting it. A cull is overdue. Someone needs to draw up a league table, relegating the lower ranked. Agree?
If you miss Mansfield Park tonight in East London, here’s more classic romance coming your way – the soundtrack for the movie Jane Eyre, composed by Dario Minelli with Jack Liebeck as solo violinist. Details below.
Jane Eyre – Original Motion Picture Soundtrack
Score by Dario Marianelli; Performed by Classical Brit Award-winning violinist, Jack Liebeck
JANE EYRE Stars Mia Wasikowska, Michael Fassbender
Sony Classical is delighted to announce the release of the Original Motion Picture Soundtrack of Focus Features’ new film Jane Eyre, available in the UK on 12th Sep 2011 (cat. no. 88697852582). The film also opens in the UK in September 2011.
Academy Award-winning composer Dario Marianelli (Atonement) has created a romantic and moving score, performed by acclaimed violinist Jack Liebeck, as the perfect complement to the new movie version of the celebrated story.
Dario Marianelli’s Jane Eyre score heavily features a solo violin, recorded for the film by acclaimed 2010 Classical Brit Award-winning violinist, Jack Liebeck. Marianelli is known for the gift of capturing the emotional and poignant elements of a story in his music. His score for Atonement earned him Golden Globe and Academy Awards and his work on Pride & Prejudice was also Oscar-nominated. His other film credits as composer include Eat Pray Love, Agora, The Brave One, The Soloist, Everybody’s Fine and V for Vendetta.
In the bold new feature version of Jane Eyre, director Cary Joji Fukunaga (Focus’ Sin Nombre) and screenwriter Moira Buffini (Tamara Drewe) infuse a contemporary immediacy into Charlotte Brontë’s much-loved timeless, classic story. Mia Wasikowska (Alice in Wonderland), Michael Fassbender (Inglourious Basterds) star in the iconic lead roles of the romantic drama, the heroine of which continues to inspire new generations of devoted readers and viewers.
In the 19th century-set story, Jane Eyre (Ms Wasikowska) suddenly flees Thornfield Hall, the vast and isolated estate where she works as a governess for Adèle Varens, a child under the custody of Thornfield’s brooding master, Edward Rochester (Mr. Fassbender). The imposing residence – and Rochester’s own imposing nature – have sorely tested her resilience. With nowhere else to go, she is extended a helping hand by clergyman St. John Rivers (Jamie Bell of Focus’ The Eagle) and his family. As she recuperates in the Rivers’ Moor House and looks back upon the tumultuous events that led to her escape, Jane wonders if the past is ever truly past…
Commented composer, Dario Marinelli: “Of many joys I had while discovering a musical language that could accompany Jane on her path, none was greater than meeting violinist Jack Liebeck: his passionate, wholehearted, generous playing became the inner voice of Jane’s true self. After hearing him playing and then meeting him, my score no longer had ‘solo violin’ marked in the appropriate part. I simply had “Jack” written in its place. He truly has brought the music to life”.
www.JaneEyreTheMovie.com / www.jackliebeck.com
The responses of two prime ministers to public violence is culturally significant is several ways.
Jens Stoltenberg was reflective, David Cameron punitive.
The Norwegian kept going onto the streets to embrace suffering citizens; David Cameron retreated behind well-planned photo opportunities.
One announced strong support for a clearly flawed police force; the other issued critical and destabilising statements.
One declared a public inquiry, the other refused.
One sought moral clarity across the whole of society, the other took refuge in class condemnation.
In Norway, there is unity, in Britain division.
It is not too late for David Cameron to change his way of dealing with the post-riot landscape. Unless he does, he will look increasingly a lame duck prime minister.
