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Hurrah, I'm on Dreamwidth. I will mostly be using this journal to back up my LJ account, where I'm artnouveauho. But here, I got my first choice name! Excellent.

Right, off to choose a theme I don't loathe.
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Figaro went well! Kudos to my colleagues, and many thanks to all who came.

In every piece of music you rehearse, there comes a time by which the music is going round and round in your head nonstop: on the bus, down the aisles of the supermarket, and especially when you're trying to get to sleep.

But this time it was Figaro, and Figaro turns that phenomenon up to 11. Suddenly the earworm in your head has the volume and clarity of a million-dollar sound system that you can't turn off. There isn't a hope of getting rid of it, so you just live with a skull full of blasting Mozart.

There are two good points to this situation: one is that you get to know the opera really well, whether you want to or not. The other is subtler: this is the closest we'll ever get to knowing what it felt like to be Mozart. If his music occupies our every waking moment and won't leave us alone, how must he have felt? Did the music resound in his head with the same painful clarity, the same insistence, never letting him rest till he wrote it down? If so, he must never have needed to cast about for ideas; they'd have come thronging, clamouring to be let out.

If Mozart had lived a normal lifespan for his time and social class, most of what we have of his today would be known as "early Mozart".

My teacher once said that when you memorise music, you're actually composing it again in your head. I think he was right about this.

There's a bit in the Act II Finale (about 1.40 to 2.20 here) that made our Cherubino (offstage at the time) grin madly and wave her legs in the air. I think she was right about this too.
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The absolute best thing I have stolen off MetaFilter today is: Hey Oscar Wilde! It's Clobberin' Time!!!

This is a blog in which comics artists draw their favourite literary characters and authors. I've only browsed for a bit, but I've already found some treasures:

Trim and Uncle Toby from Tristram Shandy, drawn by Donna Barr
Sunday from The Man Who Was Thursday, drawn by Neil Gaiman
Dracula, drawn by Michael Zulli
Jules Verne, drawn by Ted McKeever
Douglas Adams, drawn by Tom Fowler
3 drawings of H P Lovecraft
Alan Moore, drawn by Frazer Irving
Job (looking not unlike Swamp Thing), drawn by John Totleben
Captain Hook, drawn by Linda Medley
Jane Austen's Emma, drawn by Trina Robbins
Victor Frankenstein, drawn by Shea Anton Pensa

Go waste time here. I command it.
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At the end of Figaro, after all the traps are sprung, misunderstandings cleared up, and jealous spouses disciplined, there is a very brief, almost frantically festive final chorus.

Questo giorno di tormenti,
Di capricci e di follia,
In contenti ed allegria,
Solo amor puo terminar.

Sposi! Amici! Al ballo! Al gioco!
Alle mine date fuoco!
Corriam tutti a festeggiar!


The next-to-last line means "Light the fireworks!" or, literally, "To the mines give fire!" This used to be an English phrase too:

In giving fire to any great peece of Ordnance, such as Cannon, Culverin, or such like, it is requisite that ye Gonner thereto appointed first see that ye peece be well primed, laying a little powdre about ye touch-hole as a traine, and then to be nimble in giving fire, which as soon as he espieth to flame, he ought with quicknesse to retire back three or four yardes out of danger of the reverse of ye wheels and carriage of ye peece; for oftentimes it happeneth that the wheels or axle-tree doth break and spoile ye Gonner that giveth fire, not having ability to move himself from the danger of ye same; yea, I did see a Gonner slaine with the reverse of the wheele of a culverin, which crushed his legge and thigh in peeces, who, if he had had a care, and nimbleness withal, might have escaped ye misfortune.


So "give fire" basically just meant "light something that explodes." The Italian word mina, "mine", similarly, just meant "thing that explodes." Italian fireworks were known as the loveliest in Europe, and much sought after; the Royal Fireworks of 1749, for which Handel composed the music, were made and given fire by Italians. (The concert pavilion burned down, but so it goes.)
Click for Enlightenment )
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On Halloween night, since I was neither in Oxford nor Whitby, I headed to the Royal Festival Hall to see Steve Reich. Yes, the man himself was in town for a performance with the London Sinfonietta; the show was long since sold out, of course, but they were screening it live in the RFH's ballroom for free. I got to hear "Sextet" and Music For 18 Musicians, both of which were ...

I'm struggling for an adjective here. I could use an anodyne one like "lovely", but this music is not lovely. Its nature requires you to commit to it on its own terms. It is made with the precision of the gods of geometry; with an exactitude that leaves no room for mercy. It is not music that makes you think. It is music that renders you, after a while, incapable of thought. It has the mathematical inexorability of Bach with added metallophones and maracas. It is, in short, Steve Reich.
...or that's one way of looking at it )
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"And what's the point of a revolution without general copulation?"
--Peter Weiss, Marat/Sade

Lately I've been reading A Place of Greater Safety by Hilary Mantel, who just won the Booker Prize for Wolf Hall. I'm more than halfway through, and I have to admit it: I love this book. After wading through wheelbarrowloads of poorly-written "popular history" and poorly-researched historical fiction, it's an amazing feeling to find someone, at last, doing it right.

I have one other confession to make: I was a teenage French Revolution geek. Michelet and Twelve Who Ruled had pride of place on my shelves, along with a plethora of other books in English and French. I sang the Carmagnole and Ça Ira in the school hallways, and dated my papers by the Revolutionary calendar. So when I say that Mantel's novel has the French Revolution Geek Seal Of Approval, you'll know those aren't idle words.
Spoiler: Monarchs fall, everyone dies )
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LE NOZZE DI FIGARO
(THE MARRIAGE OF FIGARO)
SHELDONIAN THEATRE
OXFORD
NOVEMBER 10 & 11, 2009
7:30pm

Tickets: £20/£16/£12
Concessions £8
STUDENTS £6

BOOK TICKETS AT http://www.figaroinoxford.co.uk

November 10th and 11th are a Tuesday and Wednesday evening: inconvenient timing for those outside Oxford who work normal hours. However, if your schedule permits, this is shaping up to be a rather special Figaro. An eighteenth-century opera in an eighteenth-century theatre in eighteenth-century costume is surely cause for celebration. The orchestra is mostly modern instruments, but the continuo will be a fortepiano like the one Mozart used at the first performances.

If, by chance, you were planning to come and see [livejournal.com profile] lost_in_avebury's and [livejournal.com profile] brute_force's work in the completely free Steampunk exhibition at the Museum of the History of Science-- well, Figaro would make an excellent evening's entertainment. Hope to see you there.
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I want to write something, but I don't know what. Throw me a title, will you?
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After rehearsal yesterday, I happened to pass by one of the most fantastic charity shops ever: Age Concern on St Clement's, Oxford, crammed to the gills with the random and the sublime. There I found

The Parlour Song Book: A Casquet of Vocal Gems
Come! let us join the roundelay! )
The question now is: what should I do with this book? Find someone with an accordion and work up a few numbers to amuse steampunks? Send it anonymously to the Dead Victorians in the hope that they'll do an upbeat, ukulele-accompanied version of "Father's A Drunkard, Mother Is Dead"? Really, what do I do? I'm open to suggestion here.
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The good news:
A couple of weeks ago I was offered Marcellina in a Figaro in Oxford on 10th and 11th November. It's in the very beautiful Wren-designed Sheldonian Theatre, in 18th century costume (full-throated huzzahs)! Rehearsals have been going well.

The not-so-good news:
Sadly, this means no Whitby. And the dress rehearsal is, cruelly, on Bonfire Night. I suppose this means I will have to set the rehearsal venue on fire. Sigh.

Thoughts )
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Many, many thanks to all who endured an evening on wooden benches in a cold church listening to silly Baroque ornamentation. You are truly hardcore, and the ghost of Handel smiles on you.
...so how did it go? )
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In the title of these posts, I promised you sex.
Click for sex... or gender, at least )
Less than a week now until the first performance! Email david.crown@virgin.net to book tickets.
Thursday 8th and Saturday 10th October, 7.30 pm
St Michael's at the Northgate, Cornmarket Street, Oxford
Tickets £10/students £5
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This photograph of Barack Obama with Spanish Prime Minister Zapatero and his family, including two vaguely gothic teenage daughters, is causing a bit of a stir.

"Try as they might to stay hidden, the children of world leaders will find a way to show off the regrettable teenage phases they are going through for posterity."


Sigh. They're not even that goth. No more goth than their mother, anyway. No corsets, no piercings, no overexposed flesh-- even the most conservative parent would concede that they're dressed entirely appropriately for a formal occasion (and very pretty).

I think I'm right in saying that if you, o gothic ministers of LJ, were to be photographed with a head of state, you would show these political types a thing or two about style? Oh yes.

Should I ever get a chance to meet Obama, damn right I'll be wearing a corset.

Meanwhile: solidarity, Spanish baby bats. Keep the faith.
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I think I'm going to talk a little about what I've been working on lately, in the event that it interests anyone who might like to learn more about what I do, or who may be coming to see Giulio Cesare (which I hope you will.)
Baroque opera for beginners )
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Deep in darkness    as dragon's dwelling
Hidden under hill    lay heaped the hoard, 
Battle-gear    brightly gleaming.
Sword-hilts splendid,    serpent-spiraled,
Helms and horns    and handles to hold,
Gold to grace    the graves of the great.
Silent it slumbered    as centuries passed.
Then a carl came,    keen and cunning,
The dark earth delving    with deft detector, 
Singer of spell-song,    seer into stone.


Shiny pictures here,
explanation by a British Museum bod here.

I love the way the BBC keep referring to the find as a "hoard," as if it had been found with the bones of a dragon coiled possessively over it. Attempts to interview the finder were unsuccessful as he seemed to have disappeared, along with one of the hoard's less significant items, reportedly a small inscribed gold ring...
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Let me tell you about my friend Emilie.

I think you'd like her. She's funny as all hell. She knits.

Most importantly, she's an amazing mezzo-soprano, currently studying at the Royal College of Music. But she's in a tough spot financially right now, and has exhausted most of her options. If things carry on as they are, she's in danger of having to drop out of music college.

So, as a last resort, she's set up a donation website in which she explains her situation with eloquence and wit, and provides a PayPal button whereby you can, if you choose, help her out.

I know the world is full of chaos, carnage and suffering, and many people are going through an uncertain time financially. But if you felt like sending Emilie a pound or two, I think you'd be doing a lovely thing.
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To Juan at the Winter Solstice
by Robert Graves
There is one story and one story only
That will prove worth your telling,
Whether as learned bard or gifted child;
To it all lines or lesser gauds belong
That startle with their shining
Such common stories as they stray into.

Is it of trees you tell, their months and virtues,
Or strange beasts that beset you,
Of birds that croak at you the Triple will?
Or of the Zodiac and how slow it turns
Below the Boreal Crown,
Prison to all true kings that ever reigned?

Water to water, ark again to ark,
From woman back to woman:
So each new victim treads unfalteringly
The never altered circuit of his fate,
Bringing twelve peers as witness
Both to his starry rise and starry fall.

Or is it of the Virgin's silver beauty,
All fish below the thighs?
She in her left hand bears a leafy quince;
When, with her right hand she crooks a finger, smiling,
How may the King hold back?
Royally then he barters life for love.

Or of the undying snake from chaos hatched,
Whose coils contain the ocean,
Into whose chops with naked sword he springs,
Then in black water, tangled by the reeds,
Battles three days and nights,
To be spewed up beside her scalloped shore?

Much snow if falling, winds roar hollowly,
The owl hoots from the elder,
Fear in your heart cries to the loving-cup:
Sorrow to sorrow as the sparks fly upward.
The log groans and confesses:
There is one story and one story only.

Dwell on her graciousness, dwell on her smiling,
Do not forget what flowers
The great boar trampled down in ivy time.
Her brow was creamy as the crested wave,
Her sea-blue eyes were wild
But nothing promised that is not performed.

Comments )
tarot
Some photos:

A bat skimming a pond (apologies for the Daily Mail link, but it had the most photos, including an interesting one of the photographer's setup.)

Many, many polar bears.

Neil Gaiman's bookshelves! The photos enlarge to the point where you can read the titles.

Neil Gaiman really needs to write a book about a bat and a polar bear who... uh... never meet because they can't live in the same climate zone... OK, maybe not.
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