“You always have a green light that burns all night at the end of your dock.”
No – we are not standing gazing across from West Egg to East Egg, but sailing down the River Orwell in Suffolk on board the Sailing Barge Victor. I just saw that green light and immediately thought of Gatsby. What an old romantic!
This special trip had been booked by my daughter for midsummer 2020, but we all know what was happening last June and, in due course, like so many events that excursion was postponed.
You may remember that last year June was warm, dry and summery, but this year it has been just a bit more on the wet side. We climbed on board and whilst waiting to set off, I started taking some photos and noticed it had already begun to drizzle.
Once Victor had cast off it was round the marina to the old lock. As we waited for the lock to empty to the level of the river the persistent drizzle turned to rain proper. It was lucky my camera is fine in less than optimal conditions (it has a sealed, weatherproof body apparently) as we got soaked remaining on deck determined to make the most of the experience.
Fortunately, it was only a shortish downpour and by the time the barge chugged under the Orwell Bridge the rain had stopped. There was a gentle breeze and the Master decided it was time to cut the engine and hoist the sails.
The sudden peace and quiet was delightful as the huge main sail filled with the breeze and the barge gently sailed down the river. This was the first time I’ve been on a boat under wind power and it was enchanting.
Of course, sailing is slower than being engine-powered, but why be in a hurry. I think humans, particularly in so-called advanced societies, have lost something that’s restorative that comes with ‘slow’. In our relentless need for speed, continual clock watching and chasing our tails much is missed.
With the climate crisis making its presence felt more and more perhaps we need to rethink this speed thing and generally take life at a gentler pace and burn less fossil fuel.
Our barge trip was an evening affair and despite being just past midsummer, it was dark by the time we returned to Ipswich. And, what a treat to approach the Old Customs House from the water lit up in all its glory.
Finally, if you were wondering what Victor looks like under sail, here’s a couple of photographs I took from another boat as Victor sailed past us on a very windy day in August 2018.
Even before my parents took my sister and I to the British Museum to see the 1972 Tutankahmun Exhibition I had already fallen under the spell of Ancient Egypt.
I still have my original collection of newspaper articles, souvenir extracts and a history magazine stuck in a scrapbook accompanied by an average 10 year old’s random commentary and drawings.
Incidentally, I can see now, as the front cover has come unglued, that this scrapbook had originally been used for a school project imaginatively called ‘Normans’. All trace of school Normans has gone and my obsession for all and anything Ancient Egyptian (a topic not covered at my village school) has instead filled the pages and still does, sort of, 50 years on.
Of course during the run up to the 1972 ‘blockbuster’ exhibition, although that term wasn’t used back then, there was plenty of press coverage. Serious articles in the Sunday broadsheets and specialist magazines were printed as well as the ubiquitous souvenir pull-out.
The 1972 exhibition consisted of fifty prize objects from Tutankhamun’s reign as the boy-king of Egypt (BC1361 to 1352). The artefacts had been lent by the Egyptian Government and made this the biggest Tutankhamun exhibition outside Egypt. Fifty objects to mark the 50 years since 1922 when the English archaeologist, Howard Carter, had discovered Tutankhamun’s tomb with the inner chamber still intact and undisturbed by grave robbers.
Apparently the British Museum estimated that between 800 – 1000 per hour would pass through the turnstile with adults paying 50p and children 25p entrance fees. (So that cost my father £1.50!) I didn’t know at the time, but have read since, that the exhibition ran from 30th March to 30th September 1972, opening Mondays 3 pm to 9 pm, Tuesdays to Saturday 10 am to 9 pm and Sundays 2 pm to 6 pm with any profits going to Unesco’s fund to save the ancient temples of Philae from the waters of the Aswan Dam. (As a side note it’s interesting that the BM was open until 9 pm. I had thought evening opening was a 21st century innovation.)
Returning to the ‘treasures’ in my scrapbook I found an envelope with a special edition stamp which was also issued to mark the 50 year anniversary of the original 1922 discovery. (My goodness a stamp for 3p!)
Today turning the foxed pages and unfolding the fading newspaper pages all stuck in with the now yellowing and stick-less sellotape has reminded me just how keen I had been. You’d have thought I might have gone on to be an historian or even an archaeologist, but at 14 years old school history hit the Industrial Revolution and from being nearly top of the class I dropped to the very bottom in a year.
It was another 25 years before I seriously returned to history when I enrolled at UEA to study Art History. Of course you never really forget your childhood passions and eventually 20 years after seeing the 1972 Tutankhamun Exhibition I did, finally get to visit Egypt. We saw the Pyramids, the Sphinx, took the slow night train down to Aswan and travelled back to Cairo after stopping off at Luxor and the Valley of Kings. I still remember visiting the Cairo Museum strolling straight up to the cabinet displaying the gold death mask of Tutankhamun with no other tourists in the room. It was a pole opposite experience to my attempt to see the mask back in 1972 at the BM. After queuing for a couple of hours, I had struggled in the crush of adults and after the briefest of glimpses of the iconic mask been swept on through the exhibition to the next object.
Of course, since 1972 attending blockbuster, popular exhibitions has changed with the introduction of limited numbers and timed entrances. Then along came Covid and we now have greatly reduced numbers, strictly timed tickets, hand gel stations and one-way systems along with mask wearing. Last week when I made my first post-Covid lockdown visit to the Ipswich Museum it was so quiet the staff outnumbered the visitors.
Twenty-twenty, what can you say? Goodbye and good riddance I suggest.
On the topic of watershed years I have found some photos from the last century when all we were concerned about was the possibility of the Y2K bug wiping out technology as we knew it.
First I dug out a couple of grainy prints of one of my daughter’s contributions to school nativities. Then to my surprise I found another Christmas photo from a now forgotten Boxing Day trip to an Old Time Music Hall evening in Norwich. The event organisers had suggested the audience might like to attend in ‘Good Old Days’ attire. We had a go donning long skirts and velvet chokers. I seem to remember we were in the noticeable minority.
On that note and with smiles all round, I’d like to wish everybody the Season’s Greetings and a very, very Healthy New Year.
There is an age-old question how do you present a masterful work of art created in the nineteenth century to a contemporary audience. Grand opera, like much of Shakespeare, is often concerned with universal themes of the human condition. Stories of tragic love, betrayal, and death are presented for our entertainment. Verdi’s famous opera Rigoletto is one such example.
For a Christmas treat my father and I recently went to see Rigoletto at the Royal Opera House. This is the David McVicar production first staged in 2001. The staging admirably sets the mood. It is simple, dark and foreboding with much in gloom. Perhaps it is a bit too dark, as I would like to have had brighter pools of lights for the solos and duets so we could actually see the singers’ faces.
David McVicar’s production is a no holes barred, most deliberately sleazy, with a capital ‘S’, production. Yes, Rigoletto, from the Victor Hugo play, shocked its original nineteenth-century audiences in Italy to the point where it was banned. However, for a twenty-first-century audience we are fine with a probing light illuminating the depravity of absolute power that is displayed by the medieval Duke of Mantua as he exploits his subjects in a virtually lawless manner. We are not, as the nineteenth-century folk were, troubled that their social order would be disturbed by this politically provocative opera.
Nevertheless, this 2001 production is problematic today as far as contemporary gender politics is concerned. As Verdi scored, there are no ‘singing’ parts for the female members of the chorus. In opera terms that means all the women of the chorus are simply littering the stage as objects. In this case to be used and abused, they have no voice, therefore no agency. Despite no collective female singing, there are four solo female parts. These characters appear to stand for the virginal (Rigoletto’s daughter Gilda), the whore (Maddalena), the old nurse/matron (Gilda’s nurse) and the aristocratic lady (Countess Ceprano). I suppose standard females rolls reflecting the nineteenth-century commonly held view of the place of women in society. This is despite the fact the record shows many women worked in factories as well as working as servants, or on the land or in trade. And, working women were also evident during the medieval period in which Rigoletto and indeed this production has been set.
So what can Rigoletto offer its 21st audiences? Verdi wrote it in the music, it is the psychology of humankind; those flesh and blood traits that cross the centuries and with which a modern audience can identify.
Attempting any tweaking sanitization of Verdi’s Rigoletto would be utterly pointless and the wonderful music has so much to convey not least the loving relationship between a father and his cherished daughter as well as all that bravura, dramatic evil. However, in this particular production subtlety is absent. Of course, nobody would want to dismiss a work of art because it reflects the mores of a different time, but I think this nineteenth-century piece could have been given a more reflective interpretation. Surely, it is time the ROH invited a new director to tackle this magnificent tragic opera with a fresh, more nuanced production.
One very positive aside, was the discovery (well, for me) of a new voice, the young bass Andrea Mastroni, most certainly one to follow in the future.
I know it’s known as the short month, but sometimes February simply feels too long. I often find it more gloomy than the dark days of November. Perhaps it’s the closeness of the much anticipated spring compared to the everyday reality of more grey, depressing drizzle. So I thought I’d consider some uplifting, diversions and a culinary treat!
Blue flowers – no fresh ones in the garden yet, but these saved and dried from last year.
Photos – capturing the delicate winter light at the waterfront,
or, that brief moment of low February sun at home.
Cake. Making a naughty, but nice treat. . . . and naturally eating it!
Memories. A moment of sentimental recollection on finding long forgotten toys during an otherwise fruitless search of all those boxes in the attic.
It’s the first day of December and we can now ‘officially’ mention Christmas! Round my way we’ve already had an increase of delivery vans and hardworking folk dropping off parcels well into the evening darkness. Each year the Royal Mail issues its last posting dates. You don’t want a special Christmas gift to turn up in January!
But, of course, things don’t always run as smoothly as hoped for and just to be on the safe side my dates are not quite so last minute.
In the last three years I have found the Special Delivery service very good and only once has a silk scarf, boxed and packaged, temporarily taken a detour to the wrong sorting office. With the full tracking information I saw it arrive in Scotland at a sorting office on the wrong side of the loch. What was probably a 15 minute trip across the water was a 30 mile trek by road and another day added to the delivery time. A worrying time for both me and my customer, but a successful delivery in the end.
Last week I accompanied my father to see ‘Werther’ at Covent Garden. There’s nothing quite like an evening of intense operatic drama with a suitably tragic ending to provide catharsis during unsettled times.
Massenet’s ‘Werther’ is based on the 18th-century classic of German literature ‘The Sorrows of Young Werther’ by Goethe. The tale was published in 1774 and rapidly became popular across Europe as a book of cultural significance. It is the story of a young man who lives by his ideals and kills himself for love.
Massenet’s operatic version, sung in French, first premiered over 100 years later in 1892. Notably, in the production I saw last week in London, Werther was the Italian tenor Vittorio Grigòlo, Charlotte was the American mezzo soprano Joyce DiDonato, Albert was the Serbian baritone David Bižić and Sophie the American soprano Heather Engebretson. The performance was conducted by the Royal Opera’s Music Director the British-Italian Antonio Pappano. Other members of the cast were from Holland, Switzerland, Ukraine and Australia. The international buzz continued across the audience. I heard Spanish, Italian and American voices and I was sat next to a German couple who spoke brilliant English. It was a positive microcosm – no pathetic threats here of sending people back!
The music was superb and the orchestra was in fine, truly dynamic form as it played to the masterly conducting and interpretation of Antonio Pappano. I’m no expert on French late-nineteenth-century opera, but I found this production riveting, gleefully wallowing in the emotional agitation with the musical tension escalating as the drama intensified. The acting of both DiDonato and Grigòlo was engrossing as they sang with fire and passion. It is a while since I’ve seen a live performance with the tingle factor, but the desperate, hopeless pain of Act 3 sent shivers down my spine more than once. Their singing was not perfection, but who’s complaining when it was so expressive and heart-wrenching. Frequently there’s something lacking in ‘perfect/multiple take’ studio recordings compared to experiencing the vibrancy of live performances.
And, as for the production, quite brilliant. The staging and lighting matched the progressively darkening mood of the opera moving from a brilliant blue summer, to a gloomy interior to a black winter night with falling snow. Act 4 was visually thrilling too as the distant attic room (shown above) slowly moved from the depths of the stage to the very front, mystically gliding towards us within a night of falling snow as the orchestra played ‘The Night before Christmas’.
At the end of this harrowing tragedy the two stars looked emotionally drained, but fortunately were revived by the rapturous applause they received.
And, finally the conductor left the orchestra pit and came on stage. Bravo, bravo.
Did I mention I loved this?
I wish I could go again.
Last week my daughter, half Scottish, and I went to see James McAvoy’s latest West End theatre performance in ‘The Ruling Class’. I read in the programme that Mr McAvoy had appeared in ‘Breathing Corpses’ at the Royal Court in March 2005, but my daughter was still in primary school and so we missed seeing this ‘exciting young talent’ (that’s a quote from the time by the theatre critic of The Independent). However, since then we have been lucky enough to see him star in ‘Three Days of Rain’ (2009) and then terrify us as ‘MacBeth’ (2013). And now, we have enjoyed watching him lead a strong cast through the revival of the 1968 satirical play ‘The Ruling Class’ by Peter Barnes.
The play has not been given a 21st-century updating, but deliberately offers us the looks and, more importantly, the voices of the 1960s, all strangled received pronunciation (aka the Queen’s English or BBC English). Although I’m not old enough to remember the class politics of the late 1960s, I did recognise and understand the overall context and its resonance for a 2015 audience. As a piece essentially poking fun at the British class system I wondered what many of the younger, overseas visitors made of the play. I was sat between my daughter (21) and a lady who I think had seen the original 1968 production. I think the older lady and I enjoyed the whole experience considerably more than my daughter.
James McAvoy’s performance as Jack, the 14th Earl of Gurney, grabs the audience round the neck and shakes it this way and that as he energetically channels his immense charisma into this larger than life character. The play is funny, the humour dark and vicious, and McAvoy appears to relish playing such an unstable, fluid character. It is no wonder he has been nominated for a Best Actor Olivier Award. Almost equalling McAvoy’s mesmerising performance is another Scot, Forbes Masson, who was both versatile and brilliant in the various parts he played. Indeed, the whole talented cast made for a highly entertaining evening particularly if you enjoy a dose of black humour. The play is on until April 11, 2015 at Trafalgar Studios.
And, finally, if you would like a straight from the horse’s mouth comment on the current controversy about elitism in theatre – have a look at this two minute video filmed at the opening night.
Every year during January and February Seville oranges (Bitter oranges) arrive in our local fruit shops and supermarkets. I’m not sure if it’s because I recently saw the film ‘Paddington’ (and he does love his marmalade sandwiches), but this year I decided to make some marmalade.
Of course, alternatively it could be having all the glamour of the Tudors every where you look, that I unconsciously made a few connections – Henry VIII, Elizabeth I, Mary Queen of Scots – marmalade! It’s one of those English things we were told at school that the word marmalade comes from Mary Queen of Scots when a French cook concocted a preserve from Seville oranges for a sickly Mary – ‘Marie est malade’. Not true, (doesn’t surprise me) a far more accurate history of marmalade suggests Henry VIII would have known the preserve which was imported from Portugal and made from quinces. Then it appears that gradually this recipe was adapted to use other fruit including bitter oranges.
I used a BBC Good Food marmalade recipe which I’ve made before. And, in for a penny in for a pound I found an interesting recipe for ‘marmalade’ teacakes (light yeasted buns with dried fruit). It was really a basic teacake recipe with 150 grams of HOMEMADE marmalade dissolved in the milk that is added to the flour to make the dough. The finished teacakes looked nice and were pleasant when toasted and buttered, but I couldn’t specifically taste the marmalade flavour unless a bite included a chunk of shredded peel. Well, you know, why not spread with extra marmalade!
Do we need an excuse to bake rich, indulgent treats? Sometimes it is easy to believe all the hype in the media that everybody is the same the planet over. But that is plainly not true as we can see in the ‘Blogging World’. Not everyone celebrates Christmas and of those that do not everybody celebrates in the same fashion. We don’t all have turkey, Christmas pudding and mince pies.
Living in East Anglia there are plenty of Christmas traditions, however the traditional mid-winter celebration and feast predates Christianity. Our weather may not be as harsh as the northern regions, but a mid-winter treat certainly brings a glow of pleasure in the midst of all the grey and gloom.
The New Year was my excuse for an indulgent treat and I baked a white chocolate and stem ginger cheesecake (the Mary Berry version).
Firstly I made the cheesecake base with melted dark chocolate and butter mixed into some crushed digestive biscuits. Then, I finely diced four bulbs of stem ginger (that is ginger preserved in syrup).
Then I beat together two tubs of cream cheese with half a pot of sour cream and two beaten eggs in the whizzy machine.
Finally I mixed in a couple of bars of white chocolate that had been gently melted over hot water along with the prepared stem ginger and a teaspoon of vanilla extract. After pouring all the mixture onto the biscuit base the cheesecake was baked for about 45 minutes.
Delightfully easy to make and delightfully easy to eat!