Wednesday, 2 November 2022
Monday, 31 October 2022
Monday, 10 October 2022
Saturday, 1 October 2022
Saturday, 3 September 2022
Saturday, 18 June 2022
Reading a concert programme can give a concertgoer an advance impression of the kind of experience they might undergo. A little knowledge on the works programmed, of the soloist, and of the conductor can go a long way – and previous experience of each can go much further. But they can only go so far. No concert can be heard in advance, no feelings can be felt before they arise. And the foretold experience of a concert is a slender mirage that melts away as soon as the first real notes are played.
Take, for example, the first concert of the Johannesburg Philharmonic Orchestra’s Winter Symphony Season. I read, first, that the young Venezuelan flautist Joidy Blanco would be the soloist, playing Mozart’s Second Flute Concerto (K. 314), and that the conductor Robert Moody would then direct the JPO in Beethoven’s Seventh Symphony. The whole endeavour would be kicked off by Mozart’s overture to Cosi fan tutte. I read, second, that Blanco would be replaced at the last minute (due to travel complications) by Liesl Stoltz, the highly accomplished South African soloist whom we have been fortunate enough to hear at the JPO before, and that Stoltz would be replacing Blanco’s scheduled encore with a virtuosic showcase of her own choice.
Knowing what I know about Stoltz, Moody, Mozart, and Beethoven, I quickly drew up some ideas of how the evening would go. There would be some difficulty in the orchestra (as there invariably is on opening night) keeping precisely in sync for the Mozart. Stoltz would play decorously, and would dazzle in her encore. The Beethoven would roll out with inevitable boisterousness, just as it has a hundred times before, and would linger (uninvited) in my head for the rest of the week. (The Beethoven was last played by the JPO just eighteen short months ago.) I also harboured the quiet hope that Moody – a cheerful American southerner – would address us before taking the podium for the Beethoven, as he had done so memorably at his JPO début in 2019, conducting Brahms’s Third Symphony.
Friday, 13 May 2022
Friday, 17 December 2021
Saturday, 12 June 2021
I don’t know who would believe me if I said that I was a Barbra Streisand virgin until yesterday. It wouldn’t strictly be true; I’ve seen clips of her on The Judy Garland Show, and in Meet the Fockers and Guilt Trip, but I wasn’t exposed to the dazzle of her music making until I turned on The Barbra Streisand Album for my drive home last night.
The album was Streisand’s studio début, and I won’t forget the experience of hearing its opening. After a short meandering solo by a plucked double bass, Barbra’s mezzo voice pierces the open silence above it, with a rhythmic incisiveness and mercurial inflection. She starts with the now-famous six-note falling scale that opens “Cry Me a River,” and that her distinctive tone immediately renders new and unfamiliar.
I was surprised to hear the wide range of approaches she takes on in one album, to convey her meanings. She veers from poise and precision – an elegance that may befit a salon in fin-de-siècle Paris – to brassy, growling roars, where she loses (that is, gives up) her control over pitch, pronunciation, and other aspects of making a nice sound. Her broad spectrum of expression covers infinitesimal nuances, subtle gradations in colour and timbre, and always seems to arise from a spontaneous idea or impression – moments become masterpieces, flung out on the wing.
Streisand’s distinguished artistry, and the sound of it on my inadequate speakers, made me think of the immediate recognisability of many of my favourite artists – Charlie Chaplin, Marilyn Monroe, Louis Armstrong, Emily Dickinson, Terrence Malick, Maria Callas, Chantal Akerman, Wes Anderson, Glenn Gould, Clint Eastwood, Nina Simone, or Jean Seberg – and how their style is more than an idiosyncrasy, or a brand. Style (at least, that of a great artist) is an outward expression of an entire personality; it’s the shuddering of a great soul, rendered as a physical experience. It’s why the styles of the artists mentioned above – as highly influential as each of them was – are so inimitable, why any attempt to reproduce them can only come off as the shallowest mimicry, and why coming across it in their work, in each moment-by-moment encounter, can feel like an enlargening of life itself.
Saturday, 29 May 2021
The documentary’s setting is the musical theatre of Broadway in the early 80s, but its subject is the expectations and frustrations – the dreams and subsequent hard reality – of any young person starting out in life. This happens to be a theme of the musical Merrily We Roll Along as well, and the plot, as relayed by Sondheim and Prince, is an apt parallel for the stories told by the once-young-and-aspiring real-life performers that Price interviews.