Tag: Wolfgang Amadeus Mozart

Mozart And Salieri by Alexander Pushkin, Almeida Theatre, 11 March 1989

I went to see this production at the Almeida with Kate (previously and latterly Susan) Fricker. I rated it as very good and I’m pretty sure that Kate really enjoyed this production too.

It was an adaptation of a short Pushkin play about the interaction/rivalry between the two composers. This play inspired Peter Shaffer to write Amadeus on the same topic but the pieces are quite different other than the core topic. Here is the Wikipedia entry about the play.

Of course there is little on-line about these old productions – this one doesn’t even have a Theatricalia entry – but I did find this fascinating Guardian piece, including a wonderful photo of Tilda Swinton in the role of Mozart – click here.

Below is Michael Billington’s Guardian review:

Billington on Mozart SalieriBillington on Mozart Salieri Mon, Apr 10, 1989 – 37 · The Guardian (London, Greater London, England) · Newspapers.com

Below is Michael Ratcliffe’s Observer review:

Ratcliffe on Mozart SalieriRatcliffe on Mozart Salieri Sun, Apr 16, 1989 – 43 · The Observer (London, Greater London, England) · Newspapers.com

The dates on these reviews imply that Kate and I attended a preview in March 1989.

The diary is silent about what Kate and I did before or after the show; I’m sure we will have eaten something or at least taken some refreshment and had a chat. Perhaps Kate remembers.

My memory isn’t brilliant on this one. I would have sworn that we saw Stella Gonet opposite Tilda Swinton in this, but all the evidence says we saw Lore Brunner. I can see no sign of ever having seen those two (Swinton and Gonet) on stage together, although both were prominent in the leading roles we were seeing at that time.

In any case, I believe this was only my second visit to the Almeida, the first having been some six months earlier, to see Hello And Goodbye. I do recall falling for the Almeida as a place itself on this second visit – whereas that first visit I was simply bowled over by the production and didn’t especially associate that visit with the Almeida. That was partly, I think, because Kate was especially taken with what they seemed to be doing at the Almeida in terms of restoring an old theatre for modern use.

The Magic Flute, English National Opera, London Coliseum, 7 June 1988

Now I’m not one to point the finger or anything like that, but my guess is that it was primarily Bobbie’s idea to give opera a go, not least because so many of her law reporting pals were into opera.

I’m pretty sure my previous experience of opera would have been Carmen in the early 1970s; a semi-professional production by the Putney Operatic Society who chose to typecast me and several of my primary school mates as urchins.

But I digress.

Roll the clock forward some 15 years and, like buses, it’s not one but two that come along at more or less the same time – i.e. two opera visits during June 1988. That’s quite a lot of opera just a few week’s before my Accountancy finals. The Magic Flute was the first of them.

Jeremy Sams directed it – I have seen a great deal of his work in the theatre of course. Nicholas Hytner produced it – I’ve seen a lot of his theatre stuff too. The production was sort-of revived many years later and the trailer for the revival is embedded below, so that should give you a feel for it.

The Magic Flute from English National Opera on Vimeo.

We went midweek – on a Tuesday – which will have been quite a late night. I was on study leave by then I think, so I suppose I felt that I was master of my own time management.

In truth I don’t remember all that much about this production, other than lots going on and rather liking the music because it’s Mozart and I rather like Mozart.

Bobbie might have more profound memories of it than me. I’ll ask her.

Below is Tom Sutcliffe’s Guardian review:

Tom Sutcliffe on Magic FluteTom Sutcliffe on Magic Flute Fri, Apr 1, 1988 – 30 · The Guardian (London, Greater London, England) · Newspapers.com

Below is BOGOF (buy one get one free) review by Nicholas Kenyon – two productions of Flute (including our one) reviewed together:

Nicholas Kenyon reviews two flutesNicholas Kenyon reviews two flutes Sun, Apr 3, 1988 – 39 · The Observer (London, Greater London, England) · Newspapers.com

A Risky Drive To Lichfield With Professor Fuller As Keele University Guests At the Lichfield Festival, 13 July 1985

Kate Fricker: “Would you like me to drive, Professor?” Watson Fuller: “No. Why do you ask?” AI actors images provided by DeepAI.

One of my most memorable Keele days, right at the end of my time there. Kate (now Susan) Fricker and I were invited to join the University guest pack at the Lichfield Festival, courtesy of Peter Held of industrial textiles behemoth Marling Industries plc.

Ironically, Marling Industries was best known for seatbelt materials. Ironically, because Kate and I were treated to a rollercoaster ride from Keele to Lichfield with Professor Watson Fuller and Mrs Fuller.

I was very fond of Professor Fuller. And I think he was also fond of us. He’d certainly heaped praise on one of my least challenging pieces of research a few month’s earlier, in his capacity as Chair of Foundation Year Committee:

Why Oh FY? – My Most Highly Praised Piece Of Statistical Work Ever, Plus Other Keele Happenings Such As Opening The Real Ale Bar, Early In The Spring Term, 1985

Professor Fuller was Professor of Physics, so he really should have had a profound grasp of the potential physical effects, were a large object travelling at speed – e.g. a car with four passengers doing 60 mph on a duel carriageway – go out of control and hit something. Yet, he did not seem to have a profound grasp of the steering wheel most of the time, nor did he seem to be paying much attention to the road when, frequently, he turned around to us, waxing lyrical about this, that, or the other.

I suppose, as Fuller was a biophysicist, credited with vital supporting work on X-Ray diffraction with Watson & Crick, that his head was always in far loftier thoughts than mere road safety. Or should I say that driving without paying fuller attention to the road was in Professor Fuller’s DNA.

Mrs Fuller did not look terrified. Perhaps she was used to it. But apparently, on arrival, Kate and I looked a little ruffled. I remember Professor Philip Boden and his good lady taking us aside before the lunchtime concert.

Has Watson offered to take you home after the evening concert? Thought so. Not many people want a second lift from Watson, bless him. Reputation precedes him. Would you like us to rescue you? Thought so. I’ll tell him we’ve invited you back to our place for coffee after the concert. Easiest that we take you back.

We were grateful. And Professor Boden was good to his word, not only giving us a lift home but also providing us with some warm hospitality and enjoyable chat at Chez Boden before taking us home.

To the concerts. First up was a lunchtime concert at St Chad’s Church, Lichfield.

St Chad, Lichfield. User:Bs0u10e01, CC BY 3.0

We saw the Lindsay String Quartet perform:

  • Joseph Haydn –  String Quartet No 3, Op 33 (“The Birds”)
  • Wolfgang Amadeus Mozart – String Quartet in G (K 387)

Very charming it was too. The setting. The fine quartet and the non-challenging nature of the music.

After plenty of hospitality in the afternoon and a migration to the Cathedral, we enjoyed a bigger deal concert in the evening. The Chamber Orchestra of Europe, under George Malcolm, supported by András Schiff, Yuuko Shiokawa and Heinz Holliger.

  • Wolfgang Amadeus Mozart – Wind Serenade in C Minor
  • Alban Berg – Chamber Concerto for Violin, Piano and Winds
  • George Frideric Handel – Concerto Grosso, Op 3 No 2 in B flat
  • George Frideric Handel – Music for the Royal Fireworks

I must confess to have struggled with the Alban Berg. Always have, probably always will. The rest was easy listening by serious music standards.

Here’s the programme: