Sexism and my friend Dolores

 After Tony Abbott won the election I had a foolhardy dream. I actually believed for a minute that people might wait and see if all their dire predictions would come true. Sadly, I was wrong. The name-calling, the spite, the anger (and other signs of being a sore loser) were more prevalent than ever. Already the articles have started about all the bad things our new PM (who at the time of typing this hasn't even been sworn in as PM yet) has done. Disgusting groups like  "Tony Abbott is the worst PM in history" have sprouted up and at least 50 friends of mine on my FB page have joined it. I'm glad that spirit of "giving a person a fair go" is still alive and well in 21st Century Australia. Oh yes, I even got defriended by one person for daring to post a pro-Abbott video on my page (in response to the countless anti-Abbott articles, memes and such filling up my page which they posted).

 But you know what? We live in a country where all of that is possible without fear of death. I would rather people be engaged with political debate in this country then to sit passively by and say "I hate them all". I'll take a person who weighs up the pros and cons and reaches a conclusion that is different to my own anyday.

 I am proud to call some of those people my friends. Fellow musicians who I admire a lot but who think different politically to me. At least they care about this country. One of those is my friend Dolores [not their real name]. We've done shows together and she has always been a good friend to me. She is an outstanding teacher, a wonderful mum and wife and has been a great support to me as I do my degree. But her views on politics could not be more different than my own. On election day I actually messaged her on FB and apologised that we seemed to only talk when disagreeing on politics. She laughed and said it didn't matter- and she reminded me that she married a Liberal voter. The fact she is still my friend sometimes amazes me given some of the exchanges we have had in the past.

 Today was no different. The feminists have been having a field day since Mr. Abbott announced his cabinet with ONLY ONE WOMAN!!!! (du-du-DUUUUH!!!) Poor Corinne Grant must have steam coming off her keyboard writing so furiously to get a blog up on The Hoopla! How dare he!! Nice way to set women's rights back 50 years!! Oh the outrage, the anger, the venom!! 

 Dolores jumped in with a pithy status and, despite my better judgement, I went wading in right after her. Do I seriously need another target on my back??

 Of course, any attempt to defend the decision would be immediately leaped upon and branded as sexist (especially when coming from a man) and it didn't take long. So before I get the tirades of abuse, let me try and point out my views on the this.

 Let's play a hypothetical-

 You have to fill a position. You have two possibilities to fill that vacancy. One person is experienced and has a solid background in the job. They also are qualified and have proven themselves as a team player. The other person is nowhere near as qualified, has little experience and has yet to prove themselves. Which one do you go for? Now if this were a rather lowly position you may be tempted to make a judgement call and decide that a person has to start somewhere and if they screw up then no harm, no foul. But this is a senior position with a LOT riding on it. In this instance, I think a good boss will go with the first person. To me, that makes sound, business sense. It matters not what their age, gender, religion or race is. You picked the best person for the job.

 That is the choice the PM-elect has had to make. I note that Mr. Abbott is also nominating Bronwyn Bishop as speaker of the House of Reps (which would make the most powerful position in the house being filled by a woman- something a lot of the people are forgetting). By the way, I imagine he put the same criteria on filling THAT position as he did in filling in the cabinet positions. 

 When I looked through the ministry I saw a lot of experience both as opposition spokesperson and from outside Parliament. What I saw was a team capable of bringing solid government to this country and representing our country well. 

 "But what about the WOMEN"??? Dolores cried. She rightly pointed out that women are just as capable of doing these jobs as men and that they make up 50% of the population. I don't disagree with her on that at all. Sadly, the pool of talent that our new PM had to choose from wasn't very representative of that. I suppose we can argue about the Liberals not blooding enough female talent and you might have a point, but the simple fact is that if not enough women want to run as a candidate for the party then it is very hard for them to be elected and then put into cabinet. Is that the PM-elects' fault? As Mr. Abbott pointed out yesterday there several women knocking on cabinet's door. Good. Come time for a reshuffle, one or two of them may just enter into that room having had more experience under their belt.

 I am all for women getting the same opportunities as men- they are as capable (and in some cases, more capable) of doing the job as their male counterparts if they are the right person for the job!! It's not sexism, it's actually good business sense- the right person for the right job.

I still greatly respect Dolores and will continue to do so. She's awesome. 

"Salome"- State Opera of South Australia, Festival Theatre

 Richard Strauss' masterpiece of the stage gets an all-too rare outing in Adelaide. I remember seeing this opera when State Oepra performed it last in 1994 and was blown away by how vivid and exotic the score is. There is not a single "easy" part in this whole opera. From the first moment to the last (a nice call-back to "Game Of Thrones" watchers) it leaves the audience on the edge of its seat.
 When the Opera Conference chose to mount a new production they chose director Gale Edwards to bring this sordid one-act tale to life. Doing that ensured it would not be a sandal and toga affair. Rather, Edwards has presented a dark, brooding and sexual affair of the most grotesque kind. The single set functions well enough to set the stage with not-so-subtle imagery of dead carcasses off the back wall and a red hue to all the lighting and costumes.
 The production team should be applauded for keeping things visually interesting without over-blowing our senses (leaving that job to the wonderful music of Richard Strauss).
 In the title role, Kate Ladner proves once again that she is one of Australia's finest leading ladies. Not only does she have the vocal ability to tackle the demands of this score, but every nuance of her character is played out in her gestures, body movements and thought processes.
 As her depraved step-father, Herod, Hubert Francis is an absolute standout. Every bit the depraved ruler, he makes every member of the audience feel slightly violated. Vocally he totally nails this role to the back wall and his acting is on par with the best around the world.
 Elizabeth Campbell provides a solid support for Ladner and Francis as the much-maligned Herodias. I simply cannot remember a role where Campbell has given less than 100%.
 Douglas McNicol (almost unrecognisable under heavy makeup) is a brilliant Jokannan. Like the rest of his castmates, his vocal abilities are beyond question and he gives a much less pious performance of the doomed prophet than we have seen in the past.
 Bradley Daley as the love-struck Narraboth and Anne Marie Gobbins as Herodias' Page round out the major players superbly. Local talent including Adam Goodburn, Andy Turner, Thomas Millhouse, Bernard Hull and Robert McFarlane fill out the smaller roles with much gusto and relish.
 Arvo Volmer and the ASO performed wonders in the pit but I fear their exuberance led many passages being sung to be inaudible to the audience. The dance of the seven veils, however, was one of the most breath-taking moments ever heard in the festival theatre (and the ensuing dance onstage was cleverly executed by Ladner and several dancers).
 This opera- at 100 minutes- is almost as draining on the psyche as the 6-hour "Parsifal". Both of these are in my top 10 operas of all time and State Opera have pulled another gem from their hat.

Advice on your first teaching prac....

 I have the most amazing friends. One of them- who wanted to remain anonymous- posted me a letter (yes, an actual handwritten letter sent via snail mail!). They are an experienced teacher who knew I was feeling apprehensive about my first prac. I've asked them if I can share this. I hope you pass this on to any teaching students you know. This is golden advice you are unlikely to get in a classroom.

Dear Rodney,
                    I wanted to send you every good wish as you embark on your first official teaching prac. While it will be super scary in many ways (especially the lead-up to it and the first day in particular) and nothing on God's green Earth can remove that fact, I thought I would write anyway with a few things/words of encouragement you can take with you!

 To feel nervous is completely normal and is no reflection on ability or professionalism. I know very experienced, brilliant teachers who feel nervous at the beginning of every school year (which I was surprised to learn because I thought I thought it was only me!). Of course it is not a fabulous feeling and probably one we'd all like to avoid but it is, hormonally speaking, our body's way of preparing us for improved performance, so quite necessary for our survival. The great news is, it doesn't last forever. You will start to relax- even on a teaching prac!

Practical advice

Teaching in itself is stressful, as you know, and the teaching prac, is a stressful time; more so than regular teaching in some ways because of the added pressure of constant assessment of performance. Give yourself the best chance of being successful and surviving it by doing some very basic stuff (which may seem stupid/ laughable). Your body can't function without sleep, good food and water. Well that's not entirely true- it will, because the human body is an amazing machine and will compensate for the abuses that we heap on it. The next 3 weeks is not the time to be abusing it. It will already be under enough pressure.

 So....... no all night movie marathons, 48 hour weekend raves, etc. Of course, you don't have to give up your entire social life and have absolutely no fun but just be aware of getting plenty of quality sleep. Eat proper food with proper nutritional value- a Big Mac does not count as "meat and three vegetables! Drink water. That's pure unadulterated H2O (well, as close as possible). Boring but absolutely essential. Keep a bottle with you in class and one on standby in the staffroom in case you leave your first one in a classroom somewhere. The amount of talking teachers do (even in quieter lessons) is immense so you will need it just for vocal health. The consequences of a teacher being "too busy to worry about it" are dire. You're gonna have to trust me on that one.

 End of practical/physiological advice. Time to segue into another section with a cleverly placed famous quote!

 "The best laid-schemes o' mice and men, gang aft agley" (especially when teenagers are involved). You may have a unit of work consisting of brilliant lessons all linked to the Australian Curriculum with outcomes that have made your lecturers weep with joy and give you High Distinctions. You are so looking forward to sharing everything you have lovingly prepared with your students. Your students, however, don't know and/or care about any of this and may indeed tell you so to your face- yes- even in a Christian school. As disappointing as it is, every teacher understands this; that kids will be kids and it has nothing to do with that teacher's ability to plan and programme. Therefore, if a lesson doesn't quite go the way you had planned and kids start behaving like the spawn of Satan, this will not count against you. It happens to all teachers at some point and is a chance to practice flexibility!

 Some facts and figures (mostly facts though!)

 Remind yourself of these facts regularly- before and during the prac.

1) I have done everything I can to be prepared in terms of the content and structure of what I'm going to be teaching.

2) I have attended all my observation days and therefore know many of the students, staff and the general running of the school.

3) I have, in fact, already successfully taught a few lessons at a moment's notice and made connections/bonds with certain classes.

4) I have already proven skills and experience in teaching/managing/catering for large groups of people with individual needs and varying abilities so I can call on these skills and experience in the classroom.

5) I have an excellent supervising teaching (teacher mentor) who is friendly and has been willing to take me on as a student teacher in a fair and encouraging way.

6) I have been provided with a teacher educator whose job it is to encourage me and who I can go to if I need extra advice/support at any time.

7) I am doing my first teaching prac at a Christian school so will be surrounded by prayer support from "go to whoa".

 But when all's said and done over the three weeks you will actually have (dare I say it??!!) fun. The student teacher has the advantage of being someone a bit new, fresh and exciting for the kids and many will respond to that and want to please you in the way they establish positive relationships with you and the work they produce.

 There will be lots of great "moments", so after the first day (or even ON the first day if your body will allow it).....

 ENJOY!!

The "Me" generation- who is really to blame?

I thought I'd share with you an entry for my Teaching Journal I'm doing for one of my key subjects as part of my course. It was brewing for quite some time and I felt I needed to get it out. But more importantly, I wanted more people to read it rather than just my lecturer. I expect there to be some disagreement on this, and that's fine, but perhaps this is one of the great problems facing teachers today in how to deal with students.

 Funnily enough, this entry is not inspired by events at my observation school, but rather at rehearsals for my musical. I write it here because I feel it reflects a dilemma that music and performing arts teachers, especially, face. How much is too much?

 When I was going through High School, I was never the best performer in my year level. I was never asked to play solos for big important events and I was never singled out for praise in my playing. I had to really work to get decent performance grades- and this continued on into my days at the Flinders Street School of Music (a branch of TAFE). I'm not complaining at all. In fact, I liked it. If I didn't feel like I had worked to get something, then I rarely tried, knowing it would be there.

 But what about those students who were always in spotlight? The ones who were marked as "special" by the heads of Music and Arts? The ones who never seemed to practice, yet always got the A's and the plaudits. The ones who said "I just looked at this song this morning, let's see how I go..." and then pulled another high mark out of their back passage. I despair for them. They will never know, until it's too late, their talent means little without the attitude to match it.

 Never being particularly special in the eyes of my teachers meant I had to practice and study hard. Sometimes for little reward. I remember in my TAFE years, working on a Schubert song for nearly a year (a very long one called "Viola") and slaving away at the intricacies of it. I also made sure I got a brilliant singer who would smash it vocally out of the park and push me to improve. On the night of the performance I played well enough that I thought I'd probably pull off a credit. Nope. I got a P1. Why this particular one stuck out in my mind was that I knew I had done the work and my teacher at the time (who had very little time for me as a player) even commented how I had gotten under the skin of this rather tricky song. I knew I wouldn't get top marks but it still felt like a kick in the guts. Of course, the usual suspects got their distinctions and high distinctions playing much harder pieces than my own- but that did not bother me surprisingly.

 Today's heads of Music (or Arts) face a serious dilemma that no other head of department faces- promoting the school. I am pretty sure that the head of science isn't asked at a week's notice to provide some entertainment for a school function ("Just line up your year 12's and have them recite the periodic table"). Naturally, the head of music is going to pick the people who play the best and can dazzle a crowd. The 8th grade pianist who plays a flashy piece by Gershwin will always get picked over the 5th Grade pianist doing some minor movement from a Beethoven sonata. Even if not explicitly said by the head, the message that comes to that first student is clear: "You are the best, and always will be".

 Reality checks are needed. I'd love to take all the top music students in the state and sit them down with a couple industry insiders to spell things out for them. Talent is a valuable asset, but so is your attitude. The arrogance I see from the current crop of senior music students (and drama students) is staggering. Partly I blame the teachers and partly the parents. "Oh you are so supremely talented. You'll get work no matter WHERE you go." No you won't. You might get opportunities that aren't available to others but if you come in all swagger and "look at me", you will soon be put in your place (and unless you majorly adjust this attitude, you won't be asked back no matter how good you are at playing). To that end, I'd like to suggest a few things to these students.

1) Once you make a commitment, stick to it. I have given up more lucrative work because I had already made a commitment that was pretty hard to break without majorly inconveniencing the people I was working with. Can you imagine what would have happened to a production of "Footloose" if I had turned around not 6 weeks before opening night and said "sorry, I've got a better offer from State Opera."? or a similar thing less than six months later with "The Producers"? The fact is, it probably cost me some work with the Opera company but my reputation for being a committed person is intact and I still get work.

2) If you're needed, be there. If you've made the commitment to be at several rehearsals a week then, barring accidents or illness, you are there. If, after you've made that commitment, you suddenly start finding the work piling up, then tough. Make a calendar, make a study routine or work schedule. If you know you can't do it, don't commit to it.

3) Everyone starts at the bottom rung of the ladder. At some point early on, you are going to do a gig that is poorly paid (if at all). The venue will be lousy, the performances only marginally better than the venue. Welcome to the entertainment industry. By shunting those gigs off to other performers what you will eventually find is that they will earn the "cred" while you sit there in your ivory tower looking down your nose at everyone waiting for the phone to ring. It won't. And by the way, you need to do quite a number of these lowly gigs.

4) Your attitude gets noted. People talk to one another. A lot. Having sat on audition panels and received calls from other musical directors I can safely say that a sentence that goes "[insert name here] is really talented, but lousy at commitment. You'll never see them at rehearsals" is quite common. To be fair though, so is "[insert name here] is a brilliant team player- shame they aren't talented". Neither is a particularly good look.

 So who really is to blame for all this? Is it the students? Is it the parents? Is it the teachers? The answer is all three. As teachers, we rarely have the time to set out the realities of life after high school. We cocoon students in a bubble and wrap them in cotton wool never letting them get a sense of failure and that is sad. This is not, by the way, a recent development. It wasn't until I left high school 22 years ago that I found out the brutal truth of the industry and even then I only did that when I went to a national music camp and several players from the Sydney Symphony Orchestra let us in on what it really takes to "make it". Since then, a lot of people my age have had children who are being even more protected than those from my generation.

 Do I have a magic solution to all this? Not really. But maybe teachers should occasionally choose the good-but-not-quite-as-good students to play. Make them work towards a gig that isn't being assessed. Put them in the spotlight and encourage them. Remind the bright ones that talent is only half the battle. It's a bitter pill to swallow sometimes but a necessary one.

 As parents, we should be encouraging our children for sure but reminding them that hard work and good attitude reaps rewards (and also that failures happen in life, and that they can often help us more than the successes). Surely THAT is more beneficial than just roundly praising their every move (I feel I should add at this point that a balance is needed here- encouraging and supporting yet also letting them know when they need to improve and do better. I'm certainly not condoning belittling children all the time either.)

 The more we prepare them for both the good AND the bad side of life on this planet, the more rounded a person they'll be. Is it really so hard to come to this conclusion?

The Mahler Symphonies: Part 3 (Symphonies 8-10; Das Lied von der Erde)

SYMPHONY NO. 8
===============

The massive eighth symphony is what I like to think of as the opera Mahler never wrote. It's an audacious work for several hundred performers and consists of two lopsided movements- a short, bristling setting of the latin hymn "Veni, Creator Spritus" and then a lengthy second movement setting the final scene from Goethe's "Faust". Most people get an adrenaline rush with the first movement and find themselves bored in the second. On record, the symphony either thrills you or makes you never want to hear Mahler again. Part of the problem is the massive forces require some spectacular recording techniques and often, lesser labels are not up to scratch. There are a number of very fine recordings available (and a rather fine version on dvd featuring Bernstein) but be very wary. These two, however, will serve you well.

 For many people, Solti's classic recording is the definitive word on this symphony and it's not hard to see why. Solti has assembled some amazing talent as soloists (something most modern recordings sorely lack) and his style of aggressive Mahler suits the louder portions of this work to the ground. But the surprising part of this is the beautiful moments in movement two which are sublime. Crammed onto one disc and freshly remastered, this recording sounds finer than ever. If your budget is tight, then this is the one for you. 

 Michael Tilson-Thomas' recording is simply one of the finest achievements of his long and distinguished career. As the climax to his recorded cycle, it sends it off in grand style. There is not one tempi that isn't perfectly placed and the forces respond beautifully to his direction. His soloists are top shelf singers (even if they may not be household names) and the playing of the SFSO and the combined choirs is flawless. Importantly, the recorded sound is magnificent and you get a true sense of occasion here. This is definitely one to savor many times over.

  You may also be well served by recordings by Rattle, Sinopoli and Tennstedt but avoid the rather lacklustre efforts of Chailly, Gergiev and Haitink.

SYMPHONY NO.9

===============

 One of the most haunting and harrowing works ever written. It is highly possible to be moved to tears listening to this piece. As a friend of mine once commented shortly before his passing- "if the universe has to end, please let it be to this". This is a powerful and magnificent work.

  I wrote about this recording many years ago on a now defunct blog where I called it simply one of the finest Mahler recordings ever and, I believe, one of the most definitive recordings of the work. Karajan and the Berliners did a rather stale studio recording in the late seventies but this one- recorded live- just nails it right. Karajan relishes the sadness in this work and you can almost feel the tears coming off his baton. For a man facing his own mortality (he would die 5 years after this was recorded), he understands this symphony. Upon it's first release, the mix was not particularly good but now it has been remixed and remastered and all the full splendor of this performance is achieved. This one is as essential as they come.

 Klemperer's recording is also a classic and, like Karajan, was recorded near the end of his life. Having met Mahler himself, the connection is obvious here. It's a passionate and heartfelt reading that sits easily alongside the later Karajan recording. They say old age brings wisdom and it seems so true of this symphony.

Other wonderful recordings include Simon Rattle's recent effort with the Berlin Phil, Claudio Abbado and the Vienna Phil and Bernstein's recording with the Berlin Phil. (a rare time when maestro Karajan let his arch rival conduct his orchestra). For the nostalgic, naxos has a performance by Bruno Walter (who premiered the work) and the Vienna Phil. which, whilst limited in sound, is still remarkable.

SYMPHONY NO.10

===============

 Mahler's unfinished work is mostly performed as the stand alone first movement (the only one he completed entirely before his death). Deryck Cooke's performing version of the rest of the symphony is pretty much the go to for complete performances of the work. It is a curiosity as a whole and is, like all completions, a compromise. I won't bother recommending specific recordings of the first movement because they all pretty much are the same (and usually tacked on to the end of another symphony just to fill up disc space). 

Simon Rattle's first recording of this was way back in the early 80's and was considered the definitive reading of Cooke's version... until this one. 25 years of study and performance has made this the most "Mahler-like" of all performances on record. Like Tilson-Thomas and the 7th, this symphony is Rattle's calling card when it comes to Mahler.

DAS LIED VON DER ERDE

=====================

Mahler's unofficial symphony (also not performed in his lifetime) is a dark, brooding final vocal statement. The vocal solos are usually performed by an alto and a tenor, with the tenor singing the more exciting of the work's six movements. Recordings tend to hinge on the performance of the soloists and these two are definitely worth a listen.

  I'm not a big fan of Haitink's Mahler finding them all rather wishy washy and drab without much gusto, but somehow, that approach works for this recording. It also helps enormously to have two outstanding soloists. The recording is vivid and Haitink captures the mood perfectly. His final movement is heartbreaking.

 Yes, I know I keep rabbiting on about Karajan but the man knows his Mahler. This recording is on par with Haitink's and also has the benefit of two Germans singing the solos. The Berliners, as usual, are peerless and faultless in their playing and this feels so natural to them.

 I hope that these entries have helped you wade through the mire of Mahler recordings. I freely admit that I favour the interpretation of certain conductors over others and I tend to lean toward more recent recordings than earlier ones. The beauty of music is that it can be interpreted in many ways and still be enjoyed. 

The Mahler Symphonies: Part 2 (Symphonies 5-7)

SYMPHONY NO. 5
===============

 One of the more well known of the symphonies (largely due to the famous adagietto for strings and harp which is the fourth movement) is well represented by recordings. In truth, it is really hard to isolate just a couple examples. The usual suspects are all worth a listen (MTT, Bernstein, Chailly, Tennstedt, Rattle) but for my money, here are the two that I enjoy the most.

  Claudio Abbado's performance is simply brilliant. His tempi are perfect and the Berliners (well drilled in this symphony- see below) respond with due skill. The recorded sound is magnificent and there is a huge sense of occasion to the performance. Well worth a listen.

 One of the biggest regrets in recorded music is that Herbert von Karajan never did a complete Mahler cycke. I suspect that if he had, it would sit top of the pile for complete cycles. The fact is that Karajan (along with Bernstein and Barbirolli) were responsible for bringing Mahler's work into the mainstream. Karajan was meticulous in his work (he rehearsed these symphonies on and off for months beforehand) and turned the Berlin players into the force they are today. Some critics see his Mahler as too "studied" or "sterile". I agree with the former and not the latter. Mahler left an incredible number of markings on his score and Karajan made sure they were all observed. This recording brings this to the fore. To be honest, listening to Karajan work with the Berlin Phil by themselves without the foibles of singers and/or soloists is the classical music equivalent of hearing Joe Satriani jam out on his favourite axe. It's an amazing experience. In this symphony, he brings out every little nook and cranny of the work without compromise and the result is, frankly, exhilarating.

SYMPHONY NO. 6
===============
 This work is one of the most harrowing, yet beautiful, works from Mahler's output. There is little sunshine in the work (which has the unsubtle nickname of the "Tragic" symphony") and the last movement, especially, may just make you want to take up drinking. Sadly, there are many recordings of this work that simply don't get it. Orchestras can sound muddied and confused and conductors struggle to control the forces at their disposal. Some big names make a complete hash of this symphony- Bernstein's recording on DG is one of the lowlights of that cycle as well as recordings by Rattle, Solti, Sinopli and Abbado's first recording of the work with the Chicago Symphony (his second- with the Berliners is a much better affair). But when the players and conductor are in sync, then magic happens. Here are my two favourite recordings.

 Yup, Karajan continues what he started with the fifth. The same meticulous prep work has gone into this one and it is a faultless performance. The Berliners just work so hard throughout this amazing recording. If the outer movements are harrowing, the slow third movement is some of the most beautiful playing you are likely to hear- no matter how many times I hear this movement I am almost always at a loss for words at the end. The sound mix is brilliant and recent remastering has brought this out even more.

 The first entry into the MTT/SFO cycle was this amazing (and grammy award winning) recording. Taped in front of a live audience less than 48 hours after the tragic events of 9/11, the mood is not lost on the players or conductor. Responding to the tragedy, Tilson Thomas out-emotes Bernstein by about 20 to 1 without compromising the arc of the work. It is a gripping performance of overwhelming sadness.

SYMPHONY NO. 7
===============

 I have been called weird for citing this as my favourite of Mahler's symphonies (even having one person declare that my opinion on Mahler was null and void because of this). I don't care. Something about this symphony gets to the heart of my soul and the outer movements, especially, are two of my all-time favourite movements in Mahler's symphonic canon. Sadly, like the 6th, this symphony has had some legendary misses. Klemperer recorded a version that lasts nearly half an hour longer than most performances (yet it strangely sucks you in!), Gergiev, Rattle, Sinopoli, Chailly and Barenboim have all failed to grasp this behemoth of a work. Bernstein turned this into a concerto for orchestra and decided that Mahler's own markings were largely irrelevant and so made his own mish-mash of this symphony. For what it's worth- here are my two favourites-

  There's nothing wrong with MTT's recent recording with SFSO but this one, like his 3rd, is superbly recorded and finely conducted. There probably is no other conductor on the planet that uses the Mahler 7 as his calling card and it's easy to why he does (and others don't). There is not a quaver that is wasted in this. Every thought is spot on and the players respond accordingly. It's easy sometimes to forget that the LSO have been one of the greatest orchestras on the planet for a very long time. This recording reminds us why.

 Solti's Mahler, for me, tends to fall into the category of "pleasant and inoffensive enough" for the most part.  I have always admired the way Solti loves accents in a musical score- every one (especially brass) gets punched to the back wall. Sometimes, this is to its detriment. Solti never wallows or wears his heart on his sleeve (like, say, Bernstein or Karajan) but he is rarely sloppy or heartless. This recording is one of the highlights of his cycle with the Chicago Symphony. Recent remastering has made this recording sound even more spectacular than it was when first recorded- the Decca engineers of the day were masters of the analog form. The grandeur and spectacle of the outer movements is counter balanced by the nuanced and subtle playing of the inner movements.
 I would also recommend Claudio Abbado's first recording with the same orchestra if you can track it down.

The Mahler Symphonies: Part 1 (Introduction and Symphonies 1-4).

A slight deviation from my usual ruminations because I have been asked by a few people to recommend recordings of the Mahler symphonies. If this doesn't sound like an exciting prospect to you, then I suggest you may want to skip this and the next two blogs I post.

I've been listening to Mahler's music since I was about 18 and to say it turned my world on its head is an absolute understatement. Over the years I have been fortunate to see every symphony (except the 2nd) live, and in one glorious stroke of luck, I sang in the 8th symphony not once but twice.

 When I started listening to the symphonies there were only a small number of recordings around (and certainly no streaming services like Spotify to help you out). Since then, so many new recordings have come out that it is hard to pick a "good" recording. The simple fact is, that any performer/orchestra that is good enough to have money thrown at them to record these works must have something to offer. I have by no means heard every single recording of the symphonies (especially the super rare recordings which pedants always pull out as their personal favourites just to sound intelligent) but I have heard enough to know what I like.

Part of the problem is that these symphonies are designed to be heard in a concert hall with the outside world shut out- not over headphones while you tap away at a keyboard or go for a walk- so you can fully focus on what they are about. My first recommendation is to find a way to sit in silence and enjoy the symphony without distractions. If it's a vocal symphony (nos. 2,3,4 and 8) then have a copy of the libretto nearby.

I fully expect people to disagree with me on some of these choices (if not all) so please leave your comments below and add to the discussion....

SYMPHONY NO.1
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 If you are new to the world of Mahler then, really, this is the perfect way to find yourself into his sound world. The symphony is only an hour long and quite captivating. From the opening sounds of the strings playing high harmonics to the glorious brass-laden finale, this one is a fantastic piece. There are a number of great recordings of this but here are a couple I highly recommend.

 Claudio Abbado's live recording with the Berlin Phil is a marvel of energy and mood. There is a real tension in what he does and he never lets it falter throughout. Recorded when he first joined the Berliners as their chief conductor there is a real sense of occasion and the rapturous applause at the end is well-deserved. Naturally, the orchestral playing is peerless even if the maestro does choose some interesting tempi in the middle movements.

My absolute favourite recording of this work. Full of drama, power and passion plus superbly recorded by a man who learnt his Mahler from one of the best. MTT is all over this symphony like rash and you never doubt the man's ability with this work. Just wished he'd ironed his collar on the cover though...

Also notable is the Leonard Bernstein recording on DG and Simon Rattle's effort with the CBSO on EMI.


SYMPHONY NO. 2
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The mighty "Resurrection" symphony is one of the finest achievements in the symphonic repertoire in my humble opinion. No matter how you hear it, you will never forget the first time you experienced the work. Many people get reduced to tears by the time the work finishes 90 minutes after it starts. There are so many wonderful recordings of this work but let me highlight two.

  Simon Rattle's recording has pretty much been the benchmark since it was first released in 1987 and it is easy to see why. The gravitas of the work is not lost on the young conductor and he elicits so much power from the CBSO that it makes your speakers explode (almost). Funnily enough, he has recently re-recorded this with the Berliners and not much has changed in the quarter-century in terms of interpretation proving that when you are on a good thing, stick to it.

 I try to avoid the whole DVD thing, but Bernstein's legendary film of the second with the London Philharmonic is a revelation. Whether it's the live atmosphere, the superlative playing, or even the amazing acoustics of Ely Cathedral where it was filmed, it just works. Bernstein's Mahler defined a generation and his films of the symphonies (all done in the 70's when he was truly at the top of his game) are nothing short of miraculous- but it is the second that tops the lot.

I can also recommend the wonderful recording by Otto Klemperer on EMI


SYMPHONY NO.3
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 This behemoth of a symphony (the Guinness world record holder for longest symphony in standard orchestral repertoire) is like a giant onion with so many layers. For first-timers, I definitely recommend taking a potty break unless you're feeling really in the moment. In concert though, this is an incredibly moving and powerful work. Very few conductors truly master this one.

  Bernstein's reading is probably one of the most dramatic and epic performances around. Recorded in the 80's (only a handful of years before his death) it is the culmination of a lifelong love affair with Mahler. There is no nuance untapped, no emotion not wrung to the nth degree. My only gripe with this particular recording is the Harlem Boys Choir who sound like they are ready to punch on and rumble when they are supposed to be delicate angels singing "Bimm Bamm".

Bernstein's protege has clearly learnt well. Whilst his more recent recording with the SFSO is spectacular, it is this one where he truly shines. The London players respond to his every whim like the seasoned pros they are (and doubtless, many of the players at the time also worked under Bernstein and so have a clear idea of what to expect). The recorded sound is excellent. If you can track this one down, darken the room and let the sound envelop you.

I can also highly recommend Abbado's early recording with the Vienna Philharmonic.

SYMPHONY NO. 4
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The "easy listening" symphony of the cycle as it was once described to me. Certainly after the grandiose 2nd and 3rd symphonies, this really is a gentle breeze of a work. I must say that it is probably my least favourite of the bunch (although that is not to say I dislike it, I just don't listen to it as often).

 This recording, for me, is as close to a definitive recording of the work as you are ever likely to get. I'm not the biggest of Chailly's fans when it comes to his Mahler (he often sounds like he's trying just that little bit too hard to match it with the greats) but on this he absolutely lands a golden punch. Tempi and ensemble are absolutely spot on and the cherry on the top is the flawless singing of Barbara Bonney who totally captures the spirit of the last movement perfectly. One for the top shelf.

If Chailly's is the benchmark now, it replaced this recording. Tennstedt brings a remarkable sensitivity to his performance here (and that pretty much defines his entire Mahler output- sometimes to his detriment) and Lucia Popp is the perfect foil for his final movement. You won't go wrong with either of these.

Abbado's reading with the Berlin Phil and Renee Fleming is also worth a mention as is Simon Rattle's effort with the same orchestra.

That's enough for one blog...to be continued...

Casting Matters V.2.0

In 2011 I wrote this blog about three of my favourite podcasts. All 3 are still top listens- TOFOP has been on hiatus while it has transformed into the Charlie-less "FOFOP", it is back and funnier than ever, I wrote about Dum Dum's recent year here and CYTTPP has evolved from a comedy podcast to more of an about comedy podcast (that still has its fair share of laughs). Justin's ability to probe comedians on the finer point of their art is an amazing thing to hear and if you have any aspirations to become a comedian have a listen to any number of his episodes and get an idea of what you are in for. His 2011 and 2012 year in review podcasts are essential listening to any comedy fan. But of course, there are other worthy companions that have crept into the market which you may be interested in....

Santo, Sam & Ed

 People roughly my age will more than likely remember that awesome show "The Panel" from the early to late '90s when Tom Gleisner, Rob Sitch, Santo Cilauro and a host of other great Aussie comics sat around dissecting the weekly news with liberal doses of good humour. This is the podcast equivalent.
 Cilauro is joined by comedian Sam Pang and TV writer and personality Ed Kavalee (who is currently on the longest holiday ever, possibly flogging his idea for a complete blu-ray set of "TV Burp") come together and wax lyrical on the weeks events.
 Clive Palmer is the butt of many-a joke but absolutely nobody is safe here. Cilauro keeps the gags rolling across episodes (his current fetish is a hilarious take on the Happy Days theme) whilst Sam and Ed deliver a huge amount of laughs themselves (and you'll soon be wanting your own "Frank The Drummer"). Gleisner pops in at the end of every episode to give the boys a quiz whilst the absent Kavalee has been represented recently by Rob Sitch and Glenn Robbins. A perfect way to end the week.

I Love The Green Guide Letters

 In a market getting more and more crowded, it is hard for a podcast to get some cut-through with a fresh angle. Comedian Steele Saunders has done just that. Combining some of Australia's funniest comedians with the whinging letters from the readers of The Age's "Green Guide" is a sure-fire formula for laughter. The format works well both in studio and in the live format too. Such a hit has this become that Saunders has written a column for the guide and now there are frequent letters to the guide about the podcast! Regardless of whether you live in Melbourne or not, this is one of the funniest podcasts going at the moment.

The Shelf

 I feel a tiny bit guilty adding Justin Hamilton's second podcast to the list but I simply cannot ignore it. Justin is joined every week by Adam Richard and the two have an awesome time just riffing on each other and talking through the most hilarious scenarios. Richards' laugh is worth the download alone. These are two finely seasoned pros and they do not hold back. If CYTTPP is Hamilton at his most probing and personal, this is Hamilton the comedian- funny and brutal at the same time. If you love this podcast then make the effort to get to Melbourne and see the live comedy room of the same name run by the two of them.....

Les Miserables- My thoughts

I am going to try and get to the point a lot quicker than one of my friends who turned in 3,473 word rambling essay (yes, that's the correct count- I checked) to voice their displeasure.

 Expectations are a funny thing. If you cherish something enough, it is hard to see it interpreted outside your narrow scope of vision. If you absolutely love the musical "Les Miserables" you may want to think twice about seeing this as it will in no way meet any of the lofty expectations you put on it. Every little change will irk you. Every voice that does not sound like your favourite performance will grate. Every piece of direction that does not match up to what you saw on stage will make you ill.

 Stage and screen are two incredibly different mediums- what works on stage does not translate very well to screen for many reasons. many of the classic movie musicals seldom match their theatrical source material (see "West Side Story", "The Sound Of Music" or, more recently, "Rent"). Very occasionally a film will surpass the source (see "Grease" or "Chicago"). Even more occasionally a film will match the source material by a successful adaptation to the screen (see "Sweeney Todd"). This film falls into the final category.

 Director Tom Hooper, by and large, has picked an outstanding cast and has made a very clever choice to have the actors sing live and "in the moment". It works for most of the film, but not all of it. The most comfortable with this is Hugh Jackman. He exudes everything that Jean Valjean is about. His inner conflicts and turmoils are beautifully rendered by him and, of course, he has an amazing set of pipes on him. That being said, his "Bring Him Home" was more of an exclamation (or demand) rather than a reverential prayer.

 I will join in the throngs of people praising Anne Hathaway's outstanding performance as Fantine. It's a brutal performance that left many-a person in tears in the cinema. The placement of "I Dreamed A Dream" where it was in the film was superbly done.

  Amanda Seyfried and Eddie Redmayne as Cosette and Marius respectively turn in solid performances (although Seyfried's vocals were not the greatest around). "Empty Chairs At Empty tables" was certainly a vast improvement on the version by Nick Jonas inflicted on us a couple years ago....

  Samantha Barks as Eponine is effective although, perhaps, not as successful in her interpretation as she was in the 25th Anniversary concert (despite the better Marius here).

 The Thenardiers, as played by Sasha Baron Cohen and Helena Bonham Carter, are nowhere near what they should be. Their singing is lacklustre (Cohen struggles with his accent and Carter seems to have mixed Bellatrix Lestrange and Mrs. Lovett into one) and a lot of the darker nature of the characters is missing.

 Russell Crowe presents Javert as extremely wooden. He wrestles with his singing and seems more worried about getting the notes right rather than getting the character right. I found it very hard to connect with his character at all. His set piece of "Stars" was woefully under-cooked. His suicide was almost laughable with the added "crunch" at the end of it.

 Aaron Tveit is a great Enjolras with gusto and bravado as befitting such a great little role.

 Hooper's decision to film a lot of the intimate songs in extreme close-up bugged me for a while but eventually I resolved myself to it being how the director wanted us to see the guys working. The battle scenes were extremely well shot and poignant and the finale had me choking back the tears.

 It was also extremely awesome to see Colm Wilkinson (the original Jean Valjean) in the pivotal role of the Bishop. It was a mesmerising performance.

 Changes from the stage show to the movie, I felt, worked for the most part. Additional scenes helped fill annoying plotholes in the narrative from the stage show as well as underline certain emotions and characters more.

 The orchestrations for the music seemed less keyboard oriented, although I personally would have liked the orchestral track a little higher in volume than it was.

 There are some brilliant set pieces throughout. The opening takes your breath away, the trek through the sewers works a treat, the climactic battle (and the bloody aftermath) work incredibly well and the final 20 or so minutes will leave you shattered.

 Despite the flaws, I still enjoyed this movie immensely. Go and see it on the big screen.