I even have an apple ready for the teacher.....wish me luck and follow my progress here - I will share any successes in the food & drink pages of indulge....
Wednesday, 26 October 2011
New beginnings....
I even have an apple ready for the teacher.....wish me luck and follow my progress here - I will share any successes in the food & drink pages of indulge....
Monday, 17 October 2011
EVEN MORE FOUR PLAY - NEXT WEEKEND
They're back! Sassier, Brassier and sexier then before! Alan Montanaro, Isabel Warrington, Louiselle Vassallo and Alan Paris are all preparing to rock Sir Temi Zammit Hall with riotous Laughter in EVEN MORE FOUR PLAY! All your favourite characters are back, including the Basss Driver, Defsa Garuana Malizia, but will also be joined by some new friends your bound to love! With sketches written by Malta's best comedy writers Malcolm Galea, James Calvert and Alan Montanaro, and directed by the likes of Denise Mullholland, Herman Grech, Chiara Hyzler and Wesley Ellul, expect audiences to be LOLing until the cows come home! Its all happening at Sir Temi Zammit Hall, from the 21st - 23rd of October 2011 for THREE Nights ONLY! Buy your tickets now before its too late! You can buy your tickets online from http://www.ticketline.com.mt/ now!
“E lucevan le stelle…” and the stars shone!
Borrowing one of the most famous lines of Puccini’s Tosca, the (opera) stars shone last Saturday 15th October 2011 as the 3-act opera returned for the third time at the Teatru tal-Opra Aurora. What was being referred to as arguably the best combination of singers ever to appear together on an opera stage in Malta, was definitely no let-down to neither producers nor audiences. The cast included an encouraging dose of local talent with established household name Noel Galea (Cesare Angelotti) as well as up-and-coming baritone Louis Andrew Cassar (jailer) and treble Annabelle Zammit (shepherd) who enjoyed their debut at the Aurora. Other secondary roles were those interpreted by the Italian bass Cosimo Arena (Sciarrone), tenor Costantino D’Aniello (Spoletta) and baritone Alessandro Busi (Sacrestan). They mixed and blended together with quite a skill (and pride) to accompany Neil Shicoff, Michele Crider and Juan Pons who have been brought in to give the show star appeal and raise the overall quality of the performance.
Women arrived at the Aurora decked in flowing gowns, flashing jewels and patrician smiles trying to forget the heavy downpour by not looking at their accompanying males, some of whom were literally soaking. However, it did not take much time for the audience to forget the hassle of wet feet as patrons were whizzed right away into the plot, so impressively set in context with Novella Tabili’s scenography. In fact, the audience felt compelled to applaud as the curtain opened for the third act. And that was not a round of applause for just the Vatican cupola or for the image of the Archangel Michael. It was a compliment to the whole concept of the set, designed by Novella Tabili, painted by Paul Falzon, constructed by Teddy Mizzi and Anthony Buhagiar, lit by Donald Camilleri, and enhanced by professional photography by Sandro Di Salvatore.
As the music unfolded, with Colin Attard at the helm of the Malta Philharmonic Orchestra, or his 17th opera, the audience met the main protagonists, starting from tenor Shicoff who albeit falling ill, did his best to honour his commitment. He simply reached superior heights with each aria. His “E lucevan le stelle” was noted to be amongst the best he has ever performed, which is much more than what anyone can ask from a tenor who might have, at times considered himself too ill to sing. Soprano Michele Crider proved to be a very convincing Tosca. Expectations from the audience were quite high, considering there were foreign fans of hers who attended purposefully to watch her perform in our theatre. She definitely won the hearts of all those present with her dramatic presence enhanced with compelling acting in key points. Her stage presence and her imposing voice in the final scene were enough to fill a stage, which, save for an angel and a cupola was bare. She cried that Scarpia will answer before God and hurled herself over the edge. Yet the stage was surprisingly still full with her presence bringing the opera to a dramatic, and no-less-than-grand, finale. She surely was a glowing star of the night!
Baritone Juan Pons was the true Scarpia. Credible in his acting, sure and unfaltering in his voice, the Spaniard gave what the audience expected from a man who has been a household name and a constant guest of the most important theatres all over the world, including a remarkable 25 years at the MetOpera of New York. The only difference between the authority of his voice and that of his acting part was that the latter was corrupt and tainted by carnal lust and betrayal. His voice, on the other hand, remained loyal to his reputation and experience. Tosca forcefully and poignantly asserts "E avanti a lui, tremava tutta Roma", "All Rome trembled before him", just as it can be said that before his voice, the entire Aurora trembled with awe and wonder.
The Aurora Opera Chorus, coached by conductor Colin Attard, as well as the supernumeraries (under the direction of Novella Tabili, assisted by Maria Buttigieg) had a lesser role this year, when compared to the past productions of Carmen and Aida. Yet, their input, especially in the Te Deum scene which rounded off the first act was top-notch. True to the age in which it was set, only a hundred years before Puccini wrote it, the Aurora’s interpretation of Tosca was one of the best the theatre has so far put up, and according to opera patrons, one of the best Toscas ever produced, comparable to those in any of the world’s major theatres.
Women arrived at the Aurora decked in flowing gowns, flashing jewels and patrician smiles trying to forget the heavy downpour by not looking at their accompanying males, some of whom were literally soaking. However, it did not take much time for the audience to forget the hassle of wet feet as patrons were whizzed right away into the plot, so impressively set in context with Novella Tabili’s scenography. In fact, the audience felt compelled to applaud as the curtain opened for the third act. And that was not a round of applause for just the Vatican cupola or for the image of the Archangel Michael. It was a compliment to the whole concept of the set, designed by Novella Tabili, painted by Paul Falzon, constructed by Teddy Mizzi and Anthony Buhagiar, lit by Donald Camilleri, and enhanced by professional photography by Sandro Di Salvatore.
As the music unfolded, with Colin Attard at the helm of the Malta Philharmonic Orchestra, or his 17th opera, the audience met the main protagonists, starting from tenor Shicoff who albeit falling ill, did his best to honour his commitment. He simply reached superior heights with each aria. His “E lucevan le stelle” was noted to be amongst the best he has ever performed, which is much more than what anyone can ask from a tenor who might have, at times considered himself too ill to sing. Soprano Michele Crider proved to be a very convincing Tosca. Expectations from the audience were quite high, considering there were foreign fans of hers who attended purposefully to watch her perform in our theatre. She definitely won the hearts of all those present with her dramatic presence enhanced with compelling acting in key points. Her stage presence and her imposing voice in the final scene were enough to fill a stage, which, save for an angel and a cupola was bare. She cried that Scarpia will answer before God and hurled herself over the edge. Yet the stage was surprisingly still full with her presence bringing the opera to a dramatic, and no-less-than-grand, finale. She surely was a glowing star of the night!
Baritone Juan Pons was the true Scarpia. Credible in his acting, sure and unfaltering in his voice, the Spaniard gave what the audience expected from a man who has been a household name and a constant guest of the most important theatres all over the world, including a remarkable 25 years at the MetOpera of New York. The only difference between the authority of his voice and that of his acting part was that the latter was corrupt and tainted by carnal lust and betrayal. His voice, on the other hand, remained loyal to his reputation and experience. Tosca forcefully and poignantly asserts "E avanti a lui, tremava tutta Roma", "All Rome trembled before him", just as it can be said that before his voice, the entire Aurora trembled with awe and wonder.
The Aurora Opera Chorus, coached by conductor Colin Attard, as well as the supernumeraries (under the direction of Novella Tabili, assisted by Maria Buttigieg) had a lesser role this year, when compared to the past productions of Carmen and Aida. Yet, their input, especially in the Te Deum scene which rounded off the first act was top-notch. True to the age in which it was set, only a hundred years before Puccini wrote it, the Aurora’s interpretation of Tosca was one of the best the theatre has so far put up, and according to opera patrons, one of the best Toscas ever produced, comparable to those in any of the world’s major theatres.
Saturday, 15 October 2011
White Chateauneuf-du-Pape anyone?
The big red brother came soon after which smelled of toffee apples, which are one of my favourite foods, and given a little time, was lovely and heavy. Served with a duo of lamb, it spelled the end of Summer for me, and about time too.
Even better was the Chateau de Triniac 2007, which was perfect just poured and with a selection of cheeses which were devoured with a second glass. I could have had a third but dessert were on the way..... a trio of vanilla crepe, cinnamon meringues and a mini chocolate coulant were offered with Cazes Grenat, Ambre and a Tuile. I whipped of the neck tag of the Ambre - so much more discreet than taking out my phone to take a picture of the label hoping I will come across it again! This time at least I know where to go to get it.
Piano players do it with their eyes closed
More handsome in real life than depicted by his publicity materials, Roberto Cominati, thrilled a crowd at the Manoel Theatre on Tuesday evening with his recital of Schumann’s Op 9, Giovanni Sgambati’s piano transcription of the Dance of the Blessed Spirits from Orfeo ed Euridice and Liszt’s transcription of the Sarabande and Chaconne from Almira and climaxed with Moszkowski’s Chanson Bohème from Bizet’s Carmen.
It was as if he were possessed by the music, his whole body immersed in each piece. This was obviously rehearsed but not effortless, you could see his emotion, feel his passion. I closed my eyes to listen, he closed his eyes to play.
Wednesday, 12 October 2011
Gadget takes me to dinner
When in Leicester, as I was last week, food choices are quite wide as long as they include curry. Lunch and supper were definitely curry and I swear the scrambled eggs and bacon at breakfast time smelt of curry.
Not so the evening meal. After a long day at a conference with my work colleague in a room full of people you would not want to spend New Year's Eve with, out came the gadget of choice: iPad and the Michelin app.
A search for the closest restaurant by stars lead us to a choice of 3, one of which was full, the other had an incorrect number and the third sounded promising, if for no other reason that the village in which it was situated had the quaint name of Woodhouse Eaves. It conjured up thoughts of a wood fire on what was a stormy night of torrential rain. Google Earth confirmed it was in a side street of a tiny village in the middle of the countryside.
The Woodhouse in Woodhouse Eaves was a cosy, small restaurant with a décor a bit too far to the modern side for my liking but with what can only be described as a compact but very interesting menu. I could easily have chosen 3 or 4 of each of the items offered at each course. The service was impeccable yet on the right side of friendly.
A cauliflower and fennel soup was served as an amuse bouche. A bit salty but palatable. I had 3 small but delicious scallops served on a bed of watermelon for starters followed by a very tasty pork belly. My colleague had rabbit for starters followed by duck A pre-dessert sorbet was served followed by Apple Crumble for him and cheese for me (no I did not go for Leicestershire). Coffees, petit fours, half a bottle of Fleurie Domaine Gry-Sabon (OK, I was driving) and a bottle of water.
This was effectively a 5 course meal for two people with excellent food, reasonable wine (half a bottle) and fine service with a bill of £90. Not bad for a night out.
Sunday, 9 October 2011
L'Ghanja tal Cinju - Manoel Theatre
What a fantastic performance!. I am not a great follower of Maltese theatre but decided that this year I should spread my net further and go and see allot more theatre than I usually do. So I went to see the first Maltese play on at the Manoel Theatre and was very glad that I did.
I did not know what Cinju meant and found out that it was a Swan. (Socrates Swan Song) The play was in two acts , written by Joe Friggieri and won First Prize in the Francis Ebejer National Play writing competition. It is all about Socrates ' Trial and Death in 399 B.C. Sounds heavy but time just flew!.
The show was directed by Albert Marshall,choreographed by Mavin Khoo and a whole lot of good actors, many friends of mine which all did an outstanding job!. Scenery , sound effects the lot were fantastic...
I was at the same party as Gaddaffi when.....
Elvis, in Jailhouse Rock outfit stopped to ask to have his photo taken with me. It was last night at Boogie Nights with Owen B and his crowd in charge of the event.
Apart from John Travolta and The Jackson 5, I didn't recognise anyone else that wasn't in our gang. Whoever the people were that went, are fun. All apart from about 6 dressed (and they looked stupid.....) I did have afro envy a few times though, there were some shoulder width ones about. Mine did fly a few times - purely through my speedy dance moves. Teach me for showing off! My D.I.S.C.O routine hasn't altered since the track was released and my tasseled flares and I gave the rest of the songs a good go. I left when the 70's rock came on, the wig just wouldn't have been able to take it.
My feet ache from dancing, my voice is hoarse from singing and my cheeks are sore from smiling. I had a blast and I can't wait for the next Boogie Nights.
Thursday, 6 October 2011
Concerto Per L'unita D' Italia
Opening night at the Manoel Theatre on Friday the 30th September 2011 was a most enjoyable evening and a fantastic concert. The Malta Philharmonic Orchestra conducted by Brian Schembri and featuring soprano Lucia Aliberti ware all outstanding and the audience wanted more and more.
On a hot humid evening where the temperature was in the late 20s and the entire audience except for me was wearing a jacket, was I wise or was I inappropriately dressed ? The answer is I was feeling very out of place as although I like to be different deep down I like to conform. I had not seen an audience at the theatre so well dressed for a long time !. Is this the new trend or are music lovers better dressed than drama lovers ?. Well I will check it out as I am off to the theatre this Saturday to see a Maltese play called L- Ghanja tac-cinju.
On a hot humid evening where the temperature was in the late 20s and the entire audience except for me was wearing a jacket, was I wise or was I inappropriately dressed ? The answer is I was feeling very out of place as although I like to be different deep down I like to conform. I had not seen an audience at the theatre so well dressed for a long time !. Is this the new trend or are music lovers better dressed than drama lovers ?. Well I will check it out as I am off to the theatre this Saturday to see a Maltese play called L- Ghanja tac-cinju.
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