Live Performance Review: First Love produced by Gate Theatre Dublin (Edinburgh International Festival (E.I.F.) 2013), Saturday 31.08.2012 19:00 Royal Lyceum Theatre, Edinburgh

This, as with Eh Joe on Tuesday past, is a performance of a Samuel Beckett work. Also as with Tuesday's, this was a single-hander, this time for the actor Peter Egan. To my mind this was a portrayal of a bitter and isolated old man whose intelligence fuels his cynicism. 

The writing was complex and stuffed with ideas and paradoxes. The end conclusion/denouncement is that people make a choice to either expose themselves to love and loving or they don't. It appears as though the character has realised that he has shunned opportunities for this richness in his life. I had greatly enjoyed this performance, as I had the one on Tuesday and to think I had been very wary of Beckett expecting it to be very dour and humorless. Both performances were in ways simple, though also profound.

Rating: 10/10.    

Live Performance Review: Estonian Philharmonic Chamber Choir (Edinburgh International Festival (E.I.F.) 2013), Thursday 29.08.2012 20:00 The Usher Hall, Edinburgh 

I had first become familiar with the work of this choir about three or four years ago. I had been particularly taken with some acapella singing towards the end of the Shane Meadow's film 'Dead Man's Shoes' (2004). The music did not feature of the soundtrack album and was not listed in the credits at the end of the film. I landed up staying up all night (on a school night) hunting it down on the internet. This resulted, by the end of the night, in my knowing that the hauntingly beautiful music was recorded by the Estonian Philharmonic Chamber Choir, and it was to arrive within days on CD. When I noted them in the brochure, I had no hesitation in knowing I wanted to see them perform.   

The entire performance was acapella. The choir consisted of 27 singers, 14 female & 13 male, and the conductor. 

This was an incredible performance. Phenomenal, in the literal sense. If I had to choose a section that was better than any other, then I would have to say the 'Rachmaninov All-Night Vigil', which was meant to conclude the performance was particularly of note. We were then treated to a lovely bonus encore piece of 'an old Estonian song'. Remarkable and staggeringly sublime, one of the finest performances I have ever had the pleasure to experience. I cannot praise highly enough. Perfect!

This I cannot rate. It was too great for such categorising.    

Live Performance Review: Ensemble musikFabrik performing A Tribute to Frank Zappa (Edinburgh International Festival (E.I.F.) 2013), Wednesday 28.08.2012 20:00 The Usher Hall, Edinburgh 

This began with a piece that had distinctly clashing elements. The second piece was disquieting and quite urgent. 

I felt the music of the third piece was sparse and somber, though also sadly depressing and dragging. It appeared to go on an age and I was aware of thinking when 'will this piece end, it is awful'. The very essence of tedium. And on it went...        

This was a very interesting performance and the musicians are clearly very able, though I did not enjoy it. It struck me as being akin to being present at a recording of incidental music for an abstract film. I also suspect that the sounds would work very well accompanying some films. 

I was also aware that when closing eyes, the sounds were more tolerable, when watching the performers I could not help but find it to be pompous. This was compounded by having a gentleman sat next to me who in every piece was doing a condescending smug chuckle to himself where he would make a single 'huh' sound without opening his mouth and shrug his shoulders at the same time. I could not see what he was finding humorous, and it did not appear as if others were 'getting it' either. His laugh confirmed he also knew that the masses would not be .getting it'. Clearly a proponent of pomposity. 

Rating: 02/10.  

Live Performance Review: Eh Joe produced by Gate Theatre Dublin (Edinburgh International Festival (E.I.F.) 2013), Tuesday 27.08.2012 21:00 Royal Lyceum Theatre, Edinburgh

This is a performance of a work by Samuel Beckett. I had got my ticket when I learnt that the actor Michael Gambon was going to be part of the performance. 

If I had paid closer attention to the information in the brochure, I would have noted that the work's director is Atom Egoyan, and that would have sold it to me straight away. He had directed one of my favorite films, 'Exotica' (1994). I had only noted this on the day of the performance and this caused me greater sense of anticipation. 

I had noted that the play was short though did not investigate further prior to the performance. Gambon was the only actor on stage. He played the part of an older man retiring to bed, to then have trouble sleeping due to being disturbed by a (female) voice that appeared to be internal. The focus appeared to be upon the man's troubled reflections on his life with shades of guilt, regret and shame. Gambon's performance was wordless with his unease conveyed purely by his facial and body language/expressions. 

The performance was riveting, engrossing and in my my view faultless. What Gambon was able to convey without speech was quite remarkable. I have not yet been to many theatre productions as is a medium I have felt cautious of, though even to my ignorant brain I could tell this was a production of the highest quality. 

Rating: 10/10.  

Live Performance Review: L.A. Dance Project (Edinburgh International Festival (E.I.F.) 2013), Monday 26.08.2012 19:30 The Edinburgh Playhouse, Edinburgh 

This was interested in as soon as I noted that the company was founded by Benjamin Millepied, the choreographer and a star of the Darren Aronofsky film Black Swan (2010). I also am quite often lead to consider dance performances by the pictures used to promote them and the main image for this company in the Edinburgh International Festival's Brochure I felt to be quite stunning.

There were three pieces.

The first 'Quintett', I thought used great light and shade (as did the second piece). The music was pleasant. The dancers movements I could not fault except for one very short section where I felt the movements did not appear quite as sharp as they could. Though this is quibbling as the vast amount of the time the dancers movements appeared sympathetic to one another as well as appearing very fluid and displaying a high degree of synchronicity. This piece to my eyes appeared to be about romantic love, courtship and jealousy.

The second 'Winterbranch' began to silence for the first section and then was set to discordant sounds (not noise, as some have said). The sound for this piece, to me, was strongly reminiscent of the soundscape that accompanies the film Eraserhead (1977). Eraserhead is a film I am very fond of and find to be unintentionally very funny. Though I suspect that my familiarity with the likes of that film means that I am likely to be accepting of the sounds, where others clearly were not (there was ignorant booing at the end of the piece). I had no issue with it.

There were industrial elements, such as a device that went across the stage and the performers being presented to appear very small on the stage, which to me was suggestive of 'cogs'. It collectively was suggestive of industrial dystopia, which again chimes with the film.

The performance its self caused me to think of another David Lynch film, Mullholland Drive (2001).

There was a darkness in tone to this piece that appealed. I feel it is a very brave performance, and brave is not a word I am usually okay with using in regard to a performance, as is a term I feel to have become used too liberally. The very monotone minimal and stark lighting, resulting in large areas of the stage being minimally visible I can imagine riling some, though I though this all added to the overall 'vibe' of the piece. I would not go so far as to say it was as enjoyable as the first or third performances, though I did feel it was very good and I liked it.

The third 'Moving Parts', was set to a loop of this lovely older spoken male voice, accompanied by sympathetic music. The lighting was very straightforward and not really part of what was going on except to ensure the performers were well illuminated. This piece was choreographed by Millepied himself, and was an enchanting display of hypnotic fluidity. All elements appeared well considered and complementary. As a whole the piece appeared to me to be an expression of the experience of being consumed by love. By how the piece ends I got the impression of the love being everlasting. Quite beautiful. (The photo in the brochure is a shot of on of the performers involved in presenting this piece.)

Collectively I found the three pieces to be highly impressive and enjoyable, with a nice change in tone in the middle to shake things up. I have no hesitation in the praise I give.

Rating: 10/10.                   

Live Performance Review: Scottish Chamber Orchestra performing Beethoven Prometheus (Edinburgh International Festival (E.I.F.) 2013), Sunday 25.08.2012 19:30 The Usher Hall, Edinburgh 

Beethoven's Creatures of Prometheus was preceded before the break by Hayden's Symphony No. 104 'London'. Both pieces sounded to be very well performed and I greatly enjoyed.

I was surprised to see a lot of empty seats to start with and even for for the Beethoven. I also did not understand why the audiences lights were dimmed in the first half though not the second. I also had a sense of there being something lacking even though the music sounded great, and I'm not sure what that may have been.

Rating: 08/10.   

Live Performance Review: Oper Frankfurt performing Dido and Aeneas & Bluebeard's Castle (Edinburgh International Festival (E.I.F.) 2013), Saturday 24.08.2012 19:15, The Festival Theatre, Edinburgh 

Firstly to explain my attendance. I am familiar with a version of Dido's Lament as performed by Jeff Buckley, and find the piece moving enough that I was wishing to go and see the whole thing performed live. Bluebeard's Castle was a bonus.

Now to cover in reverse order to how they were performed.

Bartok's Bluebeard's Castle I found musically very interesting and the singing was fine. The staging was overly minimal, and the story I found to be suggesting of polygamy and misogynistic. I was at least able to follow the story this time as the 'supertitles' appeared to be handled well.

Purcell's Dido and Aeneas I was extremely impressed by, and am now about to gush. The costumes were gorgeous, the staging simple though smart and the use of lighting was great. The orchestra sounded grand and the singing was fantastic. The build up towards and the ending (including Dido's Lament) I found to be very moving resulting in deep breathing and watery eyes. Overall I found this to be a scrumptiously ravishing performance. If only I could be assured that all opera would affect in this way.

If it were just Dido and Aeneas by itself, I would have said that it was so good that it was beyond giving a rating to (and would have been the fourth performance of this caliber). As it is...

Rating: 10/10.    

Live Performance Review: Bang On A Can All-Stars performing Field Recordings (Edinburgh International Festival (E.I.F.) 2013), Friday 23.08.2012 20:00 The Usher Hall, Edinburgh 

Not a can in sight...

Part of what drew me to this was that they were to be performing a world-premiere and E.I.F. commissioned piece by Laurie Anderson. This was not performed and the informing of this only happened upon arriving at the venue. Naughty... 

I have never done this before, though I took copious notes during the performance. The following is based on these notes which I am trying to decipher as best as I can - they were written in the dark. Some notes were just single words that sprang to mind and some of what is bellow is just me transferring these words as feel they capture my response quite well:

Track One: The sampling reminded me of two albums: Beyond Skin (1999) by Nitin Sawhney & Readymades (2002) by Chumbawamba. 

Track Two: The sampling reminded me of Nitin Sawhney's Prophesy (2001) album. Sadly the spoken word element of the sampling was drowned out by the music, so you could not make out what was being said and it became noise. There was also synchronizing of the sampling and live female vocal at the end of the piece which I did not feel to work.    

Track Three: This had edited together visuals along with the sounds. Many were film clips, so I found myself focusing on the visuals trying to recognise as many as I could, and I knew many. Being a film buff, I suspect this was an issue for me, though may not have been for others. I was aware of growing sense of disconnect between the music and the visuals. 

Track Four: I felt got better as it progressed. It sounded climactic and an uproarious rallying-cry. 

Track Five: Sedative, Calm, Transient, Auto-pilot, Hypnosis. Sound version of waiting in airport for flight. Then we have flight and this is then followed by senseless, buzzingly tiresome meandering. I feel with this piece it would have made sense to have finished it with takeoff. Up to that point this was a decent piece. 

Track Six: I have noted '???' + Boring.

Track Seven: 'Sounds of Somber Destruction'. Good though not in a Good Way. 

Track Eight: 'Turgid'. 

Track Nine: This sounded like someone having a mental breakdown. Literally painful to listen to, I was rubbing my forehead during this piece. It reminded of the work of Daniel Johnston (who I like) & the album 'Smile From The Streets You Hold' (1997), the second solo album by ex-red hot chili pepper John Frusciante. Although John is one of my musical heroes, this album I have only ever listened to once, it was made and released (for money to buy drugs) at his lowest ebb and is very difficult to sit through. A disturbed work. 

Track Ten: Sounded like a great improvement to begin with. Reminded of Circus/Fairground sounds & felt Zappaesque. Sadly this came to sound like a disjointed mess. It sounded as though the sounds were just being mashed together, and the separate sounds themselves were not convincing.        

Track Eleven: Sampled chanting and spoken word. The spoken word appeared to have purpose, though again it was drowned out by the other sampling and sounds, so was hard to be sure.  

Track Twelve: This appeared to visually (when paired with the sounds) be an attack on conventional senses of of beauty, which should be right up my street. This used somewhat dated footage of something called 'Real Beauty Turns' paired with very discordant and needlessly aggressive sounds. The whole thing appeared to attempt irony, though to me was posturing and posing with nothing to say.   

This was interesting, though I would not say I enjoyed it, I felt though who lasted to the end should have been given a badge or certificate to say that managed to get through it. It took me longer to write this up than the performance lasted. This is not music you (or anyone) could listen to for enjoyment or any sense of enrichment. Which begs the question, why bother making this din. For those making this, they must have enough resources from elsewhere to be able to spend there time creating this stuff. I don't see also how the musicians involved could enjoy producing this as it is not pleasant in anyway, I can only they assume they approach this as a technical exercise. This felt to be the very worst kind of pretentious.    

I would suggest the musicians familiarise themselves with the album PBX Funicular Intaglio Zone (2012) by John Frusciante. There is much they could learn in terms of sampling and melding discordant sounds in a way that audibly is interesting, surprising, rewarding and when considered as a whole is cohesive.     

There was a girl in front of me who could not have been older than 2 or 3, who was very well behaved and quiet. I felt sorry for her being taken to this. I have considered whether to say this as could easily be seen as overly dramatic, though I felt it was abusive for her to have have been taken to this when there is no way this could have been felt to have been accessible for her. 

There were walk outs after pretty much every piece and these appeared to increase as the performance went on. I also heard people outside after saying they were having to stifle laughter.   

This may surprise, though most of what I state above, I feel to be constructive. Despite most of the performance feeling like a challenge at no point did I consider walking out, though I also was not confused by those who were. 

Rating: 02/10.  

Live Performance Review: Pierre-Laurent Aimard (Edinburgh International Festival (E.I.F.) 2013), Friday 23.08.2012 11:00, The Queen's Hall, Edinburgh 

This was a performance which continually went back and forth between piano works by Debusssy & Ligeti. I know very little to say about this other than it was extremely good and a lovely start to the day. All three of this chaps performances were a complete punt, though all three were exceptionally good. Some feat to produce three very satisfying performances in a row, he is clearly a master of his craft. He is one I will keep an eye out for in the future. The gushing ends here...

Rating: 10/10.  

Live Performance Review: Pierre-Laurent Aimard/Marco Stroppa/Samuel Favre (Edinburgh International Festival (E.I.F.) 2013), Wednesday 21.08.2012 22:00 Main Hall, The HUB, Edinburgh 

This performance consisted of two pieces with an interval between. The first piece was Pierre by himself at the piano. The second piece involved Pierre along with his collaborators on percussion and electronics, to perform work of Stockhausen.

The first piece was of a similar nature to the second in terms of structure and timing appearing 'leftfield'. It was perfectly enjoyable, though the 'daddy' of the performance was the Stockhausen.

I feel I have considerable difficulty in trying to convey the nature of Stockhausen's music, though I know I enjoy the work of his that I am aware of. The piece was truly beyond description, except to say that there were elements that felt subtle and others brash, some elements felt funny and others somber, I could go on...I felt the work was able to elicit a myriad of emotional responses at various points in the piece. I was also aware that I had a 'Cheshire Cat' grin throughout most of the piece.

I found the piece both in terms of performance and structure to be fascinating. After the performance was done I felt a form of elation, and was aware of thinking that I was extremely happy to have experienced this performance.

Pierre performs by himself on Friday morning at the Queen's Hall. I feel a modicum of excitement.

Rating: 10/10.   

Live Performance Review: The Tragedy of Coriolanus Performed by Beijing People's Art Theatre (Edinburgh International Festival (E.I.F.) 2013), Tuesday 20.08.2012 19:30 The Edinburgh Playhouse, Edinburgh 

It is very unusual for me to willingly go to see a performance of Bill Shakespeare's work. What intrigued me was that the musical accompanyment is provided by two of China's leading heavy metal bands, 'Miserable Faith' & 'Suffocated'. The prospect of Bill being performed alongside sizable riffage was too tempting.

Sadly said riffage was not as prominent as one had hoped. Given the nature of how this aspect of the performance was mentioned the media/advertising blurb, I was expecting a harder sound and for it to feature more in the performance.

The english supertitles were on both sides of the stage, at decent height, though the positioning was such that it was not easy to glace. To try to keep up with the text I was having to take my attention away from what was happening on stage. Also the tiles were not well coordinated with what was happening on stage. There were times when quite a bit of dialogue had been said by an actor before any text appeared on screen, then it would move onto the next screen too quickly. Early on the titles appeared to be repeating themselves. The disjointedness between text and what was happening on stage was also an issue in the performance of Fidelio. This element of supertitles needs to be sorted, as at present it is compromising the ability to follow a performance. It was just as well for this performance, that I am familiar with the story of Coriolanus.

The costumes and set were impressive as was the scale of the production. Sadly I find it difficult to identify other elements that I found impressive about it, and impressive costumes and scale in my mind is not enough for the performance to be appear impressive. In the second half I was aware of finding myself to be feeling bored, which is fairly damming.

Rating: 03/10.          

Live Performance Review: Scottish Ballet performing New Voices (Edinburgh International Festival (E.I.F.) 2013), Monday 19.08.2012 17:00 On Stage Studio, The Festival Theatre, Edinburgh 

For the uninitiated (like me before I went to this performance) the 'On Stage Studio' involves the stage curtain being closed and the audience sitting at what is usually the back of the stage.

This performance consisted of five relatively short pieces.
The first was a very slick-synchronised performance by four young ballerinas, I found this piece very enjoyable.

The second featured two male and two female ballerinas, by the end of the piece all but one of the dancers was stood in their underwear, for which I could see no rationale.
The third piece featured two male and one female and the fourth piece was two male and two female. Both of these I enjoyed greatly. I found the third to have a staccato tempo and the forth's tempo to be quite ferocious, both had an urgency about them.

The fifth required the audience to move from where we were and move to the first floor foyer. I don't think the site-specific nature of this added anything, the performance could have easily been managed on the stage with a couple of simple props. This piece appeared cobbled together and rushed. I feel this was reflected in the music. The movement from one musical piece to another was quite abrupt, and this was the case repeatedly. The first time it could be seen to serve the purpose of jolting the audience out of complacency, though it appeared to occur so often that it just became jarring.
To paraphrase Meatloaf, three out of five ain't bad.

Rating: 06/10.

Live Performance Review: Pierre-Laurent Aimard/Marco Stroppa (Edinburgh International Festival (E.I.F.) 2013), Sunday 18.08.2012 22:00 Main Hall, The HUB, Edinburgh 

This was a performance that married piano with electronics. Some sections had the two elements separate and some appeared to have them sympathetically combined. 

The opening section to my ears sounded like the jagged piano heard  in Stanley Kubrick's 'Eyes Wide Shut' (1999), which I greatly enjoyed. It sounded as though notes were being allowed to fully finish before the next note was progressed to. The electronic contribution reminded me of the music from Goblin that forms the soundtrack to 'Susperia' (1977). I felt the electronic and piano elements were both very enjoyable, and their melding I felt to have been handled with a deftness of touch. This felt like no hokey bringing together of disparate sounds without care (as can sadly often be the case). This felt unfamiliar and invigorating. 

There is a further performance of these musicians and a further percussionist joining them, at the same time, same venue, on Wednesday eve. I am now greatly anticipating this. 

Rating: 10/10.     

Live Performance Review: Scottish Ballet performing The Rite Of Spring (2011) (Edinburgh International Festival (E.I.F.) 2013), Sunday 18.08.2012 20:00 The Festival Theatre, Edinburgh 

This was another complete punt, though was one that paid off. The set was stark and there was only three performers. 

The narrative I felt was relatively straight-forward to follow; this is the first dance performance where I feel I actually understood what was being conveyed. The story appeared to simply convey the difficult subject of adolescence, sexual awakening & confusion/uncertainty and how in the process of establishing our (sexual) sense of self, we can be very cruel to others. 

The score by Igor Stravinsky was bold with playful elements.The dancers attire was simple yet elegant. 

It would have been nice if this were paired up with other work, the performance overall felt too short. 

Rating: 08/10.   

Live Performance Review: Meredith Monk & Vocal Ensemble performing On Behalf Of Nature (Edinburgh International Festival (E.I.F.) 2013), Sunday 18.08.2012 14:30 Royal Lyceum Theatre, Edinburgh, preceded by Meredith Monk In Conversation (Edinburgh International Festival (E.I.F.) 2013), Thursday 15.08.2013 17:00, Main Hall, The HUB, Edinburgh

I went to this on recommendation. It was a complete punt, I knew nothing of this person's work beforehand, the person who made the recommendation thought I would find this interesting.

This performer and her collaborators relay upon a form of singing that does not use words, just sounds. This in itself should not be a problem, though I felt it made it very difficult to understand how the performance related to nature and could have just as easily have been said to relate to cake.

The costumes were made by recycling the performers own clothes and therefore can suggest environmental consideration/protectiveness. Though again if you were not aware that the costumes had this source, then it added nothing.

I don't wish to be unnecessarily rude, and won't be. I don't begin to 'get it'. Easiest to say 'not for me'. Though I will say that to my mind, the thought I was repeatedly having was that it appeared a case of 'emperor's new clothes'.

I don't feel it is possible or appropriate for me to rate this performance.

Live Performance Review: Paul Foot: Words (Edinburgh Festival Fringe), Saturday 17.08.2012 19:30, Belly Dancer, Underbelly Cowgate, (Unreserved Seating), Edinburgh 

Willfully abstract & absurd. One of the funniest performances I've ever seen. I laughed so much I am sore and tired. Get the sense that the show would not be much different if returned to see him in coming years. Though glad to have seen, and if you have not seen and don't need conventional structures to your comedy, I could not recommend highly enough. Fabby!

Rating: 10/10.  

Live Performance Review: Scottish Ballet performing Sea of Troubles & Silhouette (Edinburgh International Festival (E.I.F.) 2013), Friday 16.08.2012 20:00 The Festival Theatre, Edinburgh 

This was a replacement performance, and was not the show I'd originally booked for.

I'll not beat around the bush. I only stayed for 'Sea of Troubles' and was so disappointed that I did not stick around for 'Silhouette'. The performance felt like a disjointed under-rehearsed rehearsal. Movements felt unsure and cut-short. There felt to be a lack of focus, including uninteresting repetition which appeared to be to fill time as opposed to adding anything of substance.

If I am at a dance performance I usually find the movement interesting. I know this is at least in part due to unfamiliarity with the art form. It is very odd for me to feel bored and annoyed at a dance performance. That this was achieved was an achievement of sorts.

The worst dance performance I can recall seeing.

Rating: 00/10.    

Live Performance Review: Ardal O'Hanlon: Live (Edinburgh Festival Fringe), Thursday 15.08.2012 19:00, The Music Hall, Assembly Rooms (Unreserved Seating), Edinburgh 

There is one reason why I got a ticket for this: Father Dougal McGuire. In my mind always the best element to the mighty Father Ted. I was unsure what Dougal's stand up would be like, though was happy to take a punt on it. 

Dougal did a roaring trade in befuddlement and a likable charm with ease. It was like having continual rolling waves of gentle chucklesomeness. Very difficult to convey what he discussed as that is not what sustained him. Just like that other Irish comic, Mr. Carson, it was the way he telt them. 

A very warm and glowing time. I'm very glad I took the opportunity to see Dougal perform. Dougal for Pope!

Rating: 08/10.  

Live Performance Review: Mark Thomas: 100 Acts Of Minor Dissent (Edinburgh Festival Fringe), Wednesday 14.08.2012 19:30, Stand III, The Stand Comedy Club (Unreserved Seating), Edinburgh 

This was a return to politically based comedy that Thomas is known for after taking sixteen months out from the field due to family health, which produced the theatre show Bravo Figaro!. 

This was not up there with the best of Thomas, though even his seconds is better than most. In terms of how satisfying I found the show, I would say that it is equitable to 'The People's Manifesto', which coincidentally I saw him perform in the same room. Some of Thomas's shows, where he focuses upon a single subject I tend to prefer, though even though this show was slightly scatter-shot it was still very interesting and chuckle-some. Always a joy...

Rating: 08/10.  

Live Performance Review: The Poet Speaks: Homage to Allen Ginsberg Performed by Patti Smith & Philip Glass (Edinburgh International Festival (E.I.F.) 2013), Tuesday 13.08.2012 20:30 The Edinburgh Playhouse, Edinburgh 

The prospect of this performance was too intriguing to miss. To have two performers of the stature of Smith ad Glass focused on the works of Ginsberg was quite a prospect. It was only once the performance began that I realised I had never been to a poetry recital before.

The performance began with Glass accompanying Smith in reciting some of Ginsberg's work. There was then sections of Smith (with the accompanyment of some guy on acoustic guitar) and Glass doing solo performances. Smith did both her own work and Ginsberg's. Glass's section, if my understanding is correct, was three pieces performed as one flowing into another, that had initially been composed in collaboration with Ginsberg to accompany his poetry. Then towards the end Glass and Smith paired up again.

The work had an intensity to it that I liked. The words and their flow conveyed a power that confirmed the adage that poetry is a medium that should be heard. There is something about the flow (or at times lack of) to Ginsberg's work that I think requires a performer of some skill to convey. Phillip Glass's solo section I found very rich, subtle in areas and brooding in others.

I am in no way sure as to what I expected. I am aware that I had some in trepidation due to this being quite an alien form to me, though subsequently feel as though not much more could have been done for me to have found it more inviting. Patti's voice I found to have an assured quality that enabled it to sound calming, rousing and galvanizing.

I enjoyed this performance, more than I had anticipated. This is the most I am aware of having enjoyed poetry. I feel as though this may have gone some way to opening me up to more live poetry recitals in the future. This felt to be a performance of such quality, though also of such novelty for me, that I have a sense I will ponder and mentally return to this one for some time to come.

Rating: 10/10.            

Live Performance Review: Prom 40 (6 Music Prom) (BBC Proms 2013), Monday 12.08.2012 22:15 The Royal Albert Hall, London

At the point of having got my ticket for this, it was only Laura Marling's name attached to the bill. She is one of the two performers I assured myself I would try my damnedest to see perform this year, and at the point of tickets being available for this, it was not clear if she would be touring in any conventional sense. I got my ticket and it was only weeks later that I found out it was a mixed bill, by then national dates for a solo acoustic tour by Laura had been announced. Although I would have preferred a solo show by Laura I did not feel aggrieved, as I still felt that it would be interesting and it's not like it is One Direction she was sharing the bill with.

The point of this prom is an attempt to try to bring together classical and popular elements of music without resulting in a mass or compromised product.

The bill consisted of the London Sinfonietta performing work by themselves and accompanying The Stranglers, Cerys Matthews, Anna Stephany (Mezzo-Soprano) & Laura Marling. The couple of songs by Cerys, including one from the times of Henry V and Blueberry Hill, was very enjoyable. I find that every time I hear Cerys I am reminded how much I enjoy her singing. Due to having got a programme - which I don't often do - I became aware that last year she released an album, Tir, sung in welsh. I like how the welsh language sounds, and just from the samples I can hear on Amazon it sounds very promising.

The pieces that the London Sinfonietta did by themselves were very good. These were Ionisation by Edgard Varese (chosen as it was the first piece of recorded music purchased by Frank Zappa) and Principia by Steve Martland. The first solely though monumentally percussive and the second very funky and sounding as though the ends of musical phrasing has been left off.

The single piece that Anna Stephany did with the London Sinfonietta I was not impressed by. It appeared to be an energy drainer.

The Stranglers did the first song of the concert and the last three. These included 'No More Heroes' & 'Golden Brown'. All of The Stranglers songs were rearranged to be performed along with the London Sinfonietta. To be to the point, I did not enjoy The Stranglers, I did not feel there music was up to the same quality as that being performed by the other musicians.

About half way through the concert was Laura's section. Laura performed the suite that is at the beginning of her peerless new album. The final song of her performance 'Breathe' was accompanied by the London Sinfonietta and was rearranged for this. It was pretty clear that most of the audience were there to see Laura and I was impressed to see her hold a room of that size with such understated ease. I was very impressed and pleased to have seen this performance and am now even more excited by the prospect of her solo acoustic concert in Edinburgh on the 25th of September.

Rating: 08/10.    

Live Performance Review: La Belle et la Bete with live accompanyment from the Philip Glass Ensemble (Edinburgh International Festival (E.I.F.) 2013), Sunday 11.08.2012 20:00 The Edinburgh Playhouse, Edinburgh 

This performance uses the 1946 film by Jean Cocteau of 'La Belle et la Bette', removes the original soundtrack and adds in new music and words sung by four vocalists (2 male & 2 female).

The music, as with a lot of Glass's work, had both monotonous and hypnotic qualities. The music veered from sounding quite beautiful to absurd and irritating. Thankfully the irritating periods did not last long. The work itself did occasionally feel as though it was dragging, which I put down to both the edit of the film combined with passages of sound that sounded intermittently stuck.

On the whole I found the performance enjoyable.

Rating: 08/10.    

2013 1/2 TERM FILM REVIEW - TOP 5 FROM THE FIRST SIX MONTHS (ISH) OF THE YEAR

Prompted by the latest posting on the 'Kermode Uncut' Blog, where you were invited to submit your top 5 of the year so far. Below is my response:

My Top 5 Films of the year so far...

1.) Blancanieves (Spain)
2=.) Stoker
2=.) Frances Ha
3.) Before Midnight
4.) The Stone Roses: Made Of Stone (Documentary)

Just missing out are:
1.) The Sessions
2.) Side By Side (Documentary)
3.) Fuck For Forest (Documentary)
4.) West Of Memphis (Documentary)

ALL OF THESE FILMS I REGARD AS 10/10. 

Live Performance Review: Opera de Lyon performing Fidelio (Edinburgh International Festival (E.I.F.) 2013), Saturday 10.08.2012 19:15 The Festival Theatre, Edinburgh 

When I was thinking of what to try to see in this years international festival, I knew I was keen to widen the net. I knew I was keen to see more music performances though thought I would steer clear of Opera, thinking that would be a step too far at this point. Then in the brochure I spot Dido & Aeneas (still to come) which I knew I wanted to see though was not aware that it is considered an Opera. With Fidelio, it was the picture used to advertise it in the brochure that drew me to it (quite often what I first go on), then the clincher was noticing that the music is by Ludwig Van Beethoven, and I had not noticed it was an Opera until after I had bought my ticket.

I was relieved to find out that both Fidelio and Dido & Aeneas are viewed as fairly restrained Operas, I was not going to be met by a stage cluttered with people all doing differing things.

As with the performance of Alexander Nevsky, I don't feel qualified to review this as really have no knowledge in this area. I know I have been to one Opera previously, though was not there for purposes of seeing the Opera and remember nothing of it.

This performance of Fidelio is interstellar, the rationale for which I am not clear on. This has a knock-on for the staging/costumes/lighting which combine elements of sci-fi, two-tone palate, minimalism and a sense of dystopia. The performers mobilised around the stage on segways which gave a futuristic fluidity to the proceedings. There was also great use of screens and projected images which contributed to senses of control, claustrophobia, discovery and innovation. The use of digital imagery can also suggest both the present and the future.

I know I enjoyed the performance, though find it difficult to say why, beyond the fact that this was not an overly bombastic display and I know that I like what I know of Beethoven. My tackling of the medium of Opera, to overcome my apprehension of it, may have begun earlier than I would have anticipated, though it is of to a good start.

Rating: 09/10.  

Live Performance Review: The Royal Scottish National Orchestra performing Alexander Nevsky (Edinburgh International Festival (E.I.F.) 2013), Friday 09.08.2012 19:30 The Usher Hall, Edinburgh 

This was the opening concert of this years Edinburgh International Festival. I have never been to a performance like this, so feel unsure about doing a review of it due to my lack of knowledge.

The performance was in two parts. The first part was a performance of Piano Concerto No. 3 and the second part was Alexander Nevsky, both by Sergei Prokofiev. The first section featured pianist Daniil Trifonov and the second section featured Mezzo Soprano Yulia Matochkina and the Edinburgh Festival Chorus.

I was very impressed by the Pianist and the Chorus and less impressed by the Mezzo. I was also surprised to hear how short the Mezzo's section was. I know that I very much enjoyed the performance as a whole, though also feel I don't know enough in regard to this realm of performance to do any nit-picking.

Rating: 08/10.

Film Review: Only God Forgives (18), (France/Thailand/U.S.A./Sweden 2013) (Director: Nicolas Winding Refn), Saturday 03.08.2013 15:30, The Cameo Cinema, Screen One, Edinburgh

This is a re-teaming-up of director & star, who had worked together on 'Drive' 2011. I had seen Drive at the cinema when it was released and although found it enjoyable, also found it to be all surface and one of the most empty films I'd seen for some years. I certainly did not see cause for raving as some others did.

Only God Forgives is essentially the same film, though with all elements 'turned-up'. The pacing was so slow that it felt faintly preposterous. The lead actor (Ryan Gosling) appears to say even less and is even more impenetrable. It could be said that the film-makers mistake lack of detail for mystery & intrigue. The soundtrack is impressive and even more throbbing. The lighting even more neon to the point where some entire frames look queasily ill. The violence is extreme to a point of being uncomfortable, I considered walking out and I have a high threshold. The film is both nihilistic and narcissistic.

The film ostensibly concerns revenge, though this is never really fleshed out, and is just a means of having a frame to give a context to the violence, which is the real focus of the work of Refn & Gosling. If you were being generous you could state that the film has elements of culture clash and outsider ignorance of local customs & ways. Or the culture clash could be seen outsider stupidity, which could have been displayed in any culture.

This is a truly vacuous film though at least there is some enjoyable sounds and watchable lighting. I would not waste your time by recommending this for anyone's enjoyment.  

Rating: 02/10.    

Film Review: Like Someone In Love (12A) (France/Japan 2012) (Director: Abbas Kiarostami) (Japanese with English Subtitles) Wednesday 31.07.2013 18:10 The Filmhouse Cinema Screen Two, Edinburgh 

This a film revolving around three central characters, and how the roles they play for one another can be quite separate and yet have unintentional consequences for the other(s) in the triage. The film is a study in the minutia of human communicating and the acting appears very adequate in this regard. I wanted to enjoy the film more than I did, though sadly I just found it to not be that interesting.

Rating: 05/10.

Film Review: Blancanieves (12A) (Spain/France 2012) (Director: Pablo Berger) (Spanish with English Subtitles) Sunday 28.07.2013 20:30 & Saturday 04.01.2014 18:15 - The Filmhouse Cinema Screen One, Edinburgh 

This is a Spanish retelling of the Brothers Grimm fairy tale Snow White, relocated to 1920's Seville. This has ravishing lighting and monochrome photography. The film is a proper 'silent' film with title-cards and traditional 'academy' aspect ratio. The film also has a fantastic flamenco score and an abundance of charm. There are also nice post modern elements, such as who is revealed to be Snow White's prince.

My film of the year, last year, was the quasi-silent 'Tabu' from Portugal. Tabu had more of a sense of depth to it. That is about the only difference I can see in terms of tone & quality. This is an exquisitely attractive film, that I would recommend in the strongest possible terms for it's beauty alone.

Rating: 10/10. 

Film Review: Paradise Trilogy: Love (18) (Austria/Germany/France 2012) (Director: Ulrich Seidl) (German, English and Swahili with English Subtitles) Saturday 27.07.2013 15:15 The Filmhouse Cinema Screen Two, Edinburgh, Faith (18) (Austria/Germany/France 2012) (Director: Ulrich Seidl) (German and Arabic with English Subtitles) Saturday 10.08.2013 15:30 The Filmhouse Cinema Screen Two, Edinburgh, Hope (15) (Austria/Germany/France 2013) (Director: Ulrich Seidl) (German with English Subtitles) Friday 23.08.2013 15:30 The Filmhouse Cinema Screen Two, Edinburgh 

LOVE:
This is the first part of a trilogy, the following two parts are released in coming weeks. I was intrigued by this loosely connected triptych of films, each of which concentrate on a differing notion, following on from Love is Faith & Hope. After getting my tickets for all three films and prior to seeing this first part I had heard reviews where claims were being made about how difficult to watch this particular part was.

Despite the title, this film concerns itself with middle-aged overweight white european women going to Kenya for the purposes of sex tourism. The film's subject matter is handled in a balanced manner and the presentation of the story well paced.

I found the film interesting, though not enjoyable. There were scenes that portrayed the tourists exploiting as well as being exploited. There were some scenes which were intimate and bordering upon graphic in their presentation. I initially found these scenes degrading and without dignity. Though then by sticking with the scenes I found my notions of concepts such as dignity being questioned and their culturally bound nature being highlighted. I had contemplated walking out due to my discomfort, though at the same time my awareness that I had tickets for the other two films is what kept me seated.

This film felt like an ordeal. I would find it very difficult to recommend this to people, even if I knew them to have strong stomachs.

Rating: 08/10.    

FAITH: 
This second part of the trilogy has as its central character the sister of the sex tourist from the first part. The film begins showing the character as her work as what appears to be a radiographer. We then hear she is having a holiday from work though is staying home. We see this person using her holiday time to go to people living locally and harangue them in their own homes for their sinning ways while trying to introduce them to 'the mother of god'. Some of her visitations are more tolerated than others. It is very clear from the start that the central character has a profound devotion to her faith.

The film then 'goes up a notch' when the characters estranged husband, who is of differing though equally intense faith, returns having been away for a couple of years. It then becomes apparent that the central characters strength of faith and practice is a relatively recent development and although the reasoning for this development is never made explicit, it appears to have been a response to her husband's accident and subsequent absence.

The film brings in ideas about icon-based love-replacements, the blindness of fanatical religion and people's desperate need to have some sense connection and understanding, and that within times of crisis the expression of this can be manifest through very confused and absurd means.

This film had moments throughout that were very funny. The central character, despite her dogmatic ways, was portrayed with an endearing warmth. This whole film was a joy to watch and there were no moments of discomfort like with the first film.

Rating: 09/10.

HOPE: 
The final part of the trilogy centres on the daughter of the sex tourist, who we were introduced to at the start of the first film when she was being dropped of at her aunt's before her mother went on holiday.

Her aunt drops her of at a Fat Camp, which becomes the setting for the rest of the film. The daughter, Melanie, is a normal chubby 13 year old. There are very endearing scenes of the children in their shared rooms exchanging experiences, dancing and playing games such as 'spin the bottle', essentially being kids in a very normal way.

The film concerns itself with Melanie's fixation with the slightly creepy doctor at the camp, who she makes a point of trying to see each day. The fixation appears romantic/lustful. The doctor also appears inappropriately friendly towards her and gives cause for her fixation to develop.

There are several scenes which border upon exploitative before becoming either restrained/protectively sheltering from the adults, or highlighting the sweetness and naivety of innocent exploratory youth.

I was left intrigued by the title: was it titled 'Hope' due to the innocent and youthful nature of the central character who therefore had the potential to not become like her mother or aunt (both exploiters in their own ways). Or was it due to the fact that potentially exploitative situations did not become such due to people finding restraint or protective persons intervening. Or was it all of this.

I found this film on the whole enjoyable. Though as some scenes felt as though they were moving towards exploitation of a child, I was aware of a building anxiety followed by relief. This does not mean it was any less rewarding a film to watch, more that the characters were well enough portrayed that as a viewer you could not help but care for the girl.

Rating: 09/10.

Note on trilogy as a whole: the second and third films, in retrospect make me see the central character of the first film as even less likable. I have a sense that the character of the second film probably had very little support from her sister throughout the times of her marriage deterioration. Melanie, I suspect did not have a particularly supportive or nurturing relationship with/from her mother, and this may be a reason (along with just normal childhood) for over (or comfort) eating. The trilogy as a whole feels to have been very well considered, structured, and performed and as a whole gives the viewer lots to consider.

Rating (FOR THE TRILOGY AS A WHOLE): 10/10