La Princesse Jaune

"There is nothing more difficult than talking about music." - Camille Saint-Saëns

And so to the opera. Taking Camille at his word I won't try to describe the music of his opera 'The Yellow Princess' - although I liked it - but I must say something about the story. When I arrived the young lady on the door confided to me as she took my ticket that "it's very odd". She did not lie.

In one sense it's a straightforward plot: a Dutch girl named Lena is in love with a Dutch boy named Kornelis; Kornelis for his part loves a picture of a fictional Japanese princess named Ming, as you do. Lena realises that the object of her affections is a bit of a dick and stomps off in disgust. Kornelis decides the only thing for it is to take some mind-altering drugs, resulting in a hallucinogenic trip. Lena reappears, at which point he declares his love for her. She's not stupid and after pointing out that, being off with the fairies, he is confusing her with the imaginary Ming she stomps off for a second time. He sings a lot of nonsense including some stuff about a gong (probably not the French prog rock band, although in many ways it would be fitting if it were), and then threatens to kill himself while reflectively stroking his hipster beard (*). At this point the audience are all nodding in agreement that this would definitely be for the best, when blow me but Lena reappears and proves that she is actually stupid after all by saying she'll have him despite everything and they walk off hand in hand. Operas usually end badly for the soprano, and I'd say this one doesn't buck the trend.

The music was nice though.



(*) It's possible that the beard is just in this production and didn't form part of the composer's vision.

Aristaeus, c'est moi

And so to the opera. I have been for a bit of bouffe, in the form of an amateur production of Offenbach's 'Orphée aux enfers' by the Leeds Gilbert and Sullivan Society. There are many musical excerpts from opera that have entered the popular consciousness: Nessun Dorma from 'Turandot', the Toreador Song from Carmen, Figaro's aria from 'The Barber of Seville' and many more. But I would wager that this operetta contains the best known; a piece of music that everyone could hum (after a fashion), name (wrongly) and do the dance (badly). These, on the other hand, dance it well:

This production was set in two competing underwear companies, a conceit which worked very well indeed. I especially liked the idea that the firm representing Olympus and the living world only produced grey clothes while those of the underworld were colourful in the extreme; Pluto's helpers (Pants People) were dressed as a sort of Victorian Steampunk meets Teletubbies mashup. As Nietzsche put it "In heaven, all the interesting people are missing".

The orchestra - whose limited numbers only really became apparent during the overture - were very good, the ensemble singing was excellent and while the singing of the principals was perhaps patchy, some (Diana and Jupiter in particular) were very fine indeed. A special mention must go to Jason Weightman as Pluto, partly for his kilt, but also for being the only one to do the splits during the Infernal Gallop. I had never seen this company before and didn't know what to expect, but I have to say that it was a highly enjoyable night out.

And, more relevantly than you might imagine, here's Roger Moore talking about tortoises: