I’m really looking forward to taking Haydn’s London Ladies to the English Haydn Festival later this year. I’m especially looking forward to performing the music in the show for the first time with fortepiano, on which it would all originally have been played. In Haydn’s London Ladies I detail the relationships that Haydn developed with four women in particular. They are the poetess Anne Hunter, the pianist Therese Jansen, the soprano and composer Harriet Abrams and, most importantly at a romantic level, the beautiful widow and music-lover Rebecca Schroeter.
There are two other fascinating women whom I have had to leave out of my narrative because they are not part of Haydn’s ‘London story’, but who were also important to him, both personally and historically.
The first of these is Lady Emma Hamilton, famous society beauty, muse of the painter George Romney and mistress of Lord Nelson. Haydn met her in Vienna in 1800 when she was travelling with her husband Sir William (Ambassador to Naples) and Nelson, trying to get back from Sicily to London without bumping into any of Napoleon’s troops. They stayed for a few days at Eisenstadt, as Emma, in particular, was crazy about music and wanted to spend time with Haydn. (His Missa In Angustiis was later re-christened the Nelson Mass although there is no hard evidence that the Hamiltons and Nelson heard the mass during their visit). In one of a series of concerts during their stay, Emma sang an aria from Haydn’s cantata Arianna auf Naxos, accompanied by the composer, and he presented her with manuscripts of two of his songs. Despite showing signs of her age, Emma was still one of the great beauties of Europe and no doubt Haydn would have enjoyed her company for this as well as her considerable musicianship.
The other important lady in Haydn’s life remained in Vienna but corresponded with him regularly. She was Maria Anna von Genzinger, wife of Prince Esterhazy’s physician, daughter of the minor aristocracy on her mother’s side and a keen amateur musician. She arranged movements of Haydn’s symphonies for the piano, and held soirées for the musical elite of Vienna, at which Haydn was an honoured guest. Their correspondence is important as a demonstration of Haydn’s capacity for deep feeling (frustratingly, of the letters he exchanged with Rebecca Schroeter we now have only her side of the correspondence) and some commentators consider that Haydn was in love with Maria Anna. He may have been at some point, but he also understood the realities of their relative social positions, and there is no evidence of him attempting to form any actual romantic attachment. Maria Anna died at the early age of 38 while Haydn was in London, and the great Haydn scholar HC Robbins Landon proposed that his F Minor Variations may have been written in response to this news. Haydn had already dedicated his Piano Sonata in E flat Hob.VXI/49 to Maria Anna and written to her, “I recommend [the second movement] especially to your attention for it contains many things which I shall analyse for your Grace when the time comes; it is rather difficult but full of feeling”.
Good news for Haydn’s London Ladies, who will be visiting this year’s English Haydn Festival at Bridgnorth in Shropshire on Sunday 8 June.
This hour-long recital with fortepiano tells the stories of Haydn’s friendships with four women whom he met during his visits to London during the 1790s, and presents the music that developed out these relationships, including his much-loved Canzonettas.
More details here.
Two more performances of Vivienne are taking place before the end of the year. The first, on Thursday 17 October at 6pm, is part of the Bloomsbury Festival and can be seen at the October Gallery. The advance tickets have now all been taken but there will be more available on the door.
The second and final performance of 2014 takes place in the Linbury Studio Theatre at the Royal Opera House, on Monday 25 November at 1pm, as part of the lunchtime recital series. Booking for this performance opens on 16 November. A proportion of the tickets is retained and available on the day.
Tickets for both performances are free.
*** STOP PRESS ***
Were you expecting to see The Same Deep Water As Me at The Donmar Warehouse tonight?
Then by now you may know that tonight’s performance of that show has been cancelled.
Don’t worry though…
We’d hate to think you were at loose end. So, FOR TONIGHT ONLY if you come to The Forge, Camden and can prove that you had bought a ticket for tonight’s Donmar Warehouse performance – bring a Donmar, ATG or e-ticket – then we will sell you a ticket for Vivienne for just £5. The show starts at 9.45pm. Details here
The idea occured to us as Vivienne composer and librettist Stephen McNeff and Andy Rashleigh caused something if a stir with their last TS Eliot-inflected show, The Waste Land (after Martin Rowson) – which was at the Donmar Warehouse as part of the 1994 Covent Garden Festival.
This is a one-off offer. You dont have to give up your Donmar Ticket. They’re giving full refunds on all tickets for their cancelled show, so don’t worry, you’ll get that anyway, and we don’t ask you to give up your proof of having bought a Donmar ticket. This offer isn’t anything to do with the Donmar or ATG – it’s just our way of making sure you get to see a high-quality show in a London venue instead of having to go home to the telly! It’s also subject to availability – if there are no tickets left at The Forge for Vivienne, we can’t sell you one.
The offer, made by McCaldin Arts, is effected at the box office of The Forge whose staff act with their discretion and have the final say over whether a discounted ticket may be sold.
Even if you don’t have a receipt or ticket for the Donmar’s The Same Deep Water As Me to show (and so can’t take up this offer), you’re very welcome to come and see Vivienne. Normal tickets are only £8. We’re proud of it, it’s a 5* hit. And we’re going to see The Same Deep Water As Me later in the run, as we hope yo will too!
London’s great, isn’t it!
We have had some excellent reviews for the first two performances of Vivienne (read a comprehensive digest of published feedback via Storify):
★★★★★ from the Evening Standard
McNeff delivers an unpredictable yet instantly appealing score. The story unwraps in songs that always hint at popular idiom — crunchy bebop infuses her late-Forties mourning, Berlin-style cabaret hints at Eliot’s possible Fascist sympathies — but their structure is elastic and mutable. You enjoy the tune but never quite catch it.
Andy Rashleigh’s libretto is allusive and witty: an affair with Bertrand Russell unfolds with reference to Macavity the Mystery Cat. All is delivered by catty, horny McCaldin, all with a sheen of barmy. It’s a far better performance than we’re entitled to from someone who can also sing.
★★★★☆ from One Stop Arts
Andy Rashleigh’s text … is rather brilliantly realised: we get some very funny passages from Vivienne accusing T.S. Eliot of being too ‘clever’ with his Greek and Sanskrit references, and a fantastic account of her affair with the philosopher Bertrand Russell in the style of Eliot’s ‘Macavity: The Mystery Cat’.
Musically, too, Stephen McNeff’s score has much of the same pastiche and multi-voiced confusion of Eliot’s poetry. Pianist Libby Burgess accompanied McCaldin throughout, with threads of music hall tunes, jazz and Tin Pan Alley almost sneakily strung together in a score that is tuneful yet changeable enough to avoid predictability.
Clare McCaldin performed fantastically, perfectly channeling Vivienne’s fragile mental state. She conveys the desperation of a woman who was once seductive, charming and intelligent, but whose powers now fail her. Her voice was continually well-matched to the fickle moods of an insane woman, from melancholy moaning to belting out rude sailor songs.
It’s rare that a one-woman show can be so clever and funny without dragging towards the end – but Vivienne kept up its pace, and was a fitting elegy to the woman behind much of T.S. Eliot’s poetry.
We are less than two months away from our Vivienne opening night at the 2013 Tete a Tete Opera Festival and so we are about to start the first rehearsals this brand new piece.
As Vivienne is a commission we have stretched ourselves to make sure that the words and music are completed and fine-tuned in good time. Now we need to make the ends meet with our production budget.
We are going to see if we can raise outstanding costs via a crowdfunding platform. Kickstarter.com operates a system whereby anyone can choose to pledge any amount (beside a scaled rewards system) towards our estimated expenditure. If we achieve our goal the money is taken and passed on to us (for a fee). If not, no money changes hands.
You can visit our Kickstarter page here. Do have a look – there are a couple of rehearsal clips you can’t see anywhere else!
Lucy Hughes-Hallett’s new biography of Gabriele d’Annunzio was published this week by Fourth Estate. It is also BBC Radio 4’s book of the week, and I am hoping that one of the episodes will reveal the provenance of the book’s title, The Pike. As a biography, it is inevitably more concerned with examining his questionable political views, his sensational exploits and the tawdry details of his private life, rather than his literary output, and so far little has been said about the significant contribution he made to Italian letters through his novels and poetry. Here, then, is a short video about his poetry and the inspiration he found in his native Abruzzo region of Italy, as background to the settings of his poems on my CD, Madrigali dell’Estate.
Welcome to McCaldin Arts, the web home of productions from Clare McCaldin & company. Here you will find information about past, current and upcoming productions.