Tuesday, 29 December 2009
Friday, 27 November 2009
Dating Trends
The Telegraph recently reported on some interesting findings from a survey commissioned by their Sunday magazine, Stella, into dating trends. The You Gov survey, which interviewed almost 2,000 men and women of all ages and backgrounds, concluded that a “revolution in British dating habits means more of us than ever before are waiting until our 30s to get married – and more of us are divorcing in our 60s and beyond – meaning that our dating years are extending at both ends of the spectrum”.
The survey found that over 55s were the most active daters, not those in their 20s or 30s as you might expect. Of those interviewed 60% of men and women over 55 had joined a dating organisation, compared to just 20% of 18-24 year olds and almost as many men as women said the main reason was to find a long-term relationship.
Another slightly surprising finding, if you believe the stereotypical view that men are more influenced by looks than women, was that 91% of the men surveyed rated a sense of humour as the most important trait they were looking for in a woman and 85% rated intelligence equal second most important, along with attractiveness. Women rated not just sense of humour and intelligence, but also shared values and sexual compatibility as being more important than attractiveness in men.
The survey also found that, despite the fact that women these days are more likely earn as much if not more than men, 92% of women said that the man paid for their last date. So it would seem that when it comes to dating the old fashioned rules of chivalry still apply: women like the man to pay and men are happy to do so.
Also perhaps surprisingly, given the current economic recession, 79% of men said they would expect to spend more or the same amount on a date now as this time last year (October 2008), only 9% saying they would spend less.
Although this particular survey was a relatively small scale one, here at Classical Partners we are seeing that men and women of all ages are keen to explore different ways of meeting new people, and we try to help our clients to do this by way of regular and varied social events and carefully arranged introductions. See Events.
The survey found that over 55s were the most active daters, not those in their 20s or 30s as you might expect. Of those interviewed 60% of men and women over 55 had joined a dating organisation, compared to just 20% of 18-24 year olds and almost as many men as women said the main reason was to find a long-term relationship.
Another slightly surprising finding, if you believe the stereotypical view that men are more influenced by looks than women, was that 91% of the men surveyed rated a sense of humour as the most important trait they were looking for in a woman and 85% rated intelligence equal second most important, along with attractiveness. Women rated not just sense of humour and intelligence, but also shared values and sexual compatibility as being more important than attractiveness in men.
The survey also found that, despite the fact that women these days are more likely earn as much if not more than men, 92% of women said that the man paid for their last date. So it would seem that when it comes to dating the old fashioned rules of chivalry still apply: women like the man to pay and men are happy to do so.
Also perhaps surprisingly, given the current economic recession, 79% of men said they would expect to spend more or the same amount on a date now as this time last year (October 2008), only 9% saying they would spend less.
Although this particular survey was a relatively small scale one, here at Classical Partners we are seeing that men and women of all ages are keen to explore different ways of meeting new people, and we try to help our clients to do this by way of regular and varied social events and carefully arranged introductions. See Events.
Monday, 23 November 2009
Encore?
I was lucky enough to attend Nikolai Demidenko’s recital at the Wimbledon music festival last Saturday.
The Great Hall of King’s College School is a great venue for a piano recital, with a lovely atmosphere and good acoustic. A haven on what was a horrible damp evening. Since it was the first year of the festival I am prepared to forgive the confusion over seating. When our group of twelve arrived to take up our reserved seats in row 3, there were only six seats available in that row. I hope in future they will number the seats.
Demidenko’s playing was superb! He plays with great colour and range and his sense of rhythm and pace are flawless. At times during the Schubert Sonata in D I was sure that he had other instruments at his disposal, such was the variety of sound he produced.
The performance should have ended with Mussorgsky’s masterpiece “Pictures at an Exhibition.” I say should have, because after Demidenko had transported the audience around that famous exhibition and left us transfixed in wonder, he returned to play two short encore pieces which, nice though they were, left me feeling somewhat downbeat. Is it just me or does anyone else agree, that these encores often add nothing to the entertainment? By their very nature they tend to be short un-substantial pieces that detract from the crescendo of the programmed pieces. There are bound to be exceptions but in this case they were superfluous.
To find out more about our music events for singles see Events.
The Great Hall of King’s College School is a great venue for a piano recital, with a lovely atmosphere and good acoustic. A haven on what was a horrible damp evening. Since it was the first year of the festival I am prepared to forgive the confusion over seating. When our group of twelve arrived to take up our reserved seats in row 3, there were only six seats available in that row. I hope in future they will number the seats.
Demidenko’s playing was superb! He plays with great colour and range and his sense of rhythm and pace are flawless. At times during the Schubert Sonata in D I was sure that he had other instruments at his disposal, such was the variety of sound he produced.
The performance should have ended with Mussorgsky’s masterpiece “Pictures at an Exhibition.” I say should have, because after Demidenko had transported the audience around that famous exhibition and left us transfixed in wonder, he returned to play two short encore pieces which, nice though they were, left me feeling somewhat downbeat. Is it just me or does anyone else agree, that these encores often add nothing to the entertainment? By their very nature they tend to be short un-substantial pieces that detract from the crescendo of the programmed pieces. There are bound to be exceptions but in this case they were superfluous.
To find out more about our music events for singles see Events.
Wednesday, 18 November 2009
Glyndebourne Touring Opera
Later this month sixteen members of Classical Partners will meet up to enjoy Glyndebourne on Tour’s production of Verdi’s great comic opera Falstaff, at Milton Keynes Theatre.
This production, part of Glyndebourne’s 75th season, is set in Windsor, in the years immediately after the Second World War, and in the opening scene we meet Falstaff in the Garter Inn, with it’s mock Tudor interior. The main parallel from the 1940s to Shakespeare’s England is that both were periods of growth from austerity. The set designs by Ultz are apparently very clever and critics have described the show as a visual delight, as we have come to expect from Glyndebourne’s productions in recent years.
As part of our programme of events based on the arts, we at Classical Partners regularly arrange opera evenings for our unattached, cultured members wishing to meet like-minded others. These may be at provincial venues such as Milton Keynes Theatre, Warwick Arts Centre, the Birmingham Hippodrome and Manchester Opera House, or traditional London venues such as the Holland Park open air summer season. Our nights at the opera always include drinks and a meal – before curtain up, as operas tend to go on a bit – giving members have the opportunity to meet and strike up new friendships.
Also popular have been our opera weekends abroad, in lovely European cities such as Paris, Florence and Munich, where we combine sightseeing and socialising with a visit to some of Europe’s finest opera houses.
To find out more about our arts events for singles see Events.
This production, part of Glyndebourne’s 75th season, is set in Windsor, in the years immediately after the Second World War, and in the opening scene we meet Falstaff in the Garter Inn, with it’s mock Tudor interior. The main parallel from the 1940s to Shakespeare’s England is that both were periods of growth from austerity. The set designs by Ultz are apparently very clever and critics have described the show as a visual delight, as we have come to expect from Glyndebourne’s productions in recent years.
As part of our programme of events based on the arts, we at Classical Partners regularly arrange opera evenings for our unattached, cultured members wishing to meet like-minded others. These may be at provincial venues such as Milton Keynes Theatre, Warwick Arts Centre, the Birmingham Hippodrome and Manchester Opera House, or traditional London venues such as the Holland Park open air summer season. Our nights at the opera always include drinks and a meal – before curtain up, as operas tend to go on a bit – giving members have the opportunity to meet and strike up new friendships.
Also popular have been our opera weekends abroad, in lovely European cities such as Paris, Florence and Munich, where we combine sightseeing and socialising with a visit to some of Europe’s finest opera houses.
To find out more about our arts events for singles see Events.
Friday, 13 November 2009
State of the Arts
This week The Times reported that despite the recession the UK theatre industry is doing surprisingly well. The Ambassador Theatre Group is in the process of more than doubling its London and regional playhouses and box office and audience figures for 2008-09 are expected to have risen for the fourth successive year. Musicals, although expensive to stage, can make millions and seem to be thriving in the West End, eg Mamma Mia which is still playing to 95% capacity some ten years after its opening. Not only musicals, but thought provoking plays such as Enron, which enjoyed sell out runs in Chichester before transferring to the Royal Court.
However it’s not all good news. The subsidised sector, which accounts for almost all new and cutting edge drama, is struggling to maintain private donations and corporate sponsorship and it seems likely, under current budgetary pressures, that Arts Council grants will be cut when the present agreement expires in 2011. This is bound to have a detrimental effect on the West End which relies on the National and other subsidised theatres for much of its upmarket drama.
But why is the British stage by and large doing so well in the middle of an economic downturn? One theory is that in hard times, such as war or recession, people want to gather together and hear stories. Dominic Cooke, of the Royal Court, which recently celebrated packed-out productions of the plays Enron and Jerusalem, suggests that in difficult times there is a demand for work that brings people together to question received values… “to help them to make sense of the mess we’re in”. Interesting.
Whatever the reasons, it’s good to see live theatre continuing in the West End and around the provinces and let’s hope that the Arts Council and other bodies continue to support theatre and the arts in general.
Our cultured members at Classical Partners have enjoyed some truly memorable theatre events in the past couple of years – Ian McKellan as King Lear, Never So Good at the National, and Waiting for Godot, to name but a few. Our next theatre outing is The Misanthrope, featuring Keira Knightley’s West End debut. Can’t wait for that!
However it’s not all good news. The subsidised sector, which accounts for almost all new and cutting edge drama, is struggling to maintain private donations and corporate sponsorship and it seems likely, under current budgetary pressures, that Arts Council grants will be cut when the present agreement expires in 2011. This is bound to have a detrimental effect on the West End which relies on the National and other subsidised theatres for much of its upmarket drama.
But why is the British stage by and large doing so well in the middle of an economic downturn? One theory is that in hard times, such as war or recession, people want to gather together and hear stories. Dominic Cooke, of the Royal Court, which recently celebrated packed-out productions of the plays Enron and Jerusalem, suggests that in difficult times there is a demand for work that brings people together to question received values… “to help them to make sense of the mess we’re in”. Interesting.
Whatever the reasons, it’s good to see live theatre continuing in the West End and around the provinces and let’s hope that the Arts Council and other bodies continue to support theatre and the arts in general.
Our cultured members at Classical Partners have enjoyed some truly memorable theatre events in the past couple of years – Ian McKellan as King Lear, Never So Good at the National, and Waiting for Godot, to name but a few. Our next theatre outing is The Misanthrope, featuring Keira Knightley’s West End debut. Can’t wait for that!
Wednesday, 11 November 2009
Meet and Mingle
Last Friday we held the second of our now regular informal meet and mingle events. Around thirty members of Classical Partners met up for drinks and nibbles after work and of course to take the opportunity to meet other like minded people both for the first time and to catch up with old friends.
The informality of these events is proving very popular and will be continued in January.
As I left, I noticed that one couple who had met for the first time, were obviously enjoying each others company. Have they found romance? We will keep you updated.
If you would like to meet other music lovers have a look at our website.
The informality of these events is proving very popular and will be continued in January.
As I left, I noticed that one couple who had met for the first time, were obviously enjoying each others company. Have they found romance? We will keep you updated.
If you would like to meet other music lovers have a look at our website.
Tuesday, 27 October 2009
Something's happening
There is something really good happening in Manchester. The wonderful BBC Philharmonic! When I enjoyed them at this year’s Proms under Sir Charles Mackerras I thought they were outstanding. Last Saturday, on home soil at the Bridgewater Hall they were simply tremendous. This time under the young Spanish conductor, Pablo Heras-Casado, who was making his debut with the orchestra, they were nothing short of world beating.
The orchestra play with a passion and intensity that makes the hairs on the back of my neck stand on end. In some concerts the music washes over you which is a pleasant enough experience, but with these players you are drawn in and made to feel a part of it. I am not a music critic, so I am not qualified to comment on the finer points of the playing, but so much that is great about classical music is in the emotions and feelings and boy do these guys deliver!
I had not come across Pablo Heras-Casado before but think Dudamel enlarged to twice the size and you will get some idea. He is a huge presence on the stage, immensely watchable with gentle but expressive hands.
Alban Gerhardt’s rendition of Dvorak’s Cello concerto in G minor was beautiful, despite the endpin of his cello taking on a life of its own during a sublime slow movement. It is a credit to him that the music did not suffer one bit as his instrument explored the podium.
What a shame then with all this wonderful music going on the hall was not full. The people of Manchester are missing out. The orchestra will be back at the Bridgewater Hall on 7 November, I urge you to find out for yourselves.
The orchestra play with a passion and intensity that makes the hairs on the back of my neck stand on end. In some concerts the music washes over you which is a pleasant enough experience, but with these players you are drawn in and made to feel a part of it. I am not a music critic, so I am not qualified to comment on the finer points of the playing, but so much that is great about classical music is in the emotions and feelings and boy do these guys deliver!
I had not come across Pablo Heras-Casado before but think Dudamel enlarged to twice the size and you will get some idea. He is a huge presence on the stage, immensely watchable with gentle but expressive hands.
Alban Gerhardt’s rendition of Dvorak’s Cello concerto in G minor was beautiful, despite the endpin of his cello taking on a life of its own during a sublime slow movement. It is a credit to him that the music did not suffer one bit as his instrument explored the podium.
What a shame then with all this wonderful music going on the hall was not full. The people of Manchester are missing out. The orchestra will be back at the Bridgewater Hall on 7 November, I urge you to find out for yourselves.
Tuesday, 29 September 2009
Gastronomic Weekend
Last weekend a group of Classical Partners spent the weekend enjoying the delights of the charming medieval town of Pézenas in Southern France.
Leaving behind the inevitable queues of catching a flight at Gatwick, we came out into the warm sunshine in Montpellier to be greeted by our coach driver for the short transfer to Pézenas.
The Hotel Genieys in Pézenas is located just a stroll from the historic town centre and has all the charm of a French provincial 2* hotel. Clean and comfortable with the obligatory suspect plumbing which it has to be said performed faultlessly all weekend if somewhat noisily. After checking in, since we did not have our first gastronomic spectacular booked until 8.00pm, it was time to explore! Some headed for the cafes in the square, with the somewhat weak excuse that they wanted to have a look at the statue of Moliere. Others set off to explore the labyrinthine medieval streets of Pézenas.
Later that evening we set off for our first gourmet experience at Restaurant L’entre pots. From the outside it looked like nothing special, but once inside it was fabulous. We had a big room to ourselves and the walls were decorated with pictures by local artist Filipo whose studio we visited the next day. The food was exceptional; I particularly enjoyed the Pavé de thon accompanied by a fine local Chardonnay.
On Saturday morning Pézenas hosts a superb market. As you would expect there are stalls for every type of local produce imaginable as well as clothes. There were also street musicians and someone with a miniature pot-bellied pig on a lead.
After a couple of hours enjoying the market, it was back on the coach to visit the Domaine de l’Arjolle for a wine tasting and lunch. We were met by the Proprietor Mr Teisserenc outside next to the Chateau de Margon where he showed us his fermenting vessels. Then we moved on to the vineyards to see the vines and taste some Merlot grapes that were due to be picked in a day or two. They were so sweet and plump, Mr Teisserenc thinks 2009 will be a very good year. Anne’s car fell in a ditch so we had to push it out and we had not even started the wine tasting! Then it was back to the cave for the tasting. We tried five different single grape wines accompanied by local charcuteries made by our chef for the day. He also produced a selection of hors d’oeuvres to enjoy on the terrace with Mr Teisserenc’s sparkling methode champenoise. Everyone’s favourite was the miniature Crème brûlée with foie gras. Our caterer then barbecued some scrumptious lamb steaks. What a great way to spend a Saturday morning. Interesting wines, good food, good company in a superb location.
Leaving behind the inevitable queues of catching a flight at Gatwick, we came out into the warm sunshine in Montpellier to be greeted by our coach driver for the short transfer to Pézenas.
The Hotel Genieys in Pézenas is located just a stroll from the historic town centre and has all the charm of a French provincial 2* hotel. Clean and comfortable with the obligatory suspect plumbing which it has to be said performed faultlessly all weekend if somewhat noisily. After checking in, since we did not have our first gastronomic spectacular booked until 8.00pm, it was time to explore! Some headed for the cafes in the square, with the somewhat weak excuse that they wanted to have a look at the statue of Moliere. Others set off to explore the labyrinthine medieval streets of Pézenas.
Later that evening we set off for our first gourmet experience at Restaurant L’entre pots. From the outside it looked like nothing special, but once inside it was fabulous. We had a big room to ourselves and the walls were decorated with pictures by local artist Filipo whose studio we visited the next day. The food was exceptional; I particularly enjoyed the Pavé de thon accompanied by a fine local Chardonnay.
On Saturday morning Pézenas hosts a superb market. As you would expect there are stalls for every type of local produce imaginable as well as clothes. There were also street musicians and someone with a miniature pot-bellied pig on a lead.
After a couple of hours enjoying the market, it was back on the coach to visit the Domaine de l’Arjolle for a wine tasting and lunch. We were met by the Proprietor Mr Teisserenc outside next to the Chateau de Margon where he showed us his fermenting vessels. Then we moved on to the vineyards to see the vines and taste some Merlot grapes that were due to be picked in a day or two. They were so sweet and plump, Mr Teisserenc thinks 2009 will be a very good year. Anne’s car fell in a ditch so we had to push it out and we had not even started the wine tasting! Then it was back to the cave for the tasting. We tried five different single grape wines accompanied by local charcuteries made by our chef for the day. He also produced a selection of hors d’oeuvres to enjoy on the terrace with Mr Teisserenc’s sparkling methode champenoise. Everyone’s favourite was the miniature Crème brûlée with foie gras. Our caterer then barbecued some scrumptious lamb steaks. What a great way to spend a Saturday morning. Interesting wines, good food, good company in a superb location.
We weren’t finished yet. That evening we had another spectacular meal booked back in Pézenas at the Après le Déluge. We sat on the terrace surrounded by greenery and enjoyed six courses again accompanied by several suitable local wines.
All the local arrangements were made by Anne de Ravel who I can not praise highly enough. Should you want to find out about the cuisine of this area she can be contacted through her website http://www.saveurlanguedoc.com/
In the past, the highpoint of a Classical Partners visit to Europe has been an opera evening. This is the first time we have focused solely on food and wine - and judging by the response we may have to do this again!
All the local arrangements were made by Anne de Ravel who I can not praise highly enough. Should you want to find out about the cuisine of this area she can be contacted through her website http://www.saveurlanguedoc.com/
In the past, the highpoint of a Classical Partners visit to Europe has been an opera evening. This is the first time we have focused solely on food and wine - and judging by the response we may have to do this again!
Monday, 27 July 2009
Sir Charles brings Joy
What a fantastic concert on Saturday at the Albert Hall. I realised that I should have referred to it as roast beef when I mentioned I was looking forward to all the meat in the programme after the insubstantial first night.
A group of Classical Partners met before the concert for a very enjoyable meal in Cafe Consort. Who on earth thought it would be a good idea to close the Elgar Restaurant for refurbishment during the Proms?
Then it was on to the music:
Elgar's "Cockaigne" set the tone for this evening of English music. Unmistakeably English, unmistakeably Elgar with just a touch of Wagner. A slightly sugar coated view of London in the early part of the last century but I like a bit of optimism.
Next we had Delius, The Song of the High Hills. For me this turned into the highlight of the evening. For about twenty minutes I was no longer in the Albert Hall but was transported to the great outdoors and revelled in sharing Delius' love of nature. How strange that this man could claim to loathe England and yet write something as pastoral as this. I have never been to Norway but based on this, a visit is long overdue.
Holst's The Planets was quite simply stunning. Despite the familiarity of the piece it was performed with a freshness that enlivened the whole audience. Venus in particular raised my spirits.
Hats off to the often overlooked provincial BBC Philharmonic whose vituosity was outstanding and to Sir Charles Mackerras in particular whose understated performance brought a great deal of joy to this member of the audience.
A group of Classical Partners met before the concert for a very enjoyable meal in Cafe Consort. Who on earth thought it would be a good idea to close the Elgar Restaurant for refurbishment during the Proms?
Then it was on to the music:
Elgar's "Cockaigne" set the tone for this evening of English music. Unmistakeably English, unmistakeably Elgar with just a touch of Wagner. A slightly sugar coated view of London in the early part of the last century but I like a bit of optimism.
Next we had Delius, The Song of the High Hills. For me this turned into the highlight of the evening. For about twenty minutes I was no longer in the Albert Hall but was transported to the great outdoors and revelled in sharing Delius' love of nature. How strange that this man could claim to loathe England and yet write something as pastoral as this. I have never been to Norway but based on this, a visit is long overdue.
Holst's The Planets was quite simply stunning. Despite the familiarity of the piece it was performed with a freshness that enlivened the whole audience. Venus in particular raised my spirits.
Hats off to the often overlooked provincial BBC Philharmonic whose vituosity was outstanding and to Sir Charles Mackerras in particular whose understated performance brought a great deal of joy to this member of the audience.
Wednesday, 22 July 2009
The Proms are here
At last summer's here and the Proms are underway. Actually summer starts with Wimbledon but that is a distant memory now along with a glimpse of the sun.
I never intended to go to the first night. The programme did not appeal. I did however watch the whole thing on the TV. I can only assume that the programme was an attempt to please all of the people all of the time. As any sane person knows this is never possible and was certainly not achieved in Prom 1. Bits of it were OK but there was no meat in this particular sandwich.
The worst thing though was having to put up with Mr Anderson on the TV. First off someone needs to explain the difference between a violin and viola to him. Secondly his flustered buffoonery is just fine for one of the many very good panel games he appears on but is not right here. Or am I alone in this?
Well, that is as good a reason as any for going along in person to experience it all live. See you there on Saturday. I can not wait for the Holst, there is plenty of meat in that!
I never intended to go to the first night. The programme did not appeal. I did however watch the whole thing on the TV. I can only assume that the programme was an attempt to please all of the people all of the time. As any sane person knows this is never possible and was certainly not achieved in Prom 1. Bits of it were OK but there was no meat in this particular sandwich.
The worst thing though was having to put up with Mr Anderson on the TV. First off someone needs to explain the difference between a violin and viola to him. Secondly his flustered buffoonery is just fine for one of the many very good panel games he appears on but is not right here. Or am I alone in this?
Well, that is as good a reason as any for going along in person to experience it all live. See you there on Saturday. I can not wait for the Holst, there is plenty of meat in that!
Friday, 10 July 2009
The C word
Once you have decided what you want from a relationship the next step is to do something about it…. But what?
If you are not in a relationship and would like to be you have to confront the first of the big C words. Change. There is another C word that comes later on but we do not need to worry about that now. If you want to find a relationship you have to change something. If you continue with your day to day life exactly as you have for the last x years during which time you did not find someone, chances are you will still not find someone if you simply carry on as before.
Finding your perfect partner is a little bit like the Lottery. If you don’t own a ticket you haven’t got a chance of winning. If you buy a ticket at least you are in the game. So how do you get into the relationship “game”?
Consider changing your daily routine. If you take the bus instead of the usual train home you will meet a different set of people. Instead of watching an old movie on the TV try going to one in a cinema. It is up to you if you decide to engage with the new people you encounter. If you have a hobby that you are enthusiastic about, join a club and share that enthusiasm.
You might consider joining one of the numerous internet dating agencies. These definitely work for some people. But it’s a bit like buying a huge number of tickets for the Lottery; you will have to spend an awful lot of time checking your tickets to see if you have won. I have friends who have met this way, but I’ve also heard from many people that they could not get along with internet dating sites. My personal view is that relationships are personal things and the internet, for all its benefits, is not a personal medium. If you want to buy something or find some information the internet is the place to look. Perhaps that why it was known as the information superhighway? For personal relationships I’m not so sure.
There are also the dating sections of newspapers. Much like the internet, they do work for some people. You will need to give a lot of thought to the advertisement you place: it needs to stand out from the crowd but not make you sound too off the wall. You also need to understand the costs: you will have to pick up your replies by calling a premium rate phone line and the costs can mount up very quickly.
An alternative would be to join an introduction agency, but please do your research, there are some rogues out there. It’s a good idea to make sure any agency you approach is a member of ABIA (Association of British Introduction Agencies), have a look at their website http://www.abia.org.uk/ or give them a ring on 020 8742 0386. They have a listing of members along with the services offered and the costs. Make sure you choose one that is right for you. Obviously there is no point in joining an agency that specialises in an area that is of little interest to you. Another thing to remember is that “traditional” agencies work in a very different way to the internet based ones. From the internet you are likely to receive hundreds of (un-vetted) contacts and it is up to you to go through them. A traditional agency on the other hand will take into consideration all the information you have supplied to them and select someone from their membership who they think you would really like to meet. This is why it is so important for you to know what you want before you start. It is a slower and more focused approach.
I am of course biased, as I run Classical Partners, a traditional agency, but I have tried to offer honest view of the different options you have based on my experience of speaking to and meeting many unattached men and women looking for love. Not surprisingly, there is no single right way to go about finding a relationship. The solution very much depends on you. This is the main thing you have to understand, whichever way you choose to go about it the outcome depends on your actions. So confront the C word: be positive, enjoy yourself and you will make progress. Good luck.
If you are not in a relationship and would like to be you have to confront the first of the big C words. Change. There is another C word that comes later on but we do not need to worry about that now. If you want to find a relationship you have to change something. If you continue with your day to day life exactly as you have for the last x years during which time you did not find someone, chances are you will still not find someone if you simply carry on as before.
Finding your perfect partner is a little bit like the Lottery. If you don’t own a ticket you haven’t got a chance of winning. If you buy a ticket at least you are in the game. So how do you get into the relationship “game”?
Consider changing your daily routine. If you take the bus instead of the usual train home you will meet a different set of people. Instead of watching an old movie on the TV try going to one in a cinema. It is up to you if you decide to engage with the new people you encounter. If you have a hobby that you are enthusiastic about, join a club and share that enthusiasm.
You might consider joining one of the numerous internet dating agencies. These definitely work for some people. But it’s a bit like buying a huge number of tickets for the Lottery; you will have to spend an awful lot of time checking your tickets to see if you have won. I have friends who have met this way, but I’ve also heard from many people that they could not get along with internet dating sites. My personal view is that relationships are personal things and the internet, for all its benefits, is not a personal medium. If you want to buy something or find some information the internet is the place to look. Perhaps that why it was known as the information superhighway? For personal relationships I’m not so sure.
There are also the dating sections of newspapers. Much like the internet, they do work for some people. You will need to give a lot of thought to the advertisement you place: it needs to stand out from the crowd but not make you sound too off the wall. You also need to understand the costs: you will have to pick up your replies by calling a premium rate phone line and the costs can mount up very quickly.
An alternative would be to join an introduction agency, but please do your research, there are some rogues out there. It’s a good idea to make sure any agency you approach is a member of ABIA (Association of British Introduction Agencies), have a look at their website http://www.abia.org.uk/ or give them a ring on 020 8742 0386. They have a listing of members along with the services offered and the costs. Make sure you choose one that is right for you. Obviously there is no point in joining an agency that specialises in an area that is of little interest to you. Another thing to remember is that “traditional” agencies work in a very different way to the internet based ones. From the internet you are likely to receive hundreds of (un-vetted) contacts and it is up to you to go through them. A traditional agency on the other hand will take into consideration all the information you have supplied to them and select someone from their membership who they think you would really like to meet. This is why it is so important for you to know what you want before you start. It is a slower and more focused approach.
I am of course biased, as I run Classical Partners, a traditional agency, but I have tried to offer honest view of the different options you have based on my experience of speaking to and meeting many unattached men and women looking for love. Not surprisingly, there is no single right way to go about finding a relationship. The solution very much depends on you. This is the main thing you have to understand, whichever way you choose to go about it the outcome depends on your actions. So confront the C word: be positive, enjoy yourself and you will make progress. Good luck.
Thursday, 25 June 2009
You have to know what you want.
Up until now this blog has been simply to share a review of the varied types of events that we organise. Now, I think it is time to give an insight into the other areas that we here at Classical Partners get involved with on a daily basis.
Since we are an introduction agency, the main thing people who come to us are looking for is a relationship. It may be only four syllables but it can mean so many different things.
We always ask clients what they are looking for in a relationship and not surprisingly we get answers like: companionship, a sole mate, someone to share my life with, sex, mutual support, stability, and compassion are all things that crop up time and time again and can mean different things to different people.
The first thing you have to come to terms with is that men and women are different. The 2008 Great Male Survey carried out by askmen.com and its partner the 2008 Great Female Survey show some interesting results that largely reinforce the commonly held stereotypes, for example 29% of men would like to change their female partner’s sexual appetite, the figure for women is just 12%. The survey leaves you to draw your own conclusions as to which direction they want to change it in! Once you accept some of the differences between the sexes it is easier to see that what they are searching for in a relationship may be different.
Initially this makes it seem like there is no hope for a successful relationship between the sexes but history has shown that this is most definitely not the case. Luckily there are lots of people who do not conform to the commonly held stereotypes. The trick is to find someone who shares your relationship requirements. Even Carrie Bradshaw and Mr Big managed it in the end.
The first step to achieving this is to understand your own needs. After all it is much easier to find something if you know what it is you are looking for. Do you want someone who is always at your side? Some people will find this too confining. I know people who have very happy and fulfilling relationships who do not live together and have separate social lives. Yet they holiday together and have a healthy sex life. Which approach is right for you? For most people the answer will lie somewhere in between these two extremes.
If your relationship needs are to be met, the partner must be aware of what they are. You have to let them know what these needs are. It is important to communicate openly or your partner will be left guessing, so let them know your needs, and let them tell you theirs. It will not be surprising for you both to discover that often your needs are quite different.
Here at Classical Partners we try very hard to get people to understand their requirements even though this may be difficult. I am sure the same is true for the other Agencies that are members of ABIA. Our clients need to tell us what they are looking for. In order to do this they must first to think about it and if they are honest with themselves we can be very successful at finding them the person they can have a relationship with.
Since we are an introduction agency, the main thing people who come to us are looking for is a relationship. It may be only four syllables but it can mean so many different things.
We always ask clients what they are looking for in a relationship and not surprisingly we get answers like: companionship, a sole mate, someone to share my life with, sex, mutual support, stability, and compassion are all things that crop up time and time again and can mean different things to different people.
The first thing you have to come to terms with is that men and women are different. The 2008 Great Male Survey carried out by askmen.com and its partner the 2008 Great Female Survey show some interesting results that largely reinforce the commonly held stereotypes, for example 29% of men would like to change their female partner’s sexual appetite, the figure for women is just 12%. The survey leaves you to draw your own conclusions as to which direction they want to change it in! Once you accept some of the differences between the sexes it is easier to see that what they are searching for in a relationship may be different.
Initially this makes it seem like there is no hope for a successful relationship between the sexes but history has shown that this is most definitely not the case. Luckily there are lots of people who do not conform to the commonly held stereotypes. The trick is to find someone who shares your relationship requirements. Even Carrie Bradshaw and Mr Big managed it in the end.
The first step to achieving this is to understand your own needs. After all it is much easier to find something if you know what it is you are looking for. Do you want someone who is always at your side? Some people will find this too confining. I know people who have very happy and fulfilling relationships who do not live together and have separate social lives. Yet they holiday together and have a healthy sex life. Which approach is right for you? For most people the answer will lie somewhere in between these two extremes.
If your relationship needs are to be met, the partner must be aware of what they are. You have to let them know what these needs are. It is important to communicate openly or your partner will be left guessing, so let them know your needs, and let them tell you theirs. It will not be surprising for you both to discover that often your needs are quite different.
Here at Classical Partners we try very hard to get people to understand their requirements even though this may be difficult. I am sure the same is true for the other Agencies that are members of ABIA. Our clients need to tell us what they are looking for. In order to do this they must first to think about it and if they are honest with themselves we can be very successful at finding them the person they can have a relationship with.
Monday, 22 June 2009
Future Stars
Classical Partners' soirees are truly unique. They offer the chance to experience music at its most intimate. Our latest at Craxton Studios was no exception. With no barrier between the musicians and the audience you can really feel the music. We were entertained by two young ladies who I am sure will be names that will become familiar in the near future. Ina Charuashvili and Meng Yang Pan performed a wonderfully varied programme of solo, duet and pieces for two pianos. There was sensitivity in the Rachmaninov Suite No 2 for two pianos, passion in the Arensky Suite Op. 15 for two pianos and virtuosity in the Schubert/Liszt Song Transcriptions when Meng Yang really excelled. It is so inspiring to hear young musicians performing to such a high level and with such obvious joy.
The evening was not just music of course. We also had a few glasses of bubbly on arrival with plenty of time to mingle and meet new friends as well as a buffet supper. I particularly enjoyed the chocolate meringue pudding as did everyone who tried it.
Tuesday, 5 May 2009
Walking and Music in the Cotswolds
For the latest of our weekends away, Classical Partners were once again blessed with excellent weather. Arriving on Friday afternoon after an horrendous journey on the M25 we collected some members from Moreton in the Marsh train station on route to Harrington House which was to be our base for the weekend.
After settling in it was time for a stroll around Bourton on the Water and of course tea and cakes at one of the waterside cafes. These things just have to be done.
Members continued to arrive throughout the afternoon and we all met up in the bar before an exceptionally good dinner.
After dinner I arranged a name that tune game that kept us all entertained. It is amazing how recognisable most pieces of music are. You only need a couple of seconds, naming it can take a little longer, especially if it is one of Barry's!
Saturday morning started with a real downpour and things were not looking good for our walk. However, after a hearty breakfast, it brightened up and Sue from the North Cotswolds Ramblers Group arrived to lead us on our walk. Sue was an excellent guide and I can recommend her group to anyone wanting to walk in this beautiful part of the country. We ambled along with everyone chatting away and marvelling at the countryside in the spring sunshine. Along riverbanks, through woodland and over little hills, just fabulous.
A picnic lunch on a sunny hillside was followed by a well timed stop in the Black Horse at Naunton, which was difficult to leave, it was back to Harrington House by 4pm, in all 9.75 miles according to someone's GPS, in time for tea and cakes on the lawn. There was even time for a game of croquet which I won entirely due to my team mates efforts.
After a suitable break to freshen up, we met up for a glass of bubbly before dinner. Well fed and watered we retired to the lounge to be entertained by Oxus, a quartet from Oxford who had set themselves up in the middle of the room with seating all around. You don't get music any more intimate than that! They performed beautifully. Mendelssohn's String Quartet in E flat, op.44 no.3 was a highlight.
On Sunday we went our separate ways. I had a boat to catch, but that's another story....
In all a great weekend. There is no better way to meet new friends whilst relaxing and sharing the enjoyment of music and the countryside. Next month a couple who met at our last weekend are getting married. Who knows what the outcome of this one will be, but I have heard some whispers.... I had better get on with planning the next one.
After settling in it was time for a stroll around Bourton on the Water and of course tea and cakes at one of the waterside cafes. These things just have to be done.
Members continued to arrive throughout the afternoon and we all met up in the bar before an exceptionally good dinner.
After dinner I arranged a name that tune game that kept us all entertained. It is amazing how recognisable most pieces of music are. You only need a couple of seconds, naming it can take a little longer, especially if it is one of Barry's!
Saturday morning started with a real downpour and things were not looking good for our walk. However, after a hearty breakfast, it brightened up and Sue from the North Cotswolds Ramblers Group arrived to lead us on our walk. Sue was an excellent guide and I can recommend her group to anyone wanting to walk in this beautiful part of the country. We ambled along with everyone chatting away and marvelling at the countryside in the spring sunshine. Along riverbanks, through woodland and over little hills, just fabulous.
A picnic lunch on a sunny hillside was followed by a well timed stop in the Black Horse at Naunton, which was difficult to leave, it was back to Harrington House by 4pm, in all 9.75 miles according to someone's GPS, in time for tea and cakes on the lawn. There was even time for a game of croquet which I won entirely due to my team mates efforts.
After a suitable break to freshen up, we met up for a glass of bubbly before dinner. Well fed and watered we retired to the lounge to be entertained by Oxus, a quartet from Oxford who had set themselves up in the middle of the room with seating all around. You don't get music any more intimate than that! They performed beautifully. Mendelssohn's String Quartet in E flat, op.44 no.3 was a highlight.
On Sunday we went our separate ways. I had a boat to catch, but that's another story....
In all a great weekend. There is no better way to meet new friends whilst relaxing and sharing the enjoyment of music and the countryside. Next month a couple who met at our last weekend are getting married. Who knows what the outcome of this one will be, but I have heard some whispers.... I had better get on with planning the next one.
Monday, 6 April 2009
The Elixir of Love
I am a fan of Milton Keynes! This is not a strange way to start a piece on Classical Partners’ latest visit to the opera. Milton Keynes theatre allows easy access to a host of cultural events. It is easy to get to by car, you can park and not least it is much cheaper than central London. The theatre itself is comfy and the acoustic is quite good. Of course it does not offer the atmosphere of The Royal Opera House but I don’t think it is trying to.
WNO’s performance of Opera North’s production of Donizetti’s The Elixir of Love on Saturday delivered everything you could want. Being set in the sunny Italian Riviera of the 1950’s brings this joyful tale to life and it is hard not to notice that Danizetti and Romani were the Gilbert and Sullivan of their day. This is not a criticism, far from it; I like a good tune and see nothing wrong with repeating it. The plot moves along at a good pace and with a great sense of joy. All the way through this production the simple humour of the story is brought to the fore. From the arrival of Belcore and his cohorts on their Vespas to Nemorino’s Elvis impression you cannot help but smile. This is a production to be enjoyed for what it is, loveable characters singing great tunes that perfectly tell the story.
My only criticism is that from time to time the orchestra got a little carried away and drowned out the singers. I can’t really blame them for getting swept along by the joy of the production but it did detract from the singing at times.
I have a DVD of the Metropolitan Opera production with Pavarotti in the role of Nemorino which I love, but I did not miss the great man one little bit on this occasion. There is something to be said for enjoying the ”show” as a whole rather than waiting for the star to perform their next piece don’t you think?
WNO’s performance of Opera North’s production of Donizetti’s The Elixir of Love on Saturday delivered everything you could want. Being set in the sunny Italian Riviera of the 1950’s brings this joyful tale to life and it is hard not to notice that Danizetti and Romani were the Gilbert and Sullivan of their day. This is not a criticism, far from it; I like a good tune and see nothing wrong with repeating it. The plot moves along at a good pace and with a great sense of joy. All the way through this production the simple humour of the story is brought to the fore. From the arrival of Belcore and his cohorts on their Vespas to Nemorino’s Elvis impression you cannot help but smile. This is a production to be enjoyed for what it is, loveable characters singing great tunes that perfectly tell the story.
My only criticism is that from time to time the orchestra got a little carried away and drowned out the singers. I can’t really blame them for getting swept along by the joy of the production but it did detract from the singing at times.
I have a DVD of the Metropolitan Opera production with Pavarotti in the role of Nemorino which I love, but I did not miss the great man one little bit on this occasion. There is something to be said for enjoying the ”show” as a whole rather than waiting for the star to perform their next piece don’t you think?
Tuesday, 10 March 2009
Please can I have some more
Before I ask for more, there are a couple of questions I would like to know the answer to:
On Saturday we went to the Cadogan Hall for a great concert by the Berlin Symphony Orchestra and the hall was only half full: I am an optimist so it was definitely not half empty. Where were the people? The programme was interesting, the soloist young but well known and ticket prices around average for a touring orchestra. I know they are the other Berlin orchestra but they were good. Is this a sign of the credit crunch biting the concert world? If so the promoters need to do something fast before half full halls become the norm in London. The next concert we are going to is at the Barbican and is sold out, so maybe it is just a Cadgan Hall problem??
The other thing I do not understand is why some conductors feel the need to shuffle the orchestra around. I like my violins to be where the violins are supposed to be. For the Haydn the second violins swapped their normal position with the cellos. As there are more violins than cellos this had the added effect of shoving the basses around to the back on Cadogan’s relatively small stage. To make matters worse the second violins, in order to be able to see the conductor, had to play with their backs to the audience.
Anyway on to the music.
The Haydn symphony No 88 was played beautifully with the emphasis on the strings rather than the woodwind and brass that is more commonly associated with this piece. Perhaps this was the result of the seating arrangement mentioned above, but once I had got over my view of the second violins backs I was drawn in to the music.
For the Beethoven piano concerto No 4 Natasha Paremski played beautifully: she ranged from rapturous to introspective and was suitably dramatic in the finale.
To round off the evening we were treated to Mendelssohn’s Scottish symphony. With the orchestra now up to full strength and seated in their “correct” places we were off. The whole piece was played at great pace and this seemed to add to what I always consider to be a great piece of music. I was transported. I could almost see the rolling mist over the heather of a glen before the sun broke through and lit up the landscape. Superb. More please.
The citizens of London who stayed at home missed something special.
On Saturday we went to the Cadogan Hall for a great concert by the Berlin Symphony Orchestra and the hall was only half full: I am an optimist so it was definitely not half empty. Where were the people? The programme was interesting, the soloist young but well known and ticket prices around average for a touring orchestra. I know they are the other Berlin orchestra but they were good. Is this a sign of the credit crunch biting the concert world? If so the promoters need to do something fast before half full halls become the norm in London. The next concert we are going to is at the Barbican and is sold out, so maybe it is just a Cadgan Hall problem??
The other thing I do not understand is why some conductors feel the need to shuffle the orchestra around. I like my violins to be where the violins are supposed to be. For the Haydn the second violins swapped their normal position with the cellos. As there are more violins than cellos this had the added effect of shoving the basses around to the back on Cadogan’s relatively small stage. To make matters worse the second violins, in order to be able to see the conductor, had to play with their backs to the audience.
Anyway on to the music.
The Haydn symphony No 88 was played beautifully with the emphasis on the strings rather than the woodwind and brass that is more commonly associated with this piece. Perhaps this was the result of the seating arrangement mentioned above, but once I had got over my view of the second violins backs I was drawn in to the music.
For the Beethoven piano concerto No 4 Natasha Paremski played beautifully: she ranged from rapturous to introspective and was suitably dramatic in the finale.
To round off the evening we were treated to Mendelssohn’s Scottish symphony. With the orchestra now up to full strength and seated in their “correct” places we were off. The whole piece was played at great pace and this seemed to add to what I always consider to be a great piece of music. I was transported. I could almost see the rolling mist over the heather of a glen before the sun broke through and lit up the landscape. Superb. More please.
The citizens of London who stayed at home missed something special.
Monday, 23 February 2009
Dudamel delivers at Festival Hall
On Saturday 23rd Feb a group of 18 members of Classical Partners (http://www.classicalpartners.co.uk/) enjoyed a truly memorable concert on the South Bank. After a glass or two of wine and a delicious supper at the Archduke we made our way across to the Festival Hall, which was buzzing – in anticipation of the appearance of Gustavo Dudamel to conduct the Philharmonia Orchestra in a performance of Mozart’s Piano Concerto no 17 (with soloist Emmanuel Ax) followed by Mahler’s 5th Symphony.
And the audience were not disappointed. Dudamel, still only 28, conducted the 68-minute long Mahler symphony without score and with such energy and enthusiasm that couldn’t help but put a smile on your face. Except of course during the haunting Adagietto (made famous in the film Death in Venice), played perhaps more slowly than usual but with great feeling by strings and harp. For most of the Mahler it was hard to take one’s eyes off the diminutive figure of Dudamel as he swayed, lunged and bounced around the rostrum. However in no way did this detract from the wonderful playing of the Philharmonia.
Within seconds of the thrilling finale of the Mahler the whole audience had joined in a standing ovation for Dudamel and the Philharmonia, and the genius of Mahler of course!
After such a thrilling concert some of us just had to return to the Archduke for a celebratory drink, where we spotted some of the orchestra - celebrating with their friends and family a job very well done!
Press reviews of the concert have been excellent, eg the Guardian giving it 5 out of 5 and describing it as "an astonishingly vivid and exciting performance" in which "the Philharmonia quite simply played out of their skins for Dudamel".
And the audience were not disappointed. Dudamel, still only 28, conducted the 68-minute long Mahler symphony without score and with such energy and enthusiasm that couldn’t help but put a smile on your face. Except of course during the haunting Adagietto (made famous in the film Death in Venice), played perhaps more slowly than usual but with great feeling by strings and harp. For most of the Mahler it was hard to take one’s eyes off the diminutive figure of Dudamel as he swayed, lunged and bounced around the rostrum. However in no way did this detract from the wonderful playing of the Philharmonia.
Within seconds of the thrilling finale of the Mahler the whole audience had joined in a standing ovation for Dudamel and the Philharmonia, and the genius of Mahler of course!
After such a thrilling concert some of us just had to return to the Archduke for a celebratory drink, where we spotted some of the orchestra - celebrating with their friends and family a job very well done!
Press reviews of the concert have been excellent, eg the Guardian giving it 5 out of 5 and describing it as "an astonishingly vivid and exciting performance" in which "the Philharmonia quite simply played out of their skins for Dudamel".
Wednesday, 4 February 2009
Thank Goodness we are All Different
Last Saturday 20 of us went to a concert at the Festival Hall. Here are just some of the comments that were made:
“I’m sorry but I always cry when I hear that”
“It’s not for me it just went round and round”
“What is it about Russian composers that make them produce such passionate music”
“So much better than Tchaikovsky, I can’t stand his music”
The Festival Hall was packed, not a spare seat in the house. Tugan Sokhiev directed the Philharmonia Orchestra through, what was for me, a simply exquisite programme.
Starting off with a short piece by Rimsky-Korsakov that I did not know, the full orchestra swept the hall away to warmer climes with Capriccio espagnol. However this was just the warm up for what was to follow. Nikolai Deidenko then performed Shostakovich’s Piano Concerto No. 2. The fact that he is now a British citizen has not in any way diluted his ability to interpret the music from his birthplace. No British reserve here. The unabashed romanticism of the slow movement was given full rein and followed by the final movement of frivolous joy.
After the interval we were treated to Rachmaninov’s Symphony No. 2. It is too long but the wonderfully lush harmonies of the Adagio mean you can forgive this. Sokhiev drew out to maximum effect the full sentimentality of the piece without crossing that thin line and making it corny. The woodwind all deserve special praise.
People are a constant source of amazement to me. Why do so many insist on rushing out of the hall while the orchestra are taking their bow? If you are so intent on leaving, how can you enjoy the music? One or two may have a train to catch but most just seem to want to get out. Calm down and enjoy the experience I say. I also find it fascinating that people can have such different reactions to the same thing. The ones I feel sorry for are those that have no reaction at all. Thankfully I do not know many of those.
“I’m sorry but I always cry when I hear that”
“It’s not for me it just went round and round”
“What is it about Russian composers that make them produce such passionate music”
“So much better than Tchaikovsky, I can’t stand his music”
The Festival Hall was packed, not a spare seat in the house. Tugan Sokhiev directed the Philharmonia Orchestra through, what was for me, a simply exquisite programme.
Starting off with a short piece by Rimsky-Korsakov that I did not know, the full orchestra swept the hall away to warmer climes with Capriccio espagnol. However this was just the warm up for what was to follow. Nikolai Deidenko then performed Shostakovich’s Piano Concerto No. 2. The fact that he is now a British citizen has not in any way diluted his ability to interpret the music from his birthplace. No British reserve here. The unabashed romanticism of the slow movement was given full rein and followed by the final movement of frivolous joy.
After the interval we were treated to Rachmaninov’s Symphony No. 2. It is too long but the wonderfully lush harmonies of the Adagio mean you can forgive this. Sokhiev drew out to maximum effect the full sentimentality of the piece without crossing that thin line and making it corny. The woodwind all deserve special praise.
People are a constant source of amazement to me. Why do so many insist on rushing out of the hall while the orchestra are taking their bow? If you are so intent on leaving, how can you enjoy the music? One or two may have a train to catch but most just seem to want to get out. Calm down and enjoy the experience I say. I also find it fascinating that people can have such different reactions to the same thing. The ones I feel sorry for are those that have no reaction at all. Thankfully I do not know many of those.
Tuesday, 6 January 2009
Love is in the air
Classical Partners is the introduction agency for people who love classical music and the arts and it is nice to start the year with news of another success. We were delighted to receive an email this morning from one of our members letting us know that he had got engaged to the girl we introduced him to at our last walking weekend. We wish them all the best for their future together.
As much as I would like to I cannot reveal further details here as we always respect member’s confidentiality. All I can say is if you would like to meet someone who shares your passion for music then visit www.classicalpartners.co.uk or give us a ring on 01582 834334 for a chat.
As much as I would like to I cannot reveal further details here as we always respect member’s confidentiality. All I can say is if you would like to meet someone who shares your passion for music then visit www.classicalpartners.co.uk or give us a ring on 01582 834334 for a chat.
The Sum of Its Parts
Classical Partners, like most businesses, was closed over the Christmas period. However, this did not stop us going to wonderful live performances. We took the family to Monkey: Journey to the West at the specially made tent next to the O2. Our children unfortunately don’t do opera. They prefer the instant hit of pop music and like many youngsters these days the thought of sitting still for a couple of hours is beyond them. I had to sell the connection with Gorillaz and the fact that it was composed by Blur frontman Damon Albarn in order to get them to come along for a their Christmas treat.
I think that it is wonderful what they have done with the Dome, it is now a great venue. I wanted to arrive by riverboat but I am now glad I was talked out of this as it was a really cold day.
The show itself was nothing short of spectacular. The opera is sung wholly in Mandarin with a Chinese cast. The orchestra are heavily augmented with Chinese instruments so it took me a little while to get my ear tuned in, but there are one or two nice arias, I particularly liked the Spider Woman. But this is not really the point as Monkey is a total experience. There is so much happening on stage that I completely ignored the surtitles. The fight scenes are wonderfully produced with the main characters flying through the air. Acrobats and dancers fill the stage and the projected animations are stunning and interact superbly with the live action. The final scene with plate spinners making beautiful floral patterns leaves you wanting more.All in all this is a case of the whole being much more than the sum of its parts. I would not normally want to go to a Chinese circus but would happily go to see Monkey again.
I think that it is wonderful what they have done with the Dome, it is now a great venue. I wanted to arrive by riverboat but I am now glad I was talked out of this as it was a really cold day.
The show itself was nothing short of spectacular. The opera is sung wholly in Mandarin with a Chinese cast. The orchestra are heavily augmented with Chinese instruments so it took me a little while to get my ear tuned in, but there are one or two nice arias, I particularly liked the Spider Woman. But this is not really the point as Monkey is a total experience. There is so much happening on stage that I completely ignored the surtitles. The fight scenes are wonderfully produced with the main characters flying through the air. Acrobats and dancers fill the stage and the projected animations are stunning and interact superbly with the live action. The final scene with plate spinners making beautiful floral patterns leaves you wanting more.All in all this is a case of the whole being much more than the sum of its parts. I would not normally want to go to a Chinese circus but would happily go to see Monkey again.
Subscribe to:
Posts (Atom)
