Posts Tagged Puccini
2016 in TV, theatre and music
Posted by cathannabel in Music, Television, Theatre on December 13, 2016
I’m very conscious that I’ve watched very few of the series which are getting the Best Of accolades from the quality press. Some of them are sitting on our BT Vision box waiting to be watched, others we didn’t catch on to until they were underway and so are now waiting for the repeats.
Some of what we did watch was old stuff, the crime series that circulate on the Drama channel or ITV3, of which the best was undoubtedly Foyle’s War, for its meticulous attention to historical detail and the wonderful, understated central performance by Michael Kitchen.
We came late to the Scandi party, having missed The Killing altogether, and caught up with the Bridge only on the most recent series, but did enjoy Follow the Money (financial shenanigans), Blue Eyes (politics and right-wing terrorism), Trapped (murder, human trafficking and a heck of a lot of snow). And whilst we wait for Spiral to return, we saw its late lamented Pierre being an unmitigated shit in Spin.
We enjoyed the latest series of Scott & Bailey, Shetland and Endeavour. But the prize here goes (again) to Line of Duty. Vicky McClure and Keeley Hawes were both formidable and the tension brilliantly ramped up.
The Returned returned. Series 2 was as full of mystery and atmosphere as Series 1 and thankfully did not feel the need to offer tidy solutions. It left loose ends, but in a way that suggested the cyclical nature of events rather than anything that could be resolved by a third series.
Orphan Black’s penultimate series was as always thrilling and funny and complicated, with Tatiana Maslany triumphantly playing multiple roles, with such confidence and subtlety that I still occasionally forget that it’s all just her.
The Walking Dead ended its last season on a horrific cliffhanger, and the opener was pretty grim as well. I have doubts about the series – it is inevitably repetitive: our group finds what looks like a haven, the haven is compromised/invaded, a few of our lot are offed, a few new bods tag along, and on they go to the next apparent haven. The big shift is that as the series have progressed, the greatest danger is no longer from the walkers, since their behaviour is predictable and the survivors have developed effective tactics for defence and despatch, but from other more ruthless survivors. This is interesting territory (the walkers themselves are pretty dull, after all), but I’m not convinced by the way the writers are handling the current storyline. And they’ve shown a worrying tendency to make people act out of character, to do utterly stupid things that they know are utterly stupid, in order to move the story along. So, the jury is out, but I will be watching, whatever.
We also thrilled to The Night Manager, London Spy and Deutschland 83, and to the latest adaptations of War and Peace, and Conrad’s The Secret Agent.
The A Word was wonderful – I know that parents of autistic children had some quibbles, particularly about the way in which children who are ‘on the spectrum’ so often are shown as having special abilities, like Joe with his encyclopaedic knowledge of 80s pop, which is not always the case. But this was the story of one child, and his extended family. The performances were superb, the writing subtle and nuanced, and the image of Joe marching down the road, earphones on, singing ‘World Shut Your Mouth’ or ‘Mardy Bum’, will stay with me for a long time.
Raised by Wolves had a splendid new series, and then was inexplicably and inexcusably cancelled. Still hoping that Caitlin Moran’s crowdfunding project gets sufficient support to bring it back.
Normally my TV of the year would include Doctor Who, but we’ve had a hiatus this year, and will have to wait till Christmas Day for the special, and then 2017 for a new series (and a new companion). Meanwhile there was Class, on BBC3, which got off to a promising start, but as I’ve only seen 3 episodes so far, all comment and judgement is reserved until we’ve caught up.
At the theatre this year we saw two Stage on Screen performances at the Showroom – the Donmar Warehouse production of Liaisons Dangereuses, with Dominic West and Janet McTeer, and Anthony Sher’s magnificent and heartbreaking Lear.
Patrick Stewart and Ian McKellen at the Lyceum Theatre in Pinter’s No Man’s Land were deeply unsettling as well as darkly funny.
And we saw a glorious reimagining of The Duchess of Malfi, transported to West Africa, as Iyalode of Eti.
Opera North at Leeds Grand Theatre – Andrea Chenier, Giordano’s French Revolution tale of loyalty and revenge and love. And a glorious Puccini double bill – Il Tabarro, and Suor Angelica.
Of course there was Tramlines, about which I have rambled euphorically already. There was also Songhoy Blues in a Talking Gig, performing (and talking) after a showing of the remarkable documentary They will have to Kill us First, about the repression of music in Mali by Islamist extremists. Malian music is something else I have rambled euphorically about, and Songhoy Blues in particular.
Two gigs in the Crucible Studio, the first under the auspices of Sheffield Jazz – The Kofi Barnes Aggregation, a collaboration between two splendid, but very different, saxophonists. And the Unthanks were as spinetingly and goosebumpy and lump in the throaty as I could have imagined, whilst being, in person, down to earth and funny and delightful.
Of course the year began with, in the space of just a couple of days, hearing the new CD from a musician whose music has been part of my life since I was a teenager, and then learning of his death. David Bowie is far from being the only important musical figure to pass away this year – indeed, that great gig in the sky is looking pretty crowded now, with Prince, Leonard Cohen, Keith Emerson and Greg Lake, Sharon Jones, Mose Allison, Pete Burns, Prince Buster, Gilli Smyth, Alan Vega, Dave Swarbrick and George Martin, to name but a few, rocking up over the course of the year. But Bowie was the one who meant the most to me.