Elvis/Il Sogno, Glasgow, June 21 '08

[johnfoyle]

http://www.glasgowconcerthalls.com/whatson/event/23740

RSNO: Orchestra + : Elvis Costello with the RSNO

Saturday 21st June 2008, 7.30pm

Glasgow Royal Concert Hall

Rock icon Elvis Costello joins the Royal Scottish National Orchestra to perform a selection of songs from his illustrious career, including Accidents Will Happen, Shipbuilding, She, God Give Me Strength and extracts from his first full scale classical orchestra work Il Sogno. Penned by one of Britain's most passionate, diverse and eclectic musicians, Costello's Il Sogno is an impressionistic work tinged with jazz, originally conceived as a score for a ballet adaptation of Shakespeare's A Midsummer Night's Dream.

https://etickets.glasgowconcerthalls.co ... Block.aspx

[verbal gymnastics]

I was hoping that the time he spent in England in June would solely be Imposters shows. It looks like Police support and Il Sogno shows only

[johnfoyle]

It looks like Police support

He is not, alas, doing support slots on the Police's European dates.

[verbal gymnastics]

Sorry. I've been out of the loop for a bit. I thought it was originally announced that Elvis was doing these.

[johnfoyle]

Enter via this link ; hmmm...what a difficult question!

http://www.gigsinscotland.com/viewpage.html?page=2

Win Tickets To See Elvis Costello!

Rock icon Elvis Costello joins the Royal Scottish National Orchestra with Steve Nieve for his only Scottish tour date this year! Don’t miss him LIVE performing some of his greatest hits including Accidents Will Happen, Shipbuilding, She, Watching the Detectives and God Give Me Strength.

You can win tickets to see Elvis Costello!

One lucky winner will be selected at random and will receive a pair of tickets to see Elvis Costello live at the Glasgow Royal Concert Hall on Saturday 21st June.


Simply answer the following question: Whose army did Elvis Costello and the Attractions sing about?

Closing date for entries is 12 noon Wednesday 18 June.

[verbal gymnastics]

Ooh - I think I know the answer!

Tickets are still available for this show. I can't make it as I have to go to a Christening on Sunday morning and with all the best will in the world I can't make it back. Not without being shot anyway.

Sulky Lad is going though.

[johnfoyle]

This extract from Elvis' recent journal entry is a handy guide to this show -


http://www.elviscostello.com/web/guest/ ... urce=30745

For those of you considering attending the concert with the Royal Scottish National Orchestra at the Glasgow Royal Concert Hall on the 22nd of June – and that's an awful lot of "Royal" - you might care to know what you will hear. I can assure you that fancy or formal dress will not be required.

For the last couple of years, Steve Nieve and I have been appearing with orchestras from Honolulu to Houston, from Chicago to Baltimore and, most recently, from Nashville to Minnesota. The repertoire has developed and changed radically since the year 2000, when these adventures began.

This concert in Glasgow and another with the Royal Liverpool Philharmonic on the 25th of June will be the first to consist almost entirely of orchestral arrangements of songs.

Previously, we featured a 30-minute suite from the ballet score, "Il Sogno" and it had been erroneously stated that half of the Glasgow concert would consist of instrumental music.

However, as a guest of these orchestras, I think it is only good manners that they be heard before I enter the scene and start singing. So only a brief, overture-length excerpt from "Il Sogno" will be played, followed by a programme of songs dating from 1977 to the present day.


**********************************************************

These dates will be my first collaboration with these orchestras and the conductor, Clark Rundell. We will also be joined by the rhythm section of Chris Laurence on bass and Martin France on drums with Rob Buckland taking care of the saxophone features in a number of the arrangements.

This team will surely make short work of the more rhythmic songs; a 50s detective-theme arrangement of "Watching the Detectives", Vince Mendoza's psychedelic chart for the Billy Strayhorn composition, "Blood Count", for which I wrote words and re-titled, "My Flame Burns Blue" and the Charles Mingus number, "Hora Decubitus."

These concerts obviously feature more ballad material than rock and roll but both Steve Nieve and I have continued to add to book of arrangements.

Some of this orchestration work was actually done while traveling, as I sensed the elements needed for a more balanced programme.

I wrote the arrangement of "All This Useless Beauty" while trapped in my hotel room by monsoon rains prior to our Honolulu dates of two years ago. Shortly before our last orchestral dates in the autumn of 2007, I arranged a song that I co-wrote with my wife, Diana, called, "The Girl in the Other Room."

Steve Nieve's version of "Greenshirt" is one of my personal favourites, making imaginative use of the woodwind section and calling for one of the percussionists to play an old manual typewriter.

At the end of 2007, I made an orchestral transcription of Chet Baker's trumpet solo from "Shipbuilding" and was amazed to find that with very little additional harmonization, his spontaneous inventions could provide nearly all of the material for the orchestra. In a way, the arrangement is really his work.

There are some songs that lend themselves very obviously to the orchestral setting. We usually feature a couple of songs from the album, "Painted From Memory", a full-string orchestra version of "Still" from "North" and the Charles Azanavour tune, "She."

Some songs have been adapted or re-arranged from my work with the Brodsky Quartet. Richard Harvey – with whom I co-wrote the music for the television drama series, "G.B.H." – provided a beautiful, full-orchestral setting of "Birds Will Still Be Singing" from "The Juliet Letters."

My arrangement of "Almost Blue" was begun for string quartet, as an encore tune on "The Juliet Letters" world tour and has been adapted and expanded until it now features the entire orchestra and closing bars in which I do something unspeakable at the piano, while Steve Nieve takes a solo on the melodica.

***********************************************************

The concerts will also include the first full-orchestral performances of three excerpts from "The Secret Songs", an unfinished work that was commissioned by the Royal Danish Opera as part of the Hans Christian Andersen bicentenary celebrations of 2005.

My version of Andersen story centres on his infatuation with the renowned Swedish soprano, Jenny Lind, who provided the inspiration for a number of his most famous tales and yet rejected his romantic advances, which were feeble at best.

In 1850 the "Divine Jenny" Lind undertook an American concert tour, the first of its kind in scope and acclaim, promoted by the showman P.T. Barnum.

There was certainly a marked contrast in the way the two men regarded and were motivated by Lind. Andersen elevated her to a pedestal of virtuous womanhood and artist ideal, while to Barnum she was more of a marketable entity.

One of the themes of Andersen's story - that of a misfit in love with an unattainable woman - was of particular interest to me and can be clearly understood in the three numbers which will be performed.

Gisela Stille, who sang in the Lind part in the Copenhagen premiere of a "work-in-progress" song cycle in 2005, will sing, "How Deep Is the Red?" – an imagined folk riddle performed on the first occasion Andersen encounters the singer.

This will be followed a ballad in which Andersen recounts Lind's romantic rejection. The title of the piece notes Lind's response when Andersen asked why she could not return his love: "She Handed Me a Mirror".

Finally, a duet, "He Has Forgotten Me Completely" – part of a dream in which Andersen imagines Lind performing his "secret songs" – which stand for the tales that she inspired in real life.

***********************************************************

The Glasgow concert will be followed by an appearance at the Philharmonic Hall in Liverpool on the 25th of June.

My Ma worked as an unpaid, volunteer usher at "The Phil" in the late 40s and early 50s, so it is something of a family reunion to be playing at this venerable institution.



Clark Rundell.

http://divine-art.com/AS/clarkrundell.htm

Chris Laurence
http://www.chrislaurencebass.com/

Martin France
http://en.wikipedia.org/wiki/Martin_France

Rob Buckland
http://www.robbuckland.com/

Gisela Stille

http://www.naxos.com/artistinfo/Gisela_Stille/13130.htm

Fan forum accounts of the '05 Secret Songs shows -

http://www.elviscostellofans.com/phpBB2 ... C&start=50

[johnfoyle]

Anyone here going?

[snapyou]

I'll be there along with my gf who has never heard ANY of his stuff (bar Oliver's Army) !!!

Could be the end of a beautiful relationship (with Elvis or GF)

[snapyou]

Oh,on the tickets it says the show is sponsored by STV.Wonder if they're filming it.

[GCM]

No sign of any cameras there tonight unfortunately.
No hint of anything from Il Sogno, fortunately.

I was initially a bit disappointed to get tickets only in row F, but due to the stage being expanded to hold the orchestra we were actually in the second row, right in front of Elvis.

What a show it was! He kicked off with All this Useless Beauty and what was apparent right from the start was that Elvis was in great voice and that the orchestra sounded magnificent.
The Girl in the Other Room was introduced as being a song by one of Elvis' favourite piano players.
Three songs were sung from the Hans Christian Anderson piece, with the assistance of a female soprano. She sang beautifully, although I have to confess that the songs didn't do much for me.
Green Shirt was given a peculiar but very enjoyable arrangement, but my seats were too near the front for me to see the chap playing the typrewriter!
The first half of the show was about 50 minutes or so and after a 20 minute break they came back out for another 70 minutes-ish.

Veronica was played fairly straight but Elvis absolutely brought the house down with perfect performances of God Gave Me Strength, She, Shipbuilding, Still, Accidents and many others I can't remember right now. As the show came to a close, he did a quiet acoustic version of My Three Sons, The Scarlet Tide and then concluded with the unamplified version of Couldn't Call It Unexpected. I had heard him do that before but this time, with the orchestra, it was just heaven.

Elvis was fairly chatty tonight, poking fun at those who had been to see Bon Jovi across the city at Hampden Park. The point being that there has been torrential rain in Glasgow all evening. Ironically, he accidentally spat at the front row as he mentioned that they would all get a soaking.

Anyway, many standing ovations for an artist right at the top of his game.

I hope someone recorded it for posterity.

[snapyou]

Here's the Set List:

All This Useless Beauty
The Girl In The Other Room
Still Too Soon To Know
Almost Blue

How Deep Is The Red
She Handed Me A Mirror
He Has Forgotten Me Completely

The Birds Will Be Still Be Singing

INTERMISSION

You Left Me In The Dark/Still
Green Shirt
Veronica
Shipbuilding
Watching The Detectives
My Flame Turns Blue
She
God Give Me Strength
I Still Have That Other GIrl
Alison
Hora Decubitius
The Scarlet Tide

My Three Sons (solo)
Accidents Will Happen
Couldn't Call It Unexpected No 4

Fabluous gig which really warmed up in the second half.
(even my gf a :Costello virgin" loved it and cried during My Three Sons !!!)

[johnfoyle]

Misha posts to listserv-

So, I have confirmed, yet again, I don't like opera singers.

The gig was good, but not stellar. It didn't induce one of those amazing
liquid Elvis moments, but it was a very nice night.

He was in a black suit, forgot the tie and shirt, and shiny huge black s
hoes. Looks very happy and content with life, kinda nice to see, really. He was
full of little bon mots.

Kids were at home with wife, then he said he had them playing cards in the
back room, so they could prepare for vaudeville (or something to that effect).
Said they are 17 months old now and diving off of coffee tables. That he
reads stories really well with a kid on a knee, then said, both knees.

In a nice mood.

The music. Hmm.....first half (I'll leave it to some other EC geek to get
you the setlist (like my husband)) was ok. It felt awkward to me. Like they
could have used more rehearsal. I like the arrangements of most of the songs,
but there was one I hated, but can't remember which one. It was in the first
half.

Loved that he singled out the typewriter player after Green Shirt.

He started out on the wrong foot - sorry EC - literally. He came out,
grabbed the guitar, stand fell over, EC put foot in center. Would have been
comical, but he just pulled right out of it, as if it happened all the time. The
conductor righted it, and EC made a crack about it...then we laughed. Nothing
major, but very light hearted fun.

The opera bits. Music...lovely. EC singing, just fine, thank you. Opera
singer? Let's be clear, I don't know crap about opera. I've had loads of times
trying to like opera. I don't. So, the minute blondie walks on the stage, my
spider sense starts tingling. Shit, she's gonna sing.

At first, I understand her. Well, for a second. Then it goes into that
resonating unintelligible stuff, that while amazing someone can emit that sound
from their head, it becomes instantly uninteresting to me. I started planning my
day tomorrow--laundry, don't forget to plant the cilantro, maybe I should
get a yoga dvd, etc. It occurs to me that I have no idea what this woman is
singing. Could be English, French, Italian, Serbian, who knew? It was English,
but I was gone mentally.

A brief intermission then we headed into a nice second half. It was better
than the first half, but still not enough Elvis for me. I like my boy to sweat
for his art. I like him to rip a new one into the audience. I like him spent
when the gig is over. I think he likes that, too, as it appears that he's
wanting more, but is in an arena and mode where he doesn't. Shame, really. I
just felt the orchestra wasn't rehearsed enough, both on the material and in
unison with EC and SN. I expected better, really.

Audience was good and a varied bunch. All talked like either Taggart or
Billy Connelly.

Looking forward to Liverpool on Weds, as, I suspect on his home turf, he's
just going to be more blended with the orchestra. Don't know why, just think
it. (also secretly hoping he dusts off All These Things, just for my own
personal edification---sentimental old fool that I am--yes, I know it ain't gonna
happen).

Ok, enough from me. I'm sure I've bored you to tears.

Back to lurkdom until after Wednesday's gig (though I probably won't write
afterwards, as it's a long drive home back up to Carlisle).

misha, colin & the troll

[johnfoyle]

http://www.theherald.co.uk/features/fea ... t_Hall.php

Music: Elvis Costello and the RSNO, Glasgow Royal Concert Hall

KEITH BRUCE, Arts Editor

The Herald, Glasgow.


June 23 2008


*****
That Elvis Costello should capriciously jettison the Il Sogno dance suite the orchestra had previously learned during his rehearsals for this concert fits with our impression of his iconoclastic character. But in other ways, the journey from the punk sneer that won a lifetime's loyalty across the road at Satellite City 30 years ago to today's beloved entertainer crooning Aznavour and Bacharach is quite remarkable.

Although the RSNO, under the baton of Clark Rundell, played his book of orchestral arrangements beautifully, individual players seized their solo chances to shine, with the brass in particular on top form, and although his quartet of pianist Steve Naïve with jazzmen bassist Chris Laurence, drummer Martin France and saxophonist Rob Buckland, were all superb, this was always the Costello show.

He chatted about his wife and eighteen-month-old twin boys, sang about his grandmother (Veronica), as the son who learned from watching his father Ross McManus front the Joe Loss Orchestra, and as a father himself, with an intensely personal solo, My Three Sons, the only tune from his latest album.
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Elsewhere, the repertoire ranged from his earliest songs - Alison and a huge, swinging Watching the Detectives - to his much less well-known settings of tunes by Billy Strayhorn and Charles Mingus. The arrangements, by himself, Naïve, members of the Brodsky Quartet and others were far from standard, exploiting the possibilities of the symphony orchestra as fully as many a classical programme.

Songs from his composition for Royal Danish Opera on the life of Hans Christian Andersen with Swedish soprano Gilesa Stille as Jenny Lind were the remotest stop in that direction, and yet another captivating facet of an eclectic musical character.

[verbal gymnastics]

Thanks for the reports and set list.

I'm not a fan of Il Sogno at all but I enjoyed watching the excerpts being played. I don't see why this part should have been ditched.

If the first half was about 50 minutes and he only played 8 songs, he must have really been in a chatty mood!

Whilst I couldn't make it I'm glad I didn't. No doubt he'll pull out the stops on Wednesday (when I can't make it either!).

[snapyou]

If the first half was about 50 minutes and he only played 8 songs, he must have really been in a chatty mood!

He certainly was. He went into full explanations of "The Secret Songs" songs telling stories of Hans Christian Andersen ugliness compared to the beauty of Jennie Lind among others.
Got to agree with the previous poster that although Miss Stille undoubtedtly has a wondrous voice as an " instrument" it was very hard in parts to really understand WHAT she was singing.

Other bits,i can remember,Elvis said he had been rehearsing in Glasgow for two days. Steve was looking particularly dapper with "Elvis type" glasses,black suit and beard.
Elvis was wearing a flower print tie and luminous green socks as well as a suit,of course).

Was it just me or did a few songs appear to be a bit on the fast side ?

There was something quite punky about "She" : a trained classical symphony orchestra playing a rather sryupy song with wee Elvis doing a great performance in front of an audience,many of whom seemed to be RSNO supporters rather than Elvis fans. The audience was very restrained in the first half but,as usual,EC picked things up and got a great standing ovation.

My Three Sons was introduced as a "new song I've just written ". It was quite quite beautiful.

He called "CC I U 4 " a "song from the last century",sounded awesome with the orchestra and ,of course, EC singing off mic.

All in all ,it was a wonderful wonderful night.

[verbal gymnastics]

Thanks snapyou.

This type of show is very much in the vein of something you should see once.

Unfortunately the nature of the shows mean that the setlists can't really be varied except for when Elvis sings solo or with Steve. On a "proper" tour I like to go as many times as possible because I know Elvis will change a multitude of songs each night.

[johnfoyle]

http://premier-trade-forex.com/finance/ ... it-1m.html

25 April '10

(extract)

SCOTLAND’S flagship national arts companies performed to more than a million people in their first two years of being directly funded by the public, it was claimed yesterday.

A bullish report by the Scottish Government on the National Theatre of Scotland (NTS), Royal Scottish National Orchestra (RSNO), Scottish Chamber Orchestra, Scottish Opera and Scottish Ballet claimed a series of successes for the five companies.


In 2007-08 and 2008-09, the five companies reached a combined audience of 1,007,812 people. In addition some 5,425 education and outreach events involved 202,370 participants.

The report cited success from international tours of the NTS hit play Black Watch, the RSNO’s collaborations with artists including Elvis Costello, and Scottish Opera’s festival production of The Two Widows.

The five companies, formerly funded through the Scottish Arts Council, were moved to a directly funded status in 2007. They are now overseen by a “Cultural Excellence Team” in the government.

The RSNO, for example, earned a healthy 42 per cent of its income from non-government sources, in performance fees, sponsorship and fundraising, including box-office income, on top of 4 million annually from the Scottish Government. Its audiences were more than 116,000 people.

The report sounded a note of warning about future funding, amid a weak economy and planned government spending cuts. The companies face finding 12 per cent of “efficiency savings” in the coming two years.

[sweetest punch]

Watching the detectives: http://www.youtube.com/watch?v=fKy_Qg4pav4
Alison: http://www.youtube.com/watch?v=kb8cWlTbv7I
Shipbuilding: http://www.youtube.com/watch?v=yh4KorXI760