(no subject)
Dec. 23rd, 2013 12:22 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
There’s a gorgeous mural in my neighbourhood, adding colour and interest to the streetscape, and to what would otherwise be a blank, featureless, windowless brick wall. So naturally some moron decided to graffiti “No Pipelines” all over the flipping mural instead of over the nearest blank wall. And there were several suitable blank walls within a reasonable distance. In my neighbourhood you’d probably get plenty of people agreeing with the “no pipelines” sentiment. But not on the MURAL! People can be so painfully stupid sometimes.
I am finally going to see Catching Fire after work today, assuming I’m not too tired by the end of the day.
I went to Festive Bach Cantatas for Christmas on Sunday at the Chan Centre, and it was thoroughly disappointing. I’m not sure if I’m going off early music in general, or if it was just not a very good concert, but I was BORED, for the second concert in a row. There was both an incredible disappearing soprano and an incredible disappearing tenor, in different ways. The soprano, Catherine Webster, only appeared for the first quarter of the program, then never re-appeared, not even to take a bow at the very end. Why would you design a program with two sopranos, and only use one of them for most of the concert? The tenor, Aaron Sheehan, was physically present the whole time, but sort of metaphorically disappeared under the weight of the orchestration.
I am finally going to see Catching Fire after work today, assuming I’m not too tired by the end of the day.
I went to Festive Bach Cantatas for Christmas on Sunday at the Chan Centre, and it was thoroughly disappointing. I’m not sure if I’m going off early music in general, or if it was just not a very good concert, but I was BORED, for the second concert in a row. There was both an incredible disappearing soprano and an incredible disappearing tenor, in different ways. The soprano, Catherine Webster, only appeared for the first quarter of the program, then never re-appeared, not even to take a bow at the very end. Why would you design a program with two sopranos, and only use one of them for most of the concert? The tenor, Aaron Sheehan, was physically present the whole time, but sort of metaphorically disappeared under the weight of the orchestration.