Drama in the Peak District

WE DROVE TO BUXTON from Macclesfield, crossing part of the Peak District, which was shrouded in dense morning mist despite it being mid-September. The town, once an important spa, is delightful. Its centre is rich in Victorian buildings, as well as some 18th century edifices, such as The Crescent, now a hotel. In appearance, the Crescent, which was built for the 5th Duke of Devonshire between 1780 and 1789, rivals the fine crescents found in Bath. Another notable structure in Buxton is The Dome, now a part of the University of Derby. This huge dome was built to cover a stable block for the horses of the 5th Duke, which was constructed between 1780 and 1789 to the design of John Carr (1723-1807). The dome itself, which is 145 feet in diameter and larger than those covering Rome’s Pantheon and St Peters, was added between 1880 and 1881, by which time the building it covered was being used as a hospital. It is the second largest unsupported dome in the world.

In common with great cities such as Vienna, Milan, Paris, Manaus, London, New York, and Sydney, tiny Buxton also can boast of having an opera house. Located next to a complex of Victorian glass and iron structures including a plant conservatory and the Pavilion with its attached octagonal hall, the Opera House was designed by the prolific theatre architect Frank Matcham (1854-1920) and first opened its doors to an audience in 1903. Live theatrical performances, not confined to opera, were held there regularly until 1927, when it became a cinema. Between 1936 and 1942, the Opera House, although then primarily a cinema, hosted annual summer theatre festivals, two of which were in collaboration with Lillian Baylis (1874-1937) and London’s Old Vic Theatre company (https://en.wikipedia.org/wiki/Buxton_Opera_House). In 1979, the theatre was restored, and an orchestra pit added. Since then, the Opera House puts on a programme of live performances, which include a little bit of opera.  Unfortunately, during our visit to Buxton, the auditorium was closed, but we did manage to enter the lovely foyer with its mosaic-bordered floor and its ceiling painted with a scene evoking the style of 17th and 18th century painters.

The Opera House, the Crescent and the Pump Room opposite it, and The Dome, all add to the charm of Buxton. They are all close to a lovely park, through which the River Wye (not to be confused with the river with the same name in Wales) runs through. Buxton’s Wye flows into the North Sea via the River Humber. High above the park, runs the High Street, where we stumbled across a fabulous bookshop, Scrivener’s, which boasts five floors packed with books, many of them second-hand or antiquarian. So, if it is literature (fiction and non-fiction) rather than drama that appeals to you, this shop is a place that must be visited. 

It was well worth winding our way across the hills to Buxton through the low clouds, which made visibility very poor. The town is filled with interesting things to see, some of which I have described above. However, it was the Opera House that intrigued me most. Had it been given a name other than Opera House it might not have fascinated me quite as much. That a town or city can boast an opera house, gives the place a certain ‘caché’ that places, which do not possess one, lack.

Night at the opera

OPERA IS FOR THE ELITE or, at least, for those who can afford the often-high seat prices. London’s Covent Garden used to offer some reasonably priced tickets, but these only gave access to seats or standing places far away from the stage, from which one could hear the performance, but one only saw what looked like ants moving around on the stage. Once I had one of these ‘budget’ seats at a performance given by the ballet dancer Rudolf Nureyev. I was so far from the stage that, even though my eyesight was excellent at the time, it could have been almost anyone or anything flitting about in time with the music so far away from me. The best I can say is that I have spent time under the same roof as the great dancer even though I could hardly see him.

Floral Hall, Covent Garden, London

In early 1994, my wife, Lopa, became aware that a foundation was offering Covent Garden opera tickets at radically reduced prices to members of south Asian minority communities to introduce them to the joys of western European opera. Lopa decided to investigate this generous offer aimed at what the foundation assumed were ‘culturally deprived people’. She rang the organisation to ask how to become involved in the scheme. An ineffably patronising but kindly lady replied:

“Which community do you come from, by the way?”

“I am Gujarati.”

“All you need is a letter from the association that represents your community.”

“I don’t belong to such an organisation,” Lopa responded.

“Never mind, dear, why don’t you start one, and then contact us again?”

Not once did the lady ask Lopa if she had ever been to the opera. I suppose she assumed that south Asians never watched western European opera.

A short time later, Lopa sent a letter to the foundation on paper she had headed with the words: ‘Gujarati Worker’s Association of Kensington.’ Soon after this, she was accepted on to the scheme, which offered several tickets for each of a selection of top-class opera performances. These tickets were for the best seats and were priced at less than a fifth of their full price, which was still not an inconsiderable amount of money. We attended about six operas, sitting no more than three rows away from the stage. Sitting in these wonderful seats, which in 1994 cost well over £130 each, spoiled me forever. I do not think that I would be happy to attend another performance at Covent Garden unless I sat in seats with as good a view as those subsidised by the foundation.

On one occasion, we invited my father to join us. He was quite familiar the opera house at Covent Garden, having sat in the Royal Box several times with his colleague Lord Robbins, who was Chairman of the Royal Opera House. He accepted our invitation and we sat in wonderful seats watching an opera. I cannot remember which one we saw, but what happened in the interval, has remained in my memory. Dad said that he would treat us to champagne and smoked salmon sandwiches in the so-called ‘Crush Bar’, an exclusive refreshment area in the opera house.

We arrived at the Crush Bar, where a uniformed flunkey stopped all who wished to enter.

“We need a table for three,” my Dad explained.

“I am so very sorry, sir,” replied the flunkey, “all the tables are taken”.

My father reached into his pocket, and withdrew a £10 note before saying:

“Would this help you find a table?”

“Please follow me, sir,” replied the flunkey as he led us to an empty table.

Incidentally, the refreshments my father bought the three of us cost far more than we had spent on the subsidised tickets. 

At each of the subsidised performances we attended, we saw few if any other south Asian or any other people of non-European appearances in the audience. Sadly, the foundation abandoned their scheme about a year after we had joined it. There might have been other schemes that followed it, but we never found out about them.  

Oh, in case you are wondering about the Gujarati Workers Association of Kensington, whose creation was encouraged and suggested by the lady at the foundation, which shall remain unnamed, it still has only one member.

To Vienna and beyond

V Melk Abbey BLOG

 

IN 1971, I WAS AN UNDERGRADUATE STUDENT. That year, I made my first unaccompanied trip abroad. I was travelling by ferry and rail to Vienna and beyond. My late mother, who was very worried about how I would fare, wanted me to stay in a decent hotel for my first night on the Continent. That was to be in Cologne (Köln) in what was then West Germany. Back in 1971, there was no Internet to look up hotels in Cologne or anywhere else for that matter. The only guidebook to Germany in my possession was a pre-1914 Baedeker guide to The Rhine. Amongst the few hotels listed in the book in the entry for Cologne was a Dom Hotel. I rang the international telephone directory operator and asked if the place still existed. It did, and still does, and she supplied the number. I rang the Dom and booked a room for one night. My mother was happy about this, and said that as soon as I arrived, I was to ring her from the hotel.

I set off from London with my luggage in a metal framed canvas rucksack, kindly lent to me by my uncle Sven. I arrived in Cologne in the early evening and soon arrived at the very grand Dom Hotel, the ‘poshest’ in Cologne, in the late afternoon. It was a short distance from the Hauptbahnhof. I was greeted at the bottom of the steps leading up to its main entrance by a liveried doorman. He asked me for my luggage. So, I handed him my well-used rucksack. He held it gingerly as if it were a rat that had been dead for several days. At great expense, I telephoned my mother to assure her that I had survived the journey so far. From then on, she seemed to lose interest in my well-being during my adventure. I was not required to send progress reports back home.

After Cologne, I spent every night in a youth hostel or similar. From Cologne, I travelled by train to Würzburg, where I was planning to see the brilliant paintings by the Venetian painter Tiepolo inside the city’s Würzburger Residenz. Between Frankfurt and Würzburg, there was a middle-aged lady in my compartment. She wore what looked to me like very old-fashioned traditional German clothes including a hat with a feather stuck in its hat band. As the afternoon light began to fail, we began travelling through hilly country. I had just enough German to understand that the barely visible hills we were passing were the Spessart Hills. She told me that they were very beautiful. I have no idea why I remember her telling me about those hills. The next day, having spent a night in a comfortable youth hostel, I fulfilled my desire to view the Tiepolo wall and ceiling paintings.

At each of the German youth hostels in which I stayed, there was a different method employed to wake the guests in the morning. At Würzburg, A young man playing a flute wandered from dormitory to dormitory. At Munich, where I stayed one night, the morning call was someone shouting “Raus, Raus!”, which immediately conjured up thoughts about POW camps in Germany during WW2.

I decided to attend an opera performance on my first night in Munich. I bought the cheapest ticket for Berg’s “Wozzeck”. I note from the Internet that the opera was performed in Munich on March the 23rd 1971, which helps to date my trip. The ticket I bought allowed me to see the opera from the highest tier of the auditorium. When I arrived in my casual travelling clothes, I was the only man in the audience not dressed in formal evening wear. I enjoyed the opera from my eyrie near the ceiling of the theatre.

The following morning just after I had eaten a very modest breakfast, I met my friend, the late Michael Jacobs, at the famous Hofbrauhaus. We had arranged this sometime earlier when we were both in London. Each of us ordered a large stein of lager, probably a litre each. We chatted and drank in one of the establishment’s large noisy halls. Then, we went our own ways. I walked to the railway station with my rucksack on my back. It seemed to me that the hitherto flat pavements had become wavy. The alcohol had gone to my head.

My uncle Felix had recommended that I should make a stop at Linz in Austria in order to visit an interesting monastery nearby. I enjoyed the trip from Linz to Sankt Florian in what looked like an antique tram. The composer Anton Bruckner was associated musically with Sankt Florian.

From Linz, I travelled eastwards to another town with an important monastery. The monastery at Melk is perched on a hill overlooking the Rhine. I spent a night in the town’s youth hostel before continuing eastwards.

Deliberately, I overshot Vienna and continued from there by bus to the small town of Rust on Lake Neusiedl. The water of this shallow lake is shared between Austria and neighbouring Hungary. I was told that if the wind blows hard, the lake shifts position: more of it moves into Hungary or into Austria depending on the wind direction.  From Rust, little could be seen of the lake apart from endless beds of reeds. I was the only guest at the youth hostel because it was so early in the year. At night, I was left alone in the hostel. As I lay waiting to be overcome by sleep, I could hear an incessant croaking of a multitude of frogs coming from the direction of the lake. This strange sound did not help me fall asleep.

The next day, I took a bus to Mörbisch am See, a village on the lake, close to Austria’s border with the then communist Hungary. I asked a village shopkeeper if I could leave my heavy rucksack in his shop so that I could take a stroll. My aim, which was fulfilled, was to see for myself the notorious ‘Iron Curtain’. I walked south of the village and soon spotted the tall watch towers overlooking the no man’s land between the two countries. I only crossed the Iron Curtain for the first time about ten years later. Then, I hurried back to the village because I knew that there was a bus about to leave for Vienna at noon. The bus was waiting. I asked the driver to delay departure while I collected my rucksack. Unfortunately, the shop had closed for its lunch break. The forbearing bus driver helped me find someone to unlock the shop. We set off for Vienna.

My father had an American secretary called Nancy Berg. She and her husband had very kindly torn out and given me the pages about Vienna from their copy of “Europe on Five Dollars a Day”. From this useful source of information, I discovered that there was an extremely cheap, centrally located hostel near Mariahilfer Strasse in Vienna. This was no ordinary hostel. It was subterranean. It had been a bomb-proof underground shelter built by the Nazi Germans. The rooms were somewhat spartan, but each was served by an air-conditioning system that had been installed by the Nazis. The hostel required guest to leave the premises between 8 am and 4 pm. This was not a problem because there was so much for me to explore in and around Vienna.  The hostel was good value as was almost everything else in the city. In 1971, £1 Sterling was worth 80 Austrian Schilling. About ten years later, when I next passed through Austria, £1 only bought 20 Austrian Schilling.

I ate most meals at the popular Rathauskeller under the City Hall, which served good food at very reasonable prices. I particularly enjoyed ‘Gulaschsuppe’. One memorably enjoyable meal was at Grinzing at one of its Heurige, or wine taverns. I was not alone there. My friend Michael Jacobs had arrived in Vienna, where he was about to study German for a few months. He joined me and some other people, friends of my Uncle Felix. They were a couple in Vienna, whom my uncle had met. He was very keen that I should meet them. They invited me to afternoon at their residence in the city. It was a fine day and we sat on their terrace. I remember being given a cup of tea and a warm soft-boiled egg in its shell at the same moment. I had never been given this combination before. I hoped that it was not the local habit to break the egg into the tea. Had it been, I am sure that I would have not been able to even sip the strange mixture that would have resulted. Fortunately for me, the egg was designed to be consumed separately. I introduced Michael to this pleasant couple, and they became good friends.

By the time I travelled to Vienna, I had become a fan of the Dreigroschen Oper (Threepenny Opera) by Kurt Weill and Berthold Brecht. I had a gramophone record of the main songs in this work, which I never tired of hearing. Most people will be familiar with one of its opening songs, “Mack the Knife”. Many years later, I discovered a recording one of Ella Fitzgerald’s renderings of this song to a ‘live’ audience, during which she forgets the words following the first half of it. As luck would have it, there was a performance of the opera while I was in Vienna. I sat spellbound, listening to it at the city’s Volksoper.   

Amongst Vienna’s many attractions, there were several that I particularly enjoyed. One of these was the magnificent fairground at the Prater. This was on a scale I had never seen before. The Soviet War Memorial also sticks in my mind. I loved walking amongst the stalls in a street market that ran along the banks of a canal. Many of the stalls sold food from a part of Europe that I had not yet visited but wanted to: the Balkans and Communist Eastern Europe. Seeing road signs in Vienna pointing to places such as Bratislava and Budapest, both behind the Iron Curtain, thrilled me. I was also delighted by my visits to the Albertina art museum, Schönbrunn Palace on the edge of the city, and the Belvedere within the city.

It is curious that many details of my first ‘solo’ trip to mainland Europe remain in my mind but the return to London by train has left me no memories at all. I can only suppose that I travelled back without making any intermediate stops before reaching the English Channel. One thing that I regret is that I have mislaid the photographs, which I know that I took on this trip. I have an idea that they might be in a remote storage place that we rent on the outskirts of London. This is not accessible at present and even if it were, it might take hours or days sifting through what is being stored there to find them.

 

Photo: Melk Abbey from Wikimedia Commons

 

Out of tune

Highg

 

I have never been praised for having a good singing voice for a good reason. That is because  I do not have one.

I entered north London’s Highgate School, my secondary school, in 1965 having passed the fairly tough Common Entrance examinations. On the second day there, I took part in a football trial, and was advised not to play football at school. Soon after this, all of the new entrants to the school had to take a voice test. This involved standing in a long queue. One by one we reached a grand piano at which the senior music teacher, a Mr ‘Cherry’ Chapman, sat. As each boy arrived at the piano, Mr Chapman pressed one of the piano’s keys, and the boy made a sound. Depending on this sound, Mr Chapman was able to determine who had a voice good enough to be used in a choir and who did not. When it was my turn, I must have made a sound resembling that which you make for the doctor when he asks you to stick out your tongue and say “aaaaah”. My sound disqualified me from joining the choir.

One day a week, those in the choir spent an hour before lunch at choir practice. The rest of us were confined to classrooms where we were expected to read a book of our choice for one hour. This was no hardship in my case.

The pupils at Highgate School were divided into ‘houses’. Each house contained pupils from throughout the school. I was in Heathgate House, a ‘house’ for day boys rather than boarders. There were numerous inter-house competitions for various sports activities. Once a year, there was an inter-house singing competition. Each house had to produce its own choir, choose a song, practice it, and then sing it on the day of the contest. The first time that this competition occurred after I entered the school, Heathgate chose to sing (in French) the aria L’amour est un oiseau rebelle from the opera Carmen by Bizet.

Apparently, my voice detracted from the quality of Heathgate’s choir, and I was asked to leave the other singers. This was possible because the rules of the competition did not insist on every member of a house being included in the choir. Without me, Heathgate managed to win the contest.

Whenever I hear the aria, which was sung in the competition, I remember that event back at Highgate School. Unlike Shakespeare’s Julius Caesar which I had to study for a state examination and grew to hate, I still enjoy listening to performances of Carmen.

 

Picture source: http://www.dailymail.co.uk