The Mikado

It's not often that I use the train, though it suited me yesterday because I was going to see The Mikado at the Grand Opera House in Belfast.

There was no sign of a conductor on the train I took from Sydenham to Great Victoria Street; nor was there a conductor on my train home at about ten thirty or so.

As a consequence I was unable to buy a ticket.

Some might think I'm "having a go" at Northern Ireland Railways, though generally I find their service most satisfactory.

Mind you, the diesel fumes were unpleasant on the platform in the city centre.

Would any future Diesel Tax affect the running costs of this public service, I wonder?

Alighting at Great Victoria Street station, I made a beeline for the celebrated Europa Hotel, a mere few minutes' walk away.

I'm fond of the Europa.

It has withstood many years of civil turmoil and unrest in this city; multiple bombings; major damage.

And yet, despite that, this hotel has survived and, I am glad to say, flourishes as Belfast's most renowned and esteemed hotel.

I was at prep school with Howard Hastings and his family has invested a very considerable amount of money in upgrading and extending the hotel.

I ambled up the spiral stairs to the Piano Bar, where I ordered the customary (!) restorative, accompanied by smoked salmon sandwiches.

The Europa is ideally placed for pre-theatre refreshments because it is virtually beside the opera house (only Glengall Street divides them).

Having spent a good hour or more, happily installed with my iPad, overlooking the famous Crown Bar across the street, I made my way towards the Grand Opera House, one of Belfast's finest buildings.

The Grand Opera House boasts one of the most opulent auditoriums (or should that be auditoria?) in the United Kingdom.

It was designed by Frank Matcham in 1895.


Every time I visit the Grand Opera House in Belfast I always admire the ceiling.

It originally had six painted ceiling panels, the blue sky with stars above the oriental balcony with its small potted palms.

When the opera house was being restored in the 1980s, an artist was sought who could recreate the scene in a sympathetic manner.

Cherith McKinstry was selected.

It was felt that her re-interpretation complemented the four surviving painted roundels, which were re-mounted on fibreglass saucer domes, and the cartouche of female musicians inside the segmental arch over the proscenium opening.

The roundels and cartouche were exquisitely restored and cleaned by Alexander Dunluce, now the Earl of Antrim.

*****

At length the red curtain raised and the show began.

The co-production was by Scottish Opera and D'Oyly Carte Opera.

I'm sure many readers will recall such Gilbert & Sullivan songs as "Three Little Maids", "Tit-Willow", and "I've Got A Little List".

The entire cast was excellent, not least the baritone Richard Suart as Ko-Ko, Lord High Executioner.

I managed to get home in time to be entertained by a particularly animated (!) edition of the BBC's Question Time.

Operatic Matinée

We spent a delightful afternoon at the Grand Opera House, Belfast, yesterday.

Having had an aperitif (!) in the Europa Hotel's piano bar, we walked across the street and into the theatre.

We were watching a lively modern production of Salome, the one-act opera by Richard Strauss.

Beware: visit the loo before taking your seat!

The opera was performed by Northern Ireland Opera.

From our seats in one of the boxes we had a wonderful view of the heavenly ceiling in the auditorium, one of the finest in Belfast (lest we forget the sumptuous ceiling of The Great Room at Belfast's Merchant Hotel).

While I was waiting for M, I had the pleasure of meeting Michael Jay and Fionnuala Jay-O'Boyle.

Mrs Jay-O'Boyle, CBE, succeeded Dame Mary Peters as Lord-Lieutenant of Belfast in 2014.

M and self dined at Flame Restaurant, one of several good dining establishments on Howard Street.

We both had the fillet of beef, which was trimmed and cooked to perfection.

Flame is located on the ground floor of the old Presbyterian War Memorial building, a seven-storey red sandstone block of 1922-25 at the corner of Brunswick Street.

A mural plaque in the restaurant reminds us that it was laid by Lord Beatty in 1923.

Superb Tosca

 

I am watching the Royal Opera's production of Tosca this afternoon and, I freely admit, I find it exceedingly poignant. This is a superlative production indeed.

Bryn Terfel CBE as Baron Scarpia; Angela Gheorghiu (top) as Floria Tosca; and Jonas Kaufmann as Mario Cavaradossi, are all superb. The whole cast is magnificent.

I look forward to revisiting the Royal Opera House during 2012.

Country House Opera

It is more than two years since the august Arts Council of Northern Ireland axed what was uniquely one of the Province's most established and premier events, Castleward Opera.

There has not been any event to match Castleward Opera since then.

The Arts Council of Northern Ireland has seen fit to spend our money on other projects, instead.

A vacuum has been left for an opera festival which could be held in one of our great stately homes. Such a venue would be eminently fitting for al fresco picnics and cuisine or, should patrons prefer, a grand marquee.

Dinner jackets would naturally be comme il faut.

There are splendid stately homes in every county of Northern Ireland and I  have written on this blog about all of them. Simply enter the key word in the white Search box at the top left-hand corner.

My suggestion would be that sponsorship might emanate from the travel industry (airlines, shipping lines); the catering industry (hotels, restaurants); and luxury goods manufacturers and sellers (jewellers, watch makers, writing instrument makers, motor manufacturers); private individuals, including philanthropists, wealthy benefactors).

Hansel and Gretel

It's a night at the opera for Timothy Belmont tonight. Fortunately I was able to find one parking space in Amelia Street.

I'm presently seated in the Piano Bar of the Europa Hotel, Belfast. Service at the bar was annoyingly slow, given that there was a waiter chatting and joking to a waitress at the far end of the counter. Eventually I had to walk over to him and request a drink.

Given that about a dozen people stand up at the counter, effectively blocking those of us who wish to place an order, is unhelpful.

Thence I strode across the street to the Grand Opera House. This evening's production is Engelbert Humperdinck's Hansel and Gretel. I am seated in A3 in the Dress Circle.

The scarlet curtain raised. I groaned despondently. Indeed, the Ulster Orchestra has been splendid as usual. The singing is most satisfactory. However, the props and costumes are spartan and contemporary. Humperdinck may well have turned in his grave.

Frankly, had I been aware that this was going to be a modernized production, I'd have saved my £27. That could have bought a cheap seat at the London Coliseum for Eugene Onegin.

I do hold a grudge against the Arts Council of Northern Ireland and its offspring, NI Opera. I certainly have not forgiven them for their maltreatment of Castleward Opera and its consequent demise.

Tonight's production of Hansel and Gretel, in its contemporary form, has been a disappointment to me. In future I shall inquire as to the kind of production before I part with any money.

It's such a shame that we cannot afford grand opera of the calibre and standard of the Royal Opera.

Moreover, many dress casually or informally in denims and bovver boots or whatever they are called. Coughing, spluttering, talking during performances. Oh, by the way, I am writing this review as I sit in A3 at nine o'clock!

Never mind!

Scottish Rigoletto

I was at the opera this evening. Specifically a performance of Verdi's Rigoletto at Belfast's Grand Opera House.

My first port-o-call was the Piano Bar on the first floor of the Europa Hotel, where I had a quick restorative prior to the show.

At this time of year I'd normally have been at Castleward Opera, though this was impossible since funding for it was shamefully axed by whomsoever sat on the Arts Council of Northern Ireland two years ago. I expect they are proud of that.

This evening I had a good seat in the front row of the Dress Circle. Timothy Belmont had good company, too, viz. Lord and Lady Hutton beside me. We had a terrific chin-wag about Brackenber, London and Belgrave Square. I last saw Lord Hutton at the Old Brackenbrian annual dinner earlier this year.

Re the production: Opera purists may not have been entirely content, given that this production, by Scottish Opera, was a modern variation on the traditional, 16th century Mantua original. The cast were all dressed up in 20th century attire.

Still, despite that and the austere props, it was very well done. Indeed the cast received an ovation at the end which lasted for perhaps five minutes.

When I vacated the Opera House at Great Victoria Street I noticed Lord and Lady Trimble making their exit.

Opera Ticket

I managed to reserve a seat in Row A of the dress circle at the Grand Opera House in Belfast, for a production of Rigoletto this June.

It cost me £47, including their administration "fee"! Almost as dear as an amphitheatre seat at Covent Garden.

I do hope it's worth it; I haven't been to the GOH for more than a year.

And I shan't let our Worthies sitting on the Arts Council of Northern Ireland forget that they destroyed one of our few half-decent seasonal events of the social year in the Province, Castleward Opera, by withholding adequate funding (doubtless preferring to squander our money on something else).

Menotti's Medium

I have just received a "flyer" from the new-born "NI Opera" advertising "NI Opera, in association with Second Movement, is delighted to present The Medium by Gian Carlo Menotti. For a limited time only, NI Opera is offering a 2 for 1 ticket deal. Book now to avoid disappointment. (Offer ends 9th Feb 2011.)".

Eh? Book now to avoid disappointment? I shan't be disappointed, believe me.

When is grand opera and, for that matter, Gilbert and Sullivan, going to return to the Grand Opera House in Belfast?

The last time I attended the Grand Opera House was on the 7th May, 2010, for a very good amateur performance of The Pirates Of Penzance.

Valete: Castle Ward Opera

My disappointment regarding the demise of Castle Ward Opera is already well known. I began a debate about it in February this year, in fact.

The traditions and ambiance of Castle Ward - a country estate - cannot be replicated in an opera house. Any attempt to undermine the Arts Council of Northern Ireland by, for instance, former patrons of Castle Ward Opera continuing the tradition of wearing formal evening dress at alternative venues - such as the Grand Opera House, Belfast - would be frowned upon by them. They would doubtless consider it as "elitist".

I wish to give prominence to this subject. Indeed I received a comment from a member of Castle Ward Opera Company today and it reflects my sentiments; so much so that I shall reproduce it here:-

"As a member of the now defunct Castleward Opera I can sadly confirm the news. The Arts Council have removed funding and forced an unhappy coalition between Castleward and the Opera Fringe Festival. A new Artistic Director has been appointed for the uninspired 'opera company northern Ireland, after much half hearted and disorganised faffing by the Arts Council.

No programme has been put in place but it seems likely that the Opera House will be venue. Castleward will no longer be used. A very sad piece of news indeed. Given that the management at opera house rent the space at an exorbitant rate, we can look forward to endless productions of Carmen and Aida to cater for an audience who think nothing of shelling out £100 to see Lady GaGa at the Odyssey but suddenly start crying 'elitist' when asked to pay roughly half that for a night at the opera.

We are definitely having 2 gala nights first weekend in September, full orchestra, soloists from over the years, extended interval to say a big final Thank You to all our supporters over the years. Should be an amazing and emotional couple of evenings. Hope to see you all there."

No BP Big Screen

It is somewhat disappointing to many citizens of Belfast that the BP Big Summer Screen event has not taken place in the city this year. Why would this be so?

The event has traditionally been held in the Botanic Gardens. Can we presume that Belfast City Council, in its infinite wisdom, is responsible for this? Or am I being unfair? I contacted City Hall and was apprised that "Unfortunately due to financial constraints we are unable to stage this years event".

This year, 2010, it has taken place at the following venues:-

London, Trafalgar Square
Aberdeen, Duthie Park
Bristol, Millennium Square
Derby, Market Place
Dover, Mark Square
Liverpool, Clayton Square
Manchester, Exchange Square
Middlesbrough, Centre Square
Norwich, Chapelfield Plain
Plymouth, The Piazza
BP ICBT, Sunbury
Swansea, Castle Square
Swindon, Wharf Green
Waltham Forest, Walthamstow Town Square

Piratical Romp

I was in Belfast yesterday evening for a performance of Gilbert and Sullivan's Pirates of Penzance at the Grand Opera House.

I dined at Beatrice Kennedy's on University Road, opting for the Express Menu which offered a fair selection. I chose the smoked salmon salad for a starter; followed by slow roast shoulder of lamb with mash and some concoction of vegetables.

The meal was truly sumptuous. I had the most delicious lamb, mouth-wateringly tender, served in a sort of cylindrical roll similar in shape to a small cola can. There was plenty of it, too. I can honestly say that I have not had such a good meal for ages.

The bill, including a bottle of Italian sparkling water, came to £16.75 and I left a £2 tip - feeling generous! Thence I travelled along University Road and Shaftesbury Square to Great Victoria Street, where I managed to get a parking space opposite a Chinese establishment called the Red Panda.

The Europa Hotel was busier on Friday night. There was a black tie function hosted by an institute of some sort. I went up to the counter and ordered a modest restorative, viz. a Bombay gin and tonic; took out the Mini 9 and I am presently writing this article in the Piano Bar.

I moved onwards to the opera house and found my seat, B2 which, though far from ideal owing to its position, had a fairly good prospect. This amateur production of The Pirates, by the New Lyric Operatic Company, was very well done indeed. I do not wish to single out any particular player because, on the whole, they all did very well. The "New Lyric's twenty-piece orchestra" was good, too.

There was some crackling and interference from the audio system at times! Other than that, I've no complaints at all. The costumes they hired were impressive, the pirates dressed in scarlet robes and coronets at the conclusion - barons, viscounts and earls!

B2, not B3!

I have booked a seat for a production the The Pirates of Penzance at the Grand Opera House in Belfast next month. By sheer coincidence I shall be sitting in exactly the same seat, B2, that I moved to on Thursday evening.

B3 was also available in the seating plan, and the irony is that, whilst B2 has a warning on the booking form about a "hand rail in view", B3 has no caveats at all!

My view was uninterrupted at B2 on Thursday evening. It is B3 which ought to have an advisory warning, about people's heads blocking one's view!

I shan't bother booking Scottish Opera's contemporary adaptation of La Bohème in June. I have already seen the traditional versions at the Royal Opera House and Castle Ward in recent years.

From Europa to Figaro!

I never thought I'd be sitting at home writing a bit about my evening out, at the opera house in Belfast. I suppose all's well that ends well.

I motored in to the Province's Big Smoke round tea-time yesterday, parked near Glengall Street - which is almost impossible to park at now - and, armed with the indispensable little netbook, made a beeline for the Europa Hotel. I prefer to indulge in a modest restorative there, which I find more congenial upstairs in the Piano Bar, than the ghastly "add-on" attached to the opera house.

They have a choice of two kinds of gin, Gordon's and Bombay Sapphire. I opted for the latter, which came in a tall glass with plenty of ice, a generous slice of lime and a swizzle-stick. Wish to know what it cost? Gin, £3.60; tonic-water, £1.60. It's a rummy thing, isn't it? I am loth to pay £3.60 for a miniature on Thos Cook's flight, yet cough up at a hotel. Service was quick and attentive. The bar was exceptionally quiet on this occasion. I seated myself at a big arm-chair and turned on the little Dell. It connected me immediately to BT Openzone and I had a strong signal. I wonder why the Europa doesn't have free wi-fi from their own system? Many hotels and places have it abroad.

After seven o'clock I drank up and made for the Grand Opera House, at the other side of Glengall Street. I did what I usually do, walking into the carbuncle extension, taking a hard left into the original building, and up the grand stair-case to the dress circle. My seat was B3.

B3 is a dreadful seat. Don't pay £36.50 for it and avoid it like the bubonic plague. Unless, of course, you happen to be an eight foot six - no, make that nine foot two - giant. The people in front of me - or, rather, their heads - inadvertently impeded my view of the central stage. B1 and B2 were vacant, so I shimmered on to B2 while the opera had merely begun. This proved to be a good move, because I had a clear view of the entire stage. Remember that - B2!

Tonight's production was The Marriage of Figaro, by Mozart. I'm no expert in these matters; it was, I felt, well done. Not particularly lavish, but acting and singing seemed competent to me. There was what I'd call polite applause at the end. It lasted about three hours.

Howard Hastings, whom I was pals with at prep school, was sitting with a party of four further along row B, in the middle. He owns a number of hotels in Northern Ireland, including the Europa. I said Hallo as he passed and we exchanged a few words. He couldn't linger, because others had to stand up to let them through as they passed towards their seats. Still, he noticed the little Dell and asked me how the Leaders' Debate was faring. Incidentally, I was able to obtain an Internet connection in the auditorium, BT Openzone.

I avoided the carbuncle entirely while exiting the theatre, because the original entrance doors were open. When are they going to do something about it? The façade is so incongruously prosaic and modernist, such a contrast to the splendid extension at the Royal Opera House.

I see that the New Lyric Operatic Company is presenting the Pirates of Penzance from the 4th to the 8th May; and Scottish Opera is putting on La Bohème on the 10th and 12th June. I haven't book them, yet.

Castle Ward Opera: Comment

An old pal of mine, whom we last met and enjoyed a snifter or three with at Lusty Beg Island in Lough Erne, County Fermanagh - Ulster's Lakeland - has posted a characteristically thought-provoking message for readers here. Fitzi provides his thoughts on Opera in Northern Ireland.

Having once been an esteemed columnist on Captain Bill Henderson's Newsletter newspaper, he has, without a doubt, immeasurably more insight and knowledge of these matters than me - or should that be I - , let alone the Worthies who now control opera in Northern Ireland; nor is he ever short of an opinion or two.

Fitzi, now that I have made contact with you, please keep in touch with the odd comment on the blog. I'm absolutely delighted to hear from you.

I meant to add that, if I disapprove of any forthcoming new arrangements which omit the Castle Ward format, I simply shan't support the Arts Council, viz. not buying tickets!

Open Letter

To: Dr Rosa Solinas, Arts Council of Northern Ireland

Dear Dr Solinas,

Further to my correspondence recently, perhaps I could assure the Arts Council that, whatever the future holds for opera in NI, I intend to encourage my readers to maintain the proud tradition of dressing formally for the summer season, especially if it takes place at a country house; black tie being obligatory.
I have noted that the Council infers that Castleward Opera has been "exclusive".
Perhaps the Arts Council would care to clarify what it means by "exclusive"? If it is intended to subsidize ticket prices even more, that would indeed be a welcome development.
In my opinion, NI needs to maintain the summer opera season at a country house, with the same successful format; along the lines of Glyndebourne.

With kind regards

etc

Does Castleward Opera Still Exist?

What, on earth, is going on at the NI Arts Council? The Chairman and Board wish to "broaden" opera's appeal in the Province. Perhaps they consider Castleward Opera too "elitist" or "exclusive" for their egalitarian tastes? Does this mean that Castleward Opera has had its financial support stopped; and that a more populist company will prevail?

I do hope I am wrong. The Season at Castle Ward has always been a highlight of the year, with picnicking al fresco and black tie, in the true tradition of grand opera. Has the company been summarily wound up? How much consultation did the arts quango undertake?

What is the meaning of this article?

Evening In Belfast

Never let it be said that Timothy Belmont is not averse to a moderate dose of culture: I am a dedicated follower of Messrs Albert and Harold Steptoe; not to overlook Basil and Sybil Fawlty, I'll have you know. Today's "comedians" are no match for the Steptoes and the Fawltys, Ricky Gervase and Peter Kay excepted.

Bearing that in mind, I motored into town yesterday evening, having reserved a seat in the opera-house for Opera North's production of Così Fan Tutte. I'd hoped to have a meal at Molly's Yard in Botanic Avenue, but my plan was foiled when they told me that they were fully booked in the little bistro downstairs, despite the time being only five forty.

Instead, I indulged in a modest restorative upstairs in the Europa Hotel, which was was quite busy. There seemed to be some sort of journalists' function. I think there was a shortage of waiting staff, because the bar man doubled up as a waiter; and my table was scruffy, not having been wiped and bearing the crumbs of the previous occupants (attention to detail...). It remained unwiped for the duration.

Shortly before 7pm, I made myself as comfortable as possible in seat E12 of the front stalls, which is very close to the stage in fact. I prefer the dress circle. Still, I thought I'd give a different part of the auditorium a try on this occasion. The arms of my seat were almost threadbare, a sign of the eventual need for refurbishment! It's such a shame that we haven't the same largesse at the Grand Opera House as at the Royal Opera House, which is so sumptuous. I suppose it is unfair and unreasonable to compare the two.

With a fine cast of six, the Mozart opera was well done indeed. It was sung in English, omitting the need for subtitles. Costumes and orchestra were good, too; except I felt that the props were not particularly extravagant. Still, they served the purpose.

It was a good evening and I arrived home at about 10.20pm.

Opera Ticket

I meant to mention that I've been using a miniature Beefeater gin bottle as a container for my milk on NT Volunteer days. It seems to do the job very well indeed; just the right amount of milk for two beakers of tea. Helen spotted it today and I responded by apprising her of my considerable collection of mini gin bottles, mostly obtained during flights.

My ticket for Castleward Opera's production of Die Fledermaus arrived this morning. I'm ten rows from the front and as close to mid-summer as feasible, the 17th June. The sun had better be out!

It really is a shame that they were compelled to cancel the second opera this season. I'd intended to attend it too. The cancellation has been due to financial constraints, apparently. Castleward Opera is such a wonderful annual Event in Northern Ireland; it deserves more commercial sponsorship and support. What about an oil company like BP stumping up the requisite funding? That's what is needed. When I read the long list of benefactors for the Royal Opera, it is impressive indeed.

I'm sure there are plenty of corporate patrons entertaining their guests to free hospitality at Castle Ward; they are the obvious candidates to look to for help.

HMS Pinafore

The Carl Rosa Opera Company has produced another splendid show again, one in a glorious line of Gilbert and Sullivan light operas. I enjoyed a fine production of HMS Pinafore at the Grand Opera House in Belfast this evening.

Prior to the show I ambled in to the brand new Fitzwilliam Hotel, which sits beside the opera house. I wished to see what the lounge bar looked like. Thence I turned on my heels and made for the usual haunt for a modest aperitif, the piano lounge bar on the first floor of the Europa Hotel; I find the ambiance there tolerably congenial.

Ten minutes before curtain-up I crossed Glengall Street and darkened the threshold of the Grande Dame of Great Victoria Street, the main entrance of which is now at the carbuncle extension.

The auditorium seemed to be full enough, though the circle and gallery slips were empty; three boxes were vacant too. I thought the props, costumes and cast were all very good indeed. The star of the show, John Savident - the erstwhile butcher on Coronation Street - played the comic baritone in a most accomplished fashion as the Right Honourable Sir Joseph Porter, KCB, First Lord of the Admiralty.

I remained in my seat during the interval and read The Inimitable Jeeves. The performance didn't last too long and I arrived home shortly after five past ten.

A Night At The Opera

A large portion of Glengall Street, running alongside the opera house, was taken up by huge juggernauts last night, all belonging to Scottish Opera. They even had a lorry for their own orchestra. I'd arrived a little earlier in order to have a pre-theatre aperitif in the first-floor lounge bar of the Europa Hotel.

I'd considered having a meal at Deane's or elsewhere prior to the opera; however, I didn't bother in the end.

The bar was just as I liked it: warm, quiet, a good choice of seating and an agreeable ambiance. It's much better to spend awhile here than that ghastly, modern, claustrophobic carbuncle extension attached to the Grand Opera House.

At five past seven I finished my drink and made directly for my seat - A21 - in the dress circle. As is my custom, I shunned the carbuncle and entered the original splendour of the opera house, up the old stairs to the first floor. We had a full house this evening; even the gallery slips were filled.

It always feels such an occasion to be at the Grand Opera House with its sumptuous, lavish interior; the ethereal ceiling with its frescoes gazing down at us; the gilded plasterwork and red velour seating. It must surely rank among the most beautiful theatres in the British Isles, if not Europe.

Scottish Opera's production of the tragic grand opera, La Traviata, was absolutely stunning. What more can I say? The performance was superb, including that of the orchestra. The applause and cheering at final curtain was one of the longest I'd seen for many years; it must have lasted for over five minutes at least. They'll be back! Such acclaim is irresistible.