Tuesday, January 13, 2015

Tuesday, January 13, 2015 10:24 am by Cristina in , , , , , , ,    1 comment
Praises for Ruth Wilson, who has just won a Golden Globe, continue. This columnist from Decider is definitely a fan of hers:
Now, some of you might not have heard of Wilson until last night, but we at Decider have been stanning for her since 2006; okay, I’ve been a fan since 2006.
One reason you might not know much about Wilson’s work is that some of her best early television work is not available to legally stream. That means we can’t point you to where you can watch her slay it in Jane Eyre, smolder in The Prisoner, or fall in love with a young and scrawny Tom Hiddleston in Suburban Shootout, but we can hook you up with some great Ruth Wilson performances. (Meghan O'Keefe)
Milwaukee Magazine reviews the Florentine Opera performances of Carlisle Floyd's Wuthering Heights:
It’s should come as no surprise that Wuthering Heights has been “opera-fied” several times (Bernard Herrmann also gave it a go). But Floyd’s vibrant style is a perfect fit for the heightened drama and rich atmosphere of the story. When Heathcliff (Kelly Markgraf) and Catherine (Georgia Jarman) take their first walk on the moors, Floyd’s orchestrations sweep over you like the stiff wind and inundate you with the damp heathery air. His melodic palette is full of ache and yearning, and Markgraf and Jarman colored them beautifully.
Markgraf and Jarman are front and center here, but the supporting cast is also fine. Heather Buck brings passionate colors to Isabella’s rapturous Act Three area, and Chad Shelton—making his Florentine debut—used his ringing tenor to capture the strident personality of Catherine’s controlling brother. Susanne Mentzer brings a touch of serenity and authority to her performance as Nelly, the housekeeper who watches the events unfold.
But the real star here is conductor Joseph Mechavich, who guided the orchestra and voices through Floyd’s often tempestuous orchestrations. He and the ensemble painted wonderful sonic pictures, but always in the service of the story and the drama. Brontë’s 1847 prose is still dramatically charged (if a little bit purple) if we read it today. But performed here, thanks to Floyd’s wonderful way with character, drama and musical textures, it seems as if it was always meant to be on the stage. And the recording should be a powerful representation of its place in American opera. (Paul Kosidowski)
The Irish Times talks about books with writer Kate Beaufoy.
What book influenced you the most? I was lucky that three of my prescribed A-level texts were Alain-Fournier’s Le Grand Meaulnes, Emily Brontë’s Wuthering Heights and Jane Austen’s Persuasion. They took me to the next level, which was an MA in French and English literature at Trinity. (Martin Doyle)
While The Independent looks into former Education Secretary Michael Gove's apparent love of (free) pop culture.
This is the man who insisted that the syllabus for GCSE English literature must include at least one Shakespeare play, poetry from 1789 on, and one 19th century novel. It is down to him that the 17-year-old living in your road is now reading Villette, by Charlotte Brontë. (Andy McSmith)
And yet we can't blame him for that.

Quotidiano Giovani (Italy) comments on the outfits seen at the Golden Globes and apparently,
Katie Holmes in un abito di Marchesa dava l’impressione di essere Jane Eyre appena rimessa a nuovo da Rochester, e poco prima che il disastro li travolga. (Tamara Tampica) (Translation)
We don't see anything Jane Eyre about this, but whatever.

The Daily Geekette enters in his second Jane Eyre readalong week; Pages Unbound continues its Charlotte Brontë week with a post on "Jane Eyre: To Love Is to Be Vulnerable";

1 comment:

  1. Lovely sentiment, but I wouldn't have been nearly ready for Villette at age 17. I'm struggling through it now in middle age (though constantly elated by Bronte's matchlessly passionate prose).