The Qatsi Trilogy: Human Condition on the Big Screen

Production still: 1983 IRE

By Mateusz Jazdzewski

Philip Glass is undoubtedly one of the biggest contemporary names at this year’s Festival. His success comes from his ability to fuse classical music with mass culture. He is far from a pop idol, but film buffs and regular cinema-goers appreciate his work in films like Elena, The Hours or The Illusionist. However, none of these films has brought him as much fame as his collaboration with Godfrey Reggio on Koyaanisqatsi, an intellectual and visually attractive critique of contemporary world order. Having followed the success of the first film he then composed the score for the rest of the trilogy, Powaqqatsi and Naqoyqatsi. During screenings of the trilogy, complete with live music from the Philip Glass Ensemble at the Edinburgh International Festival, we will find out if the films still influence the audience to the extent they did on their release.

As a 21-year-old today, I cannot imagine a film having as much impact as Koyaanisqatsi had on young people in 1982. What was so striking about the film that led to it gaining cult status? Perhaps it was the new aesthetics it presented that shocked the audience - Koyaanisqatsi does not have any plot, instead the audience watch seemingly chaotic sequences presenting heaven, coastlines and forests. They are confronted with images of contemporary cities, full of rushing people and modern architecture. The films offer their own disturbing vision of the world, which declines in parallel with technological development.

This idea was further explored in Powaqqatsi. Here, the impact of Western civilisation over Africa and Asia is questioned. Images of people harvesting and carrying food are contrasted with images of poverty and diseases. Naqoyqatsi, the most recent work released in 2002, is the sad conclusion drawn by Reggio and Glass on the fate of our planet. After destroying natural resources and gathering in massive cities, self-destruction seems the only outcome for humanity. The film depicts our admiration for and the media’s obsession with war, technology, the arms race and tragedy.

The films would not have the same visual impact if it was not for Glass’ illustrative and arresting score, and the Qatsi Trilogy still inspires filmmakers today. Festival audiences will benefit from watching the trilogy on the big screen and listening to the score performed live by Glass and his orchestra. Whether the trilogy will make the same impression as it did on its release is hard to measure, these films have put a significant stamp on the history of cinema.

Koyaanisqatsi
Saturday 13 August, 8.30pm, The Edinburgh Playhouse
www.eif.co.uk/qatsi1

Powaqqatsi
Sunday 14 August, 8.30pm, The Edinburgh Playhouse
www.eif.co.uk/qatsi2

Naqoyqatsi
Monday 15 August, 8.30pm, The Edinburgh Playhouse
www.eif.co.uk/qatsi3

The Edinburgh International Festival runs from 12 August – 4 September.

Browse the programme and book online at www.eif.co.uk or call 0131 473 2000.

This article has also been published on stv.tv which features reviews, previews and features from this year’s Festival.

East Meets West: Close Encounters of a Cultural Kind

By Mateusz Jazdzewski

Sir Roger Norrington

This year’s Edinburgh International Festival deals with the meeting of two cultures – east and west. Elements of the programme, curated by Festival Director Jonathan Mills, could be viewed as challenging the tastes of audiences often perceived to be euro-centric. However sceptics may come across a surprising revelation – that western culture’s love of the east is not in fact a novelty but has been happening over hundreds of years.

The first encounters between European and Oriental cultures can be found in ancient Greece, when philosophy and art began to mingle its ideas with the heritage of conquered cultures such as Persia, Mesopotamia and Egypt. But the real flourishing in the fashion for orientalism took place in the 18^th and start of the 19^th centuries – a cultural phenomenon resulting from colonial expansion in the east. European travellers made grand tours to the Middle East, Africa, China and beyond and those artists now known as the Romantics began to focus their work on the unknown exoticism of the east.

Tomorrow’s Opening Concert sets the tone for the rest of the Festival with Robert Schumann’s Das Paradies und die Peri, performed by the Scottish Chamber Orchestra and conducted by Sir Roger Norrington. The oratorio is based on Thomas Moore’s tale Lalla-Rookh, the beautiful myth of the fallen angel Peri who tries to re-enter paradise by finding the gift held dearest by the gods. It is one of the brightest musical examples of 19^th century European orientalism, blending the European aesthetic with eastern poetry. So successful was the fusion of these factors that the piece became one of Schumann’s greatest successes.

Das Paradies und diePeri seems the perfect choice for the Festival 2011 Opening Concert, with the spellbinding music providing the soundtrack as we begin to consider relations between east and west and the changes they have experienced over the years and the centuries.

The piece was written at a time when Europe was expanding and often imposing its own rules and traditions on conquered lands, but for contemporary audiences it also reflects the desire of this year’s Festival programme to present the beliefs and achievements of other cultures with curiosity and respect. And the value of showcasing Asian art on the European stage can also be seen not only as artistic but political, as we reassess the role of our continent on the world stage. Through shared art and culture, 21^st-century Europe, and indeed the whole world, can promote and understand the shifting parameters of the global landscape.

Das Paradies und die Peri
Robert Schumann

Scottish Chamber Orchestra
Sir Roger Norrington Conductor
Edinburgh Festival Chorus

Tickets available from eif.co.uk/opening or 0131 473 2000

Become part of the IN crowd at the Edinburgh International Festival

By Emma Caldwell

For three weeks every August, the Edinburgh International Festival offers the chance to experience some of the best music, opera, theatre, dance and visual art that the world has to offer. This year’s Festival is bringing the diverse cultures of Asia to Scotland’s capital city, with offerings from China, Japan, India, Korea and Vietnam. By becoming part of the IN crowd, you could enjoy the Festival in style by gaining access to special offers, discounts and experiences that money just can’t buy.

Launched in 2010, IN provides festival fans in their 20s and 30s with unique opportunities to attend performances, VIP parties and a year round programme of special events. Fancy getting an insight into what goes on behind the scenes at a Festival production? IN gives members the chance to hear world famous directors, performers and artists talk about their work. Want to get up close to Festival productions? Then you could get an exclusive tour of theatre sets and backstage areas not normally open to the general public. There are also 50% ticket discounts on a range of Festival performances, meaning you can see world-class productions for bargain prices.

At the launch party for this year’s IN events, guests were given the rare opportunity to step on to the stage at the Festival Theatre, Edinburgh, with DJ Brian D’Souza entertaining the crowd. The INsiders were treated to drinks and previews of Festival performances, giving them the chance to experience this year’s Festival programme up close.

IN members can look forward to a variety of VIP events and offers during the Festival and all year round. From 12 August INsiders will be able to attend exclusive drinks receptions, tour the sets of world-class productions and gain access to private Platinum Lounges at selected Festival performances.

Annual membership to IN costs just £25, so if you want to get the most out of the Edinburgh International Festival 2011 – join the IN crowd and get INvolved! For more details or to join online visit eif.co.uk/insider.

Edinburgh International Festival
12 August – 4 September
www.eif.co.uk

Confessions of a Chorus Member: Jack Kirk

A black, wet and windy late 20th century November night: I’m in my mid-30’s, recently returned to Edinburgh. A friend has fixed up an audition for me with the Festival Chorus after their rehearsal this Tuesday evening. He says it’s a good choir. Well, I could join for a year or two. An audition? – no great problem.

I arrive at the venue, find the stairs for the fourth floor. I’m on the first few steps when, evidently after a pause in the rehearsal, I suddenly hear the choir far above launch into the start of the first movement of Mahler’s 8th Symphony. I am transfixed. I have never heard a sound like the sopranos I am now hearing. They are rising to a tremendous fortissimo high note, truly thrilling – then over two or three bars descending melody they diminuendo to an exquisite pianissimo and a brilliant accompanist is taking the music on into a piano dolce section, amazingly simulating a full orchestra plus soprano soloist.

As I wait outside the room I know that I badly want into this choir. I no longer fancy myself, this is no stroll. I need to pass this audition.

Twenty minutes later I’m in, on probation as a 1st bass. It appears that work on my voice is required, actually a lot of work. But I’m in.

Fast forward a couple of decades and I’m still in. The Festival Chorus has given me a fantastic musical education. I have got to know, and know well - from the inside - marvellous music by marvellous composers, much of which I might never have heard otherwise, let alone grow to love - taught to me by great musicians. There’s immense interest in seeing a brilliant conductor at piano rehearsal operate within a very tight timescale, testing and educating the chorus, in the process entertaining us with wit and charm, then later maybe surprising us with fresh nuances even in the performance.

There have been great concerts and fabulous foreign tours. But nothing beats a Tuesday evening, often the ones I have felt least like turning up for, when some powerful mix of great music, humour, intellectual demand and simple corporate energy just leaves ordinariness far behind. Donald Runnicles once complimented the Festival Chorus on its reputation for taking hold of a performance and energising it. I know what he meant because it happens for me on so many Tuesdays. Audio replays are in my head for good – the tenors singing “Et Incarnatus Est” from the Bruckner E Minor Mass, the women with “Huic ergo parce Deus” from Verdi’s Requiem, many more. Any Tuesday night could hold a moment like that.

Arthur Oldham said that Giulini told him, “You've a marvellous chorus, but the voices are all white. Now you have to look for the reds and the blues and the greens.” That’s encouragement that my voice supplies something in the blend – though I hope it isn’t a loud pink.

A Day in the Life of...Temporary Photos Officer, Erin Hickey

Photo: Erin with Lemi Ponifasio

Picture this with Erin Hickey, Temporary Festival Photos officer...

I do like a good picture story. It might first appear that taking a picture during the Festival in Edinburgh is straightforward; there is always something going on and all you have to do is point the camera and shoot. That’s not always the case. There is a lot of planning that goes into making a photo call run smoothly, from brainstorming ideas, contacting performers, tour managers and venues to get permission, drafting invites to photo calls, speaking to photographers and making travel arrangements. But the end result of all of the hard work and organising makes the Festival experience worthwhile. And the best part is seeing the photographs in print (including a few front pages!) and online.

One of my favourite experiences of the Edinburgh International Festival this year was meeting a very talented designer named Charlotte Helyar who designed and created a remarkable gown made completely out of Edinburgh International Festival brochures. The dress was worn by a soloist from the opening concert El Niño. I was incredibly proud that the team work and dedication paid off when a picture of Kelley wearing the dress was featured on the front cover of the Scotsman.

Part of what makes the Festival so great is working with a team of people who are as passionate about theatre as you are; Charlotte Anderson, my colleague in the Photos team and I have had a great time, looking after photographers at different venues and getting to see dress rehearsals of the fantastic shows on this year (my favourites being Porgy and Bess at the Festival Theatre and hearing the RSNO play Rhapsody in Blue during their rehearsals for Rhapsodies in Red, White and Blue at the Usher Hall.) It was great fun to literally be backstage and meeting some fantastically talented performers – including, I might add, striking my best ballet pose with the Alonzo King Lines Ballet!

You can see a selection of Festival photos here.

A Day in the Life of...Temporary Festival Press Assistant, Lucy Howe

Our fabulous temporary Festival Press Assistant, Lucy Howe, talks kangaroos, photo calls and why she was nicknamed 'Girl on the Street'...

Interning at the Edinburgh International Festival has been a great experience and the press office has been especially fun. We’ve had ‘Thinking-Hat Saturdays’ where the entire office have worn sailor hats made from newspaper, Australia Day where an Australian accent is compulsory once through our office doors, and copious supplies of coffee, cake, biscuits and haribo placed strategically on my desk – yum.

Labelled ambiguously as ‘festival press assistant’ (but also apparently ‘girl on street’ – in the nicest possible way!) I’ve been given numerous different roles, the most random being the distribution of 10 inflatable Kangaroos around Edinburgh. But mostly I’ve attended photo-calls (keeping an eye on unruly photographers – “No, the door labelled ‘STAGE ACCESS, DO NOT ENTER’ is NOT the door to the auditorium...”) helped our Broadcast Liaison when she’s super busy (which included a 4-second appearance on the BBC Culture Show – my moment of fame!) and even taken part in a photo-call (I was the US Flag behind Jonathan Mills – my 2nd moment of fame!).

I have also been an honorary member of the digital marketing desk which has allowed me to interview some of our luckier stars of this year’s festival such as the Labeque sisters and Alonzo King for our audioboo, recorded audience voxpops for the longer-running productions, and looked after the ever-increasing different bodies of social networking sites such as blipfoto and flickr. Phew. It’s been busy, but also great fun and given me the chance to see many amazing performances from around the world, and already I can’t wait for next year.

Over and out.

Listen to the Artist interviews and audience vox pops from Festival 2010 here.

What the Audience thought: Sin Sangre (Without Blood)

We were at the King's Theatre on Saturday 28 August asking the audience what they thought of Teatro Cinema's Sin Sangre (Without Blood)

Festival Director, Jonathan Mills

Festival Director, Jonathan Mills shares his favourite Festival moments so far and gives his recommendations for the final week.

We’re nearing the end of the second wave now.

I had a fantastic night this week with the Gospel at Colonus cast at Giulianos, it is a great place to hang out after performances and there was an amazing atmosphere with such a huge cast filling the restaurant. It was like Harlem had come to Leith. There was a lot of joy in those performances, it was great to see the effect it had on audiences.

I had a wonderful encounter with Carmen Romero, Director of the Santiago Festival, this week. We saw Sin Sangre together in Santiago two years ago, and actually the last time I saw her was with Pina Bausch, which was also the last time I saw Pina. The audience at last night’s opening of Agua absolutely loved it, it is an incredibly fun piece.

It has been great to have the constant presence of Gunther Schuller and his idea of moving from one dimension of his career with Ives and Rhapsodies in Blue into a completely different genre, replicating his life in New York in the 50s. He told me the other evening that in the 50s New York had 127 jazz clubs, now it has just 7 and a half.

We are about to enter the final week of performances and there will be a massive influx of Australians with the Sydney Symphony Orchestra and Opera Australia. I am looking forward to welcoming them to the Festival and to Edinburgh and showing them something of the city. Get yourself to see Bliss this week, it is a fabulous opera, stunningly staged. If you are a fan of Kronos, or Meredith Monk, or a little adventurous with your cultural experiences then this is unmissable.

Confessions of a Chorus Member: Derek Calder

Festival Chorus Member Derek Calder, talks his thirtieth Festival, his loss of Tuesday evenings and his all time favourite memories...

It’s hard to believe, but this is my Thirtieth Festival! Just think, for the past 30 years, I’ve rarely had a Tuesday evening free … after all, that’s when the Festival Chorus rehearse!

‘How did I get into it?’ is a question that’s often asked. I started all those years ago when I was a student, and the opportunity to spend a three weeks singing in America was not to be turned down. So my introduction to choral music at this high standard was with the SNO Chorus, performing Prokofiev’s “Alexander Nevsky” at the Hollywood Bowl! That was closely followed by Verdi’s Four Sacred Pieces, conducted by Maestro Guilini at the same venue, with an audience of 12,000! After experiences like that how could I not fall in love with choral singing!

Following those experiences I auditioned for the Edinburgh Festival Chorus. Why the Festival Chorus? Well, at the time, I was a student in Aberdeen and in those days there was an Aberdeen section of the Festival Chorus which was rehearsed by my singing tutor, John Hearne. I had to audition again for the then Chorus Master of both the EFC and the SNO Chorus, John Currie and thankfully was successful; every re-audition is a nerve-wracking experience, even after 30 years!

Looking back fondly over my past 30 years with Festival Chorus I have many great memories, too many to list here.

However I have to mention performances such as:

• Verdi Requiem in 1982, Claudio Abbado conducting, Jessye Norman and Jose Carreras amongst the soloists.

• Filming Handel’s Israel In Egypt on the shores of the Red Sea.

• A Proms performance of Beethoven Missa Solemnis at the Royal Albert Hall with Sir Georg Solti conducting.

• The first time I ever performed Britten’s “War Requiem” – an unbelievable experience!

• Recording Mozart’s Idomeno with Sir Charles Mackerras.

• Surviving and enjoying Schoenberg’s Moses Und Aaron!.

• The amazing experience of performing Messiaen’s St Francis of Assisi.

• The personal discovery of the music of John Adams, such as this year’s opening concert ‘El Nino’ and ‘Harmonium’ which we performed as a late night concert several years ago.

Plus more trivial memories, such as:

• chatting with Bryn Terfl about his round of golf at St Andrews during a break in a recording session.

• sharing Polo Mints with Dame Janet Baker.

• having coffee with Dame Cleo Laine.

And finally:

• all the great friends I’ve made over my years in the chorus.
  

Not to mention all that I’ve learned from the Chorus Masters we’ve worked with: John Currie, Arthur Oldham, David Jones, Christopher Bell, plus visiting chorus masters – each different in their own way.

After Thirty years how can experiences like these be beaten? I’m not sure, but I’m certain that Jonathan Mills and Christopher Bell will no doubt try!

Artist Interview: The Wooster Group

Ed McKeaney, General Manager of The Wooster Group talks arriving in Edinburgh, rehearsals and what happens in the run up to showtime!

The first of us began arriving in Edinburgh on the 17th – slightly jetlagged after our 90 minute delay at JFK airport in NYC and 250 minute layover in Amsterdam – including all of the technicians, the director and the company manager (me). On the 18th is when the performers, costumer and producer followed; with equal lag. Bozzy, our production manager, had been here the longest – he flew from NYC to Antwerp on Thursday the 12th where he, and a team of workers converted our European set from HAMLET to VIEUX CARRÉ then loaded it onto a truck along with the rest of our freight that had arrived from the US a few days earlier. In the end, we all made it safely and ready to begin the next phase of VIEUX CARRÉ. (If you want to hear about the first performances of VC in France, you’ll have to find one of us at the bar after a show…).

Then the fun began, a quick three hours of grid setup in the Royal Lyceum on Tuesday night after our friends and colleagues, Elevator Repair Service, struck their set and equipment. The next two days, the technical crew worked 14-hour shifts getting the theater ready for rehearsals. Meanwhile Cynthia, our producer, and I were busy at the Hub finalizing the program, scheduling interviews and photo calls, and of course continuing to keep the operations of the Group going overseas (via multiple wireless internet connections – found in coffee shops, pubs, cafes, the hotel, etc.)

On Thursday, the performers prepared for the first day of rehearsals with a few hours of video watching and then mic checks on stage.

On Friday, the morning hours will be spent with the tech team making some adjustments before rehearsal where we will be visited by two Festival audio-describers and a photo team. Dinner break. Repeat. A second four-hour rehearsal followed by notes and adjustments.

Saturday, August 21 – the day of the first show will start with a final early morning of tech notes, four hours of rehearsal, a quick hour-dinner and then a 6pm show call for the whole team. Make-up and costumes are put on. Lights, video, sound and effects are checked. The audience is let in the house and we begin – performance #1 of VIEUX CARRÉ by Tennessee Williams at the Edinburgh International Festival.

Artist Interview: Joyce DiDonato

We spoke to Mezzo soprano, Joyce DiDonato, ahead of her two performances at the Edinburgh International Festival 2010, Idomeneo and a recital with pianist David Zobel at the Usher Hall.

What is the most challenging piece that you will be performing at this year’s Festival?

The role of Idamante is incredibly challenging! The opening aria is an incredible challenge to sing because the vocal range sits quite high without much of a rest at all, not to mention that it is super emotionally charged! After that, the entire recital program I'll sing on Sunday is challenging, but SUCH a joy to sing!

The Italian language features heavily in your repertoire, is this your preferred language to sing in?

I speak Italian relatively well, so it's a language I'm quite comfortable in - I can play with the words as if I were speaking English, and that's a very powerful tool as an artist. But I do love French as well - the smoothness and expressiveness of that language is very special. If I HAD to choose, yes, it would be Italian, I suppose.

You have had the opportunity to perform all the over the world, are there any cities or venues that hold a special place in your heart?

London has been very good to me, as has Paris and many of the US venues. It's too difficult to narrow it down because I find such special qualities about all the cities I visit. I'm enjoying Edinburgh tremendously, and after the patience the audience showed me last year with the lights going out before we could even get started, it just may well become an absolute favourite of mine!

Of all the people you’ve worked with, who has influenced you most as a performer?

Well, I have to say that working with the late, but oh-so-great Sir Charles Mackerras left an enduring, deep impression on me. I will miss singing with him very, very much. But I learn from so many people - the good colleagues, as well as the bad, and at the top of the list must be Frederica von Stade. Her unbridled generosity, simple sincerity and utter honesty as a performer continue to inspire me greatly and she serves as a unique role model to me in so many ways.

Do you have an all-time favourite role?

NO! And please don't make me choose! I love them all - almost without exception. I get to work with the greatest masters of history: Mozart, Bellini, Strauss, Handel, Bach, etc and they each provide an incredible platform for discovery and depth, that I revel each character I get to sing!

Are there any orchestras that you would like to get the chance to work with in the future?

I have had so much good fortune so far - the only thing missing is some repeat performances with groups like the London Phil, London Symphony Orch, NY Phil, The OAE - so many great ones that I've only sung with once. I'd love the chance to get to deepen my relationship with them.

How will you relax after your Festival performances?

After 5 months on the road here in Europe, my husband and I plan a short vacation to California to stay at a heavenly spa in Big Sur, and THEN TWO WEEKS AT HOME, TOGETHER! That is the real vacation!!!

You can read Joyce DiDonato's own blog here.

Find out more about Joyce DiDonato's recital here.

Artist Interview: Edicson Ruiz

We spoke to Double Bass soloist, Edicson Ruiz ahead of his performance with Sergio Tiempo at the Queen's Hall on Thursday 19 August at Festival 2010.



For more about Edicson Ruiz and Sergio Tiempo go here.

Festival Highlights: Carol Main, The List

We spoke to Classical Music Editor at The List, Carol Main about her Festival highlights so far and what she would recommend for this weekend.

What the Audience thought: Montezuma

We were at the King's Theatre on Saturday 14 August asking the audience what they thought of the operatic gem, Montezuma.

Confessions of a Chorus Member: Ronnie Barnes

Festival Chorus Member Ronnie Barnes gives an insight into the life of a chorus member and what makes it all worth while...

It’s 1.59pm on the first Saturday in August 2010. The Festival Chorus have assembled for final preparations for this year’s International Festival and we await the warm up exercises which precedes the detailed work on the scores which are in preparation.

This is the 22nd consecutive 1st weekend in August in which I have participated. This results in 130 or so people being inside for the most part of what is usually a glorious weekend for weather. It is also the 22nd consecutive year that I have had to remind work colleagues and friends that despite their belief to the contrary, the Festival Chorus remains inactive during the month of July at least, and no I am not rehearsing furiously for the upcoming Festival! It still surprises some of my acquaintances that rehearsals stop at least for the month of July if not for June as well as all the hard work is undertaken during the winter months from January to the end of May.

I have had the good fortune to be a 1st Tenor with the Chorus since the Festival of 1989. I joined at a time when the Chorus strength was over 200 with an unbelievable Tenor section made up of 40. Our size has diminished significantly over the period and while we are a smaller Chorus we are still, I think, as effective.

I originally auditioned having heard the Chorus at the Festivals of 1987 and 1988 and I was encouraged to consider joining through a friend who sang in the Chorus at the time.

Throughout the past 22 years I have had the great privilege of being part of some incredible performances and while each and every one has in its own way been memorable, the particular highlights for me have been the Grende Messe de Morte by Berlioz, Mahler 2 with Simon Rattle and the Vienna Philharmonic, James McMillan’s Quickening and a performance of Alexander Nevsky in Rouen in Normandy with the St Petersburg Philharmonic Orchestra. What was particularly memorable during that performance was hearing this orchestra rehearsing the Suite from the ballet Romeo and Juliet. There was something about listening to that particular Orchestra playing that particular music that almost transcends the words which I have to describe it.

And so to the Festival 2010. Much of this week has been taken up with preparing for the opening concert which is a performance of John Adams’ El Nino. If we are performing in the opening concert, the week preceding is a frantic compression of rehearsal given that we are now meeting the Conductor, the Soloists and the Orchestra for the first time. And this is where the performance is finally shaped as we hear for the first time the sounds and textures which have previously only been played to us on a piano accompaniment. This can make it all sound and feel very different and you are likely to be thrown a bit by the orchestration and also hearing the Soloist for the first time.

El Nino is a complex, challenging piece of modern music with compelling syncopated rhythms which require pinpoint accuracy.

Following the main concert, the men will be involved in a performance of Puccinni’s The Girl of the Golden West. The Chorus will be re-united in two weeks time to prepare for the mammoth Mahler 8 which will be a fitting climax to this year’s Festival, the performance of which I am looking forward to with great relish.

It has always been a source of huge satisfaction to be part of this great Chorus and it is worth the sacrifices and the juggling of work and other commitments in order to make myself available for what can be a punishing schedule in the month of August. We all of us give generously of our time and some travel enormous distances in order to be included. However, the reward is participation in events which as individuals we would be unlikely to play a part, but as a collective we have earned the right to be up there with all the other world class performers.

And so it is now 9.29pm on the 12 August. The final Dress Rehearsal has come to an end. It is now ready. And so are we...

Festival highlights: Mary Brennan, The Herald

We have just spoken to Mary Brennan from The Herald about her 2010 Festival highlights, you can listen to her recommendations here:

Confessions of a Chorus Member: Anne Backhouse

Festival Chorus Member Anne Backhouse talks about her BBC Proms experience...

I was a member of the Edinburgh Festival Chorus from 1996-2003 and have just rejoined. I was tempted back by the prospect of singing Mahler’s 8th Symphony for the first time, and Christopher’s ‘good and bad news’ announcement of a trip to the Proms only came after we’d started rehearsals. The bad news was that the work to be performed was Mahler’s 3rd Symphony and only the ladies of the Chorus would be needed. Singing at the Proms has always been a dream of mine and now it was going to be fulfilled.

We travelled down to London by train the day before the concert and stayed at Imperial College, a great location only 5 minutes away from the Albert Hall. I made the most of being there and went to 2 other Prom concerts and it certainly added to the excitement, sitting in the audience thinking I’ll be on that stage tomorrow!

The Festival Chorus Ladies and the RSNO Junior Chorus, were performing with the BBC Scottish Symphony Orchestra, mezzo-soprano Karen Cargill and conductor Donald Runnicles. Our big moment comes in the 5th movement and, after a very long sit, we rose to our feet for our 3 minutes of ‘angelic’ singing. The very precise timings of our stand and sit were the cause of some anxiety, especially coping with tip-up seats, but all went well and, after the intensely moving final movement, there was thunderous applause. Back in the dressing room Christopher appeared to pass on congratulations and compliments. As chorus master of both choirs it was a very special occasion for him.

It’s hard to describe the thrill of being part of such a wonderful performance, but one privilege of sitting in the choir is being able to watch the clarity, passion and intensity of Donald Runnicles’ conducting. I can’t wait for Mahler 8!

Confessions of a Chorus Member: Fiona Mcbryde

Festival Chorus Member Fiona McBryde gives a day by day account of the run up to the BBC Proms.

Conductor's Rehearsal, Glasgow

Wednesday 28th July

I would never have suspected, at the beginning of our rehearsals for the 2010 festival season, that grown women with the talent of the ladies of the Festival Chorus would be so worried about "bimming" or "bamming" in the wrong place, yet here we are. As we board the chorus bus at Haymarket and head across the M8, memorised words are being muttered under breath and scores are being checked in advance of today's rehearsals with Donald Runnicles and the BBC SSO. The bus trip to Glasgow is always an exciting sign to me that a performance with the choir is in the pipeline - and this year it marks the beginning of a wonderful festival of music and an additional outing for the chorus to the BBC Proms in London. The rehearsal goes well although we all heed Christopher's advice to his "Bell's Angels" to devote some bathroom practice to Mahler 3 before the next rehearsal.

General Rehearsal and recording for the BBC Archive, Glasgow

Saturday 31st July

After the minor mishap of the chorus bus breaking down on the way to the Royal Concert hall, our final rehearsal before meeting in London gets underway. We are very lucky ladies as we are treated to what is essentially a private performance of the whole of Mahler's 3rd symphony by the orchestra and Karen Cargill. It's truly spellbinding stuff and it puts us in the perfect frame of mind for the concert.

Day off, London

Monday 2nd August

Having sung in the Albert Hall with the National Youth Choir of Scotland but never having been to a prom before, I decided in May that this trip to London was too good an opportunity to miss for getting truly absorbed in the Proms spirit. I booked tickets for 3 concerts and after an afternoon concert in the Cadogan Hall, coffee and saunter along Southbank, I make my way to the Albert Hall from South Kensington tube station to meet friends for an evening Prom. The excitement reaches a peak when I see my first glimpse of the hall, the crescent apartments of Kensington Gore leading towards it like rippling waves of music emanating from the iconic building and out through central London. As I take in the atmosphere of the concert, it all adds to the excitement that it will soon be our turn.

Concert Day, London

Wednesday 4th August

After a fairly painless warm up and rehearsal in the empty concert hall - with the anticipation building that it will soon be full of prommers waiting to hear us sing - the ladies of the chorus disperse for lunches, sightseeing and snoozes prior to the final preparations for the concert. We assemble for final notes from Christopher at 6.15: the message is clear; the hard work isn't over and we need to give our all for one final time. At 9 o'clock we emerge sore-faced from all the smiling following a thrilling performance. We celebrate in anticipation of this weekend's rehearsals and next week's Opening Concert. The following weeks will bring our EIF performance of Mahler 3 and our reunion with the BBC SSO and Donald Runnicles for Mahler 8, bringing to end a great programme for the chorus for 2010.

Bank of Scotland Fireworks Concert Co-ordinator, Lynsey Shovlin, reveals all about being the bright spark behind the event...


Obsessed with glitter, glam and sparkle the position of project co-ordinator for the Bank of Scotland Fireworks Concert definitely appealed to me. Since June, I have been interning with the Edinburgh International Festival and working with our dedicated team to bring you what will be a spectacular live concert performed by the Scottish Chamber Orchestra including a choreographed pyrotechnic display.

I work closely with many different people on a daily basis and enjoy the variety of tasks which I perform each day. For example; contributing to press releases (and coming up with cheesy firework puns) promoting our #BOSfireworks Twitter hash tag and updating the event website with the newest information.

One of my main duties is to get answers from stakeholders involved with the concert and communicate information effectively to the partners of the event; Bank of Scotland (BOS), Scottish Chamber Orchestra (SCO) and Edinburgh International Festival. This is important because a centralised point of contact prevents duplicate conversations and misunderstandings for the many people involved - which helps when we have a deadline of 5th September!

Most recently my main tasks have been organising interviews with those at the forefront of the fireworks concert action - Jonathan Mills (Festival Director), Rod Bain (SCO Concert Manager) and Keith Webb (firework display designer of Pyrovision). They are available to listen to here.

I am also responsible for the production of the printed programme for the evening including its contents, design and distribution. With an audience of over 220,000 people last year, it is perhaps the most wanted leaflet throughout the Edinburgh Festivals!

For me personally, the Bank of Scotland Fireworks Concert is a marvellous celebration of cultural diversity, Edinburgh and its people. As the world’s largest annual live music and fireworks display, over 100,000 fireworks are ignited which illuminate the night sky and for me personally there will be a lot of satisfaction when all our efforts go up in smoke albeit loud and colourful!

To find out more about the Bank of Scotland Fireworks Concert go here.

A day in the life of...Head of Programme Development, Sally Hobson

Head of Programme Development, Sally Hobson talks negotiating a bustling Royal Mile to get to work and reveals what she is looking forward to at Festival 2010.

Can you give a brief overview of your role at EIF?
I work at the Festival as Head of Programme Development. I look after events that extend the reach of the Festival’s programme. My portfolio includes defining and delivering our schools work in Edinburgh for primary and secondary schools.

How long have you worked at the Festival?
I have worked here since 1994 and this will be my 17th Festival.

What is the best/most challenging part of your job?
The most challenging part of my job is meeting deadlines and the pressure of the job. The hardest part is negotiating the walk along the Royal Mile when its busy.

The best parts of the job include working with my colleagues, the school pupils responses and our artists who deliver the programme year round as well as in August.

What do you do on a day to day basis?
I work with all departments at the Festival in different ways throughout the year.

What did you do before joining the Festival?
I worked with the Citizens’ Theatre and various arts organisations in Scotland and England. Alongside this I trained and worked as a therapist with experience of working in England and Scotland, specifically Easterhouse and Royston in Glasgow.

What do you get up to outside of work?
I write poetry and theatre productions. I have undertaken SAC funded projects in writing development and had produced work in various venues in Scotland. I swim a lot, and walk all over the place. I have an 18 year son whom I talk to occasionally. I go to the cinema and hang-out with friends.

Which events are you most looking forward to at the Festival 2010?
Mahler 3, Pina Bausch and Mau. The day after the Festival is all over is a wonderful feeling too! The weight of delivering a large programme lifts and for a while there is space in the city again!