Wednesday, 20 July 2016

Things Yuri likes

One sunny day, Timur and I were waiting for this or that appointment. I knew it could take quite some time so I took a pencil and a notebook with me. This is what we wrote.

Things that Yuri likes

  • British panel shows
  • Chess
  • Discworld
  • Undertale
  • 2-D animation
  • Critical analysis
  • Game Grumps and their 2 bands
  • Comics
  • Walking on his own
  • Coming up with ideas for comics, movies, games, etc.
  • Oranges
  • Coffee with milk and sugar
  • Chocolate ice cream
  • Meat (also, to cook it)
  • Dark comedy
  • Sherlock Holmes (various implementations)
  • Blues
  • Cowboy-related stuff
  • His black cap

Las cosas que le gustan a Yuri

  • Programas de concursos británicos
  • Ajedrez
  • Mundodisco
  • Undertale
  • Animación 2-D
  • Análisis crítico
  • Game Grumps y sus 2 bandas
  • Historietas
  • Caminar por su cuenta
  • Encontrar ideas para cómics, películas, juegos, etc.
  • Naranjas
  • Café con leche y azúcar
  • Helado de chocolate
  • La carne (también cocinarla)
  • El humor negro
  • Sherlock Holmes (varias realizaciones)
  • Blues
  • Cosas vaqueras
  • Su gorra negra

Юра любит...

  • Британские телеигры
  • Шахматы
  • Плоский мир
  • Undertale
  • Рисованную мультипликацию
  • Критический анализ
  • Game Grumps и их 2 группы
  • Комиксы
  • Прогулки в одиночестве
  • Придумывать идеи для комиксов, фильмов, игр и т.д.
  • Апельсины
  • Кофе с молоком и сахаром
  • Шоколадное мороженое
  • Мясо (также, готовить)
  • Чёрный юмор
  • Шерлока Холмса (различные реализации)
  • Блюз
  • Вещи, связанные с ковбоями
  • Свою чёрную шапку

Sunday, 17 July 2016

Carmen

by Georges Bizet

“What?”, I hear you crying, “now you go to the opera every single day?” Relax, dear reader. Not every day. Why, I spent years, nay, decades, without going to any opera and feel quite fine about that. I don’t even like opera that much. Unless it is something by Verdi. Or Carmen. It just so happened that right now there is the Festival of Theatre, Music and Dance in Las Palmas, and we’ve been attending it two days in a row.

Besides, we were attracted by the location as much as by the performance itself. This particular instance of Carmen took place at the Terminal de Contenedores del Muelle de La Luz (container terminal of the port). Playing in this unusual place became kind of a tradition for the Philharmonic Orchestra of Gran Canaria. Not the easiest spot to get to and from, considering that the show started at 10 pm; thankfully, there were free buses running from (and then back to) the Centro Comercial El Muelle. I have to say that the event was very well organised and, with tickets priced at €12, a steal. But, of course, there is always room for improvement.

Now the show was (thank goodness!) not a complete opera in four acts but a “greatest hits” compilation and, as it often happens with greatest hits compilations, included some misses as well. Our very own Canarian Nancy Fabiola Herrera made a great Carmen (“She is very pleased with herself”, noted Timur); in comparison, primo uomo Enrique Sánchez Ramos, while technically adequate, was not that impressive or memorable. Both lead singers and choir were just standing there, so it was more like an oratorio than an opera. I felt this gorgeous space was tragically underused. One can imagine employing the said containers as stage props or at the very least to create raised seating area. From our seats, there was little to be seen without binoculars. However, as the show was filmed for Spanish television and projected on huge TV screens (also mounted on the containers), we did not miss much in terms of visuals.

When we were back to the town, I asked Timur how much did he understand of the opera, given that he learns French in school. “Was it in French?” he asked. “Well... One word there was... L’amour.”

Carmen

    Orquesta Filarmónica de Gran Canaria
    Conductor: Rodrigo Tomillo
    Mezzo-soprano: Nancy Fabiola Herrera
    Baritone: Enrique Sánchez Ramos
    Mezzo-soprano: Raia Natcheva
    Soprano: Maite Robaina
    OFGC Choir
    OFGC Children Choir

Friday, 15 July 2016

Rigoletto

by Giuseppe Verdi as interpreted by Les Grooms

As far as I remember, Rigoletto was the first opera I’ve ever seen. Was it in Bolshoi, or somewhere else in Moscow, I can’t tell you. I liked the music but had no faintest clue what it is all about, although I recall that it did not end well. Now, consulting the Wikipedia, I am not sure at all that the theatrical programme back then explained the (fairly complicated, I say) plot in sufficient, or any, detail.

Fortysomething years later, enter Les Grooms with their strange and irreverent version of Verdi’s classic. A far cry from dead serious Soviet-era production. Come to think of it, maybe not that strange. Maybe that’s how the opera should be, free for all, performed on the street — well, tonight it was on the square, bang in the heart of Las Palmas de Gran Canaria. On this occasion, the French theatrical brass band was joined by 25 Canarian singers. The best bit, at least for me, was after the end of the show: an encore and then some music that has nothing to do with great Verdi, with what remained of the audience dancing, forming a circle, making a conga line... it could have been a scene from a Fellini film.

Sunday, 10 July 2016

Buscando a Dory

a film by Andrew Stanton

Timur wanted to watch this film and we all joined in. Normally, I wouldn’t expect a sequel to be better than the original but this was exactly the case. I didn’t care much about Nemo or his overprotective dad, but I always liked Dory. It was a love from the first trailer. Sometimes I wish to be like Dory, unencumbered with too much memories and happy at that.

Sure enough, the film is not just family but also environment-friendly as it freely recycles ideas not just from Finding Nemo but also other Pixar creations (e.g. Hank the octopus, in words of Timur, “does the Randall thing”). But who cares.

This is the first Pixar film I watched in Spanish from beginning to the end (almost — it seems that we missed the post-credits scene. Well that can happen when credits are endless) and I really liked the translation.

Hola, soy Dory. Sufro pérdidas de memoria a corto plazo.

Monday, 27 June 2016

Watching the English: The Hidden Rules of English Behaviour

by Kate Fox

Long, long time ago, when I was still living and working in England, I bought this book in an Oxfam shop. I loved it so much, I told all my office mates that, if they want to understand anything about the country they live, they have to read it. So they did, in turns. One of my colleagues said that, suddenly, all this (“this” being the weird behaviour of English) started to make sense. I’ve never seen the book again.

As much as I dislike the stereotypes, I found myself agreeing with most of what Ms Fox had to say about the English. Some of these stereotypes are endearing (like sense of fair play, gardening, humour, modesty, etc.), some are not so (hypocrisy, football hooliganism, obsession with class). None of them are exclusively English; it is the particular combination of them that sets the English apart from the rest of humankind.

“Agreeing with most”, I said, but not with everything.

To take a deliberately extreme example, the kind of hand-on-heart, gushing earnestness and pompous, Bible-thumping solemnity favoured by almost all American politicians would never win a single vote in this country — we watch these speeches on our news programmes with a kind of smugly detached amusement, wondering how the cheering crowds can possibly be so credulous as to fall for this sort of nonsense. When we are not feeling smugly amused, we are cringing with vicarious embarrassment: how can these politicians bring themselves to utter such shamefully earnest platitudes, in such ludicrously solemn tones? We expect politicians to speak largely in platitudes, of course — ours are no different in this respect — it is the earnestness that makes us wince.

What?! Watching the English was published in 2004, seven years after New Labour led by precisely this kind of nauseating politician won the general election. With a landslide victory. And that was not the end. Just look at the whole Brexit disaster.

Given that Scotland and Northern Ireland, along with Cardiff and English cities of any size to speak of (no doubt, overrun by bloody immigrants), voted Remain, I can’t help thinking that it is exactly the stereotypical English who, in an act of mind-boggling stupidity, just have chosen to reduce Great Britain to Little England. And there is nothing endearing about that.

So, I guess, a new, post-Brexit edition of Watching the English is in order. One could hope that it would be as fun read as the original.

While I have every sympathy for anyone with a genuine food allergy, the fact is that only a very small percentage of the population actually have such identifiable medical conditions — far fewer than the number who believe they are afflicted. These English chattering-class females seem to hope that, like the Princess and the Pea, their extreme sensitivities about food will somehow demonstrate that they are exquisitely sensitive, highly tuned, finely bred people, not like the vulgar hoi-polloi who can eat anything. In these rarefied circles, you are looked down upon if you have no difficulty digesting proletarian substances such as bread and milk.

If you really cannot manage to have any modish food problems yourself, then make sure that your children have some, or at least fret noisily about the possibility that they might be allergic to something: ‘Ooh, no! Don’t give Tamara an apricot! She hasn’t been tested for apricots yet. She had a bit of a reaction to strawberries, so we can’t be too careful.’ ‘Katie can’t have bottled baby food — too much sodium, so I buy organic vegetables and puree them myself . . .’ Even if your children are unfashionably robust, you must take the trouble to keep up with the latest food-fear trends: you should know that carbohydrates are the new fat (like brown is the new black) and homocysteine is the new cholesterol; the F-Plan diet is out, Atkins is in; and on the genetic-modification debate, the official chattering-class party line is ‘two genes good, four genes bad’. As a rule of thumb, assume that there is no such thing as a ‘safe’ food, except possibly an organic carrot personally hand-reared by Prince Charles.

Wednesday, 22 June 2016

おもひでぽろぽろ

a film by Isao Takahata

One evening, when we were walking home from some live music event which did not impress Timur much, he asked me what is my favourite Studio Ghibli film. A difficult choice to make! I like most of the movies directed by Miyazaki, especially Nausicaä of the Valley of the Wind and Howl’s Moving Castle. The thing with Miyazaki’s films, though, is that they are more or less the same style. Which you cannot say about work by Takahata. I said that of his films, my favourite is Only Yesterday, and Timur noted that he doesn’t remember much of it. And so, last Sunday evening, we sat down to watch it.

Yes, now I can confirm it: it is my favourite. The scenes with ten-year-old Taeko set in 1966 (50 years ago! Only yesterday, indeed...) are among the most touching and funny in all of Ghibli films I’ve seen.

Interestingly, or maybe not, Only Yesterday was not released in the US until this year. I am pretty sure it is because the English dub was not available. In any case, I encourage you to watch it in Japanese.

Tuesday, 21 June 2016

LC Grand Concert Multiscale, Florentine Cutaway

by Luca Canteri

We went to Fuerteventura for a weekend and had a chance to see, try and photograph Luca’s latest creation. In spite of similar name, its appearance is quite different from Grand Concert Cutaway (reviewed almost two years ago). The cutaway is deeper, headstock is pointier, armrest is more pronounced; the overall feel is of a more slender, more modern instrument. I couldn’t compare them side by side but I think this one has sweeter, softer sound than Grand Concert Cutaway. (Hmm. I spy a nomenclature problem here. “Non-Florentine Cutaway” just does not feel right.) And I really liked “the thin red line” formally known as purfling which sometimes abandons the edges and wanders across the neck, the headstock and so on.

Timur also had a go and found it “very nice” even though he, like me, still prefers the classical guitar.

I have to mention that this instrument was not made to order, which means it’s still available and could be yours! Contact Luca for details.

Model specification

  • Top: Italian Spruce
  • Back and sides: Madagascar rosewood
  • Fingerboard: Indian Ebony
  • Bridge: Madagascar rosewood/ebony
  • Neck: mahogany
  • Nut, saddle and pins: bone
  • Rosette: maple and Madagascar rosewood
  • Purfling: dyed maple
  • Tuning machines: Gotoh 510
  • Multiscale: 25″—26″
  • Nut: 45 mm
  • String spacing bridge: 57 mm
  • Upper bout: 30 cm
  • Waist: 24 cm
  • Lower bout: 39 cm
  • Max depth: 11 cm
  • Body length: 49 cm
  • Overall length: 110 cm
  • Bevelled armrest

More photos of acoustic guitar @ Shutterstock.