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Messages - wild_corgi

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1
Anna's Music / Lyrics Anna's songs in Der Sandmann
« on: May 06, 2017, 04:58:22 PM »
As promised in the Anna Performances threads, here's the lyrics from the songs Anna contributed to the Robert Wilson production Der Sandmann.

I've copied these out from the programme, and I think there could be one typo in the programme right at the end.

Not only is this the first time Anna has ventured into the theatre, this is the first time her lyrics have been printed. And so, here they are, including I Whip the Night, whose words completely baffled us on first hearing.

THERE WILL BE A HORROR
Come on lay me down in the hurricane
We're gonna dance insane in the pouring rain
We're gonna crash and burn to the incoming train

There'll be a horror
Oh God I want ya
Let's get ungodlier
There'll be a horror

Dream on

I'm gonna find a fire I'm gonna make it mine
On a rainy night shine a light in my eye

There'll be a horror
Oh God I want ya
Let's get ungodlier
There'll be a horror

Gimme a shimmy, cause I'm feeling lucky

Dream on

Cause I'm feeling lucky


SUNDAY LIGHT
Boy in amber on the stairs
Sunday light through his hair
Casts a shadow on the wall
Deep and dark

Open window in your room
WIth your heroes ion the wall
When you cry to the moon
Don't get lost

Sunday light
All along the night


SURRENDER
We swim out under the stars
All the secrets that lie under the dark
I am not afraid

Under the sheets the waves of white
Just go back to your sleep your dreams and your life
I am not afraid

Just surrender to the wave
Surrender to it all
No fear under the oil
Surrender to it all

We rise high
Higher than the wind
And alone with the stars

Just surrender to the wave
Surrender to it all
No fear under the oil
Surrender to it all


SANDMAN SONG

You want a piece of history?
Well, come kiss me

Come down, it's so late
Come feel, the dark air
In the light, heavenly creatures
Their destiny, oh woe is me
I'm so fine, I'm so alive
Come take me, and take me home

You bring the sugar, and I'll bring the leather
Sleep on sleep on
Sleep on sleep on

Sleep on, I'll bring the leather



TRUE LIES
That's the breath
That's the rise
That's a life
We roll the dice

That's the dance
That's it all
Now I'm gonna make you mine

That's the tear
On the boardwalk
That's the kiss
On the boulevard

That's the dance
That's it all
Now I'm gonna make you mine



I SEE A DEATH IN YOUR EYES

I see a death in your eyes

I am the embers that fall
Into a fiery storm
Into a circle of flames
I hear you call my name

I see a death in your eyes


I WHIP THE NIGHT

I whip the night
Dream on, dream on

I skip the day
I sweat the night
I fan the flame
I still the storm
I bite the bite
I dive the dream
I crush the cream and then I

I whip the night

I beat the day
I rip the knave
I beat the sheet
I wet the wave
I shoot the plume
I shoot the moon
I crack the day and then I

I whip the night

I feel alone and in the dark you should have known it
That the lion bites the lion
With your pseudo liberation of a pseudo libido

I whip the night

All my wonder
All exploding
I am throwing
ALl exploding Limbs unfolding
I'm exploding out

Dream on
I whip the night


THE HURRICANE

The hurricane the hurricane the hurricane the hurricane

Here it comes the hurricane
Cemetery angels a silver chain
Purple leaves on the ground
Feel the heat it's coming down

Ash to ash
Bone to bone
Flesh to flesh communion
In my blood
Feel it surge
Fevered fevered words

Through the hours and through the waves I wandered here alone
Flesh to flesh, bone to bone
Your love will turn me into
A real boy

The hurricane the hurricane the hurricane the hurricane

So here it comes the hurricane
We're Glenn Close and Louis Lane
We're Jasper Johns and Rauschenberg
We're heavenly creatures, we're firebirds

Ash to ash
Bone to bone
Flesh to flesh communion
In my blood
Feel it surge
Fevered fevered words

Through the hours and through the waves I wandered here alone
Flesh to flesh, bone to bone
Your love will turn me into
A real boy
-------------
Louis Lane or Lois Lane: I think there's a typo and it should be Lois, but can somebody please confirm later?

2
I think some people are planning to make it to the Dusseldorf performances.  I made it to Reckli, along with Michael and Monica. Many thanks to Eszter for the ticket! Brian and I were lucky enough to go on the first and second nights, and Monica also got to see the dress rehearsal. We feel very lucky indeed, Agnes will know what I mean.

I know others will have a better sense of the Sandmann story and its characters than I do -- and will be able to pick up what's going on in the dialogue. So here's some very crude initial thoughts from me.

There's something to delight and thrill almost everybody - and something to piss off almost everybody too. (Personal disclaimer: I have had it up to HERE with giggles of clownish glee morphing into the cackles of madness). It's not your usual play, or musical:

•   music - two distinct musical personalities at work, Anna's and Jherek Bischoff's. Anna contributed 8 songs + 2 instrumentals. Jherek did the incidental music - music for dance scenes, music accompanying action, music for characters in front of the curtain while scenery is changed, and underscoring spoken words. There's also some quotes from Offenbach (I think - not an operetta expert, so easily wrong).

•   action - what you see on stage is overall closer to tableaux of characters reflecting on the events and their reactions - not action setting out the plot and driving it forward. There are lots of mirror scenes, lots of visual effects of clockwork and ambiguity.

•   visually it is very stylised - a largely empty stage, exaggerated costumes, striking lighting effects. In other words, there is nowhere for the actors to hide: it all comes down to them to sing and convey the meaning of the scenes. There's a high risk of them over-acting and/ or falling flat on their faces. Brilliant performances from Rosa Enskat Nathaniel's mother and Lou Strenger as Clara

•   dialogue is in German, Anna's songs are in English.  Because of the language difference, the lyrics were printed in the programme. 

Band - one row deep, in the pit, audience left to audience right, with no conductor :
Bass - dble and electric /cello/viola/violin & keyboards/drums/guitars & mandolin/clarinet  & bass clarinet/ trombone andtuba, /electronics & sound mixing desk and tapes (sound effects, mostly)

Jherek was involved in arranging Anna's music, but his own music is very different from Anna's. For the audience in the festival, the main difference was that Anna's music was very very loud  compared to everything else, and the sedate burghers of Recklinghausen and patrons of the festival did struggle with that. 

Personally, I thought the two different musical styles did  fit with the duality and ambiguity of the story - and of Nathaniel's character. My faves from Jherek were a very funny parody aria for Nathaniels' mother - the only bit of singing that Jherek contributed, I think; a camply exuberant klezmer/ragtime scene change; a sweet string quartetty section; and the music for the ball scene.

My Anna favourites -  Surrender to the Wave - this is the Surrender song Agnes mentioned, and I agree it's beautiful - , Sunday Light,  True Lies, I See A Death in Your Eyes.

So: Prolog (A Fall Down the Stairs) - "There will be a horror" Energetic and rocky, gets it all moving. More or less everybody singing parts of it, but on tape, I expect, as they were all busy Doing Stuff Onstage.

Bed Scene 1 (The Sandman Story) - Sunday Light. This is gorgeous rich ballad, sung here first by Nathaniel's mother, and then reprised. It's an earworm, and you know what? I don't care.

Nathaniel's Bedroom Scene 2 - Surrender to the Wave. Nathaniel's awakening from a nightmare. Another ballad for Nathaniel's mother - same character, so similar in pacing and range to Sunday Light. But a different feel to the song.
A Scene in the Garden - three songs following each other: 
•   Nathaniel and Clara declare their love for each other:  True Lies
•   Nathaniel has second thoughts about this, because of Olympia: I See A Death in Your Eyes   
•   and Clara's brother Lothar fights a duel with Nathaniel (swords). At some point Clara gets between the two of them and takes her turn singing verses of  I Whip the Night. Please don't ask me who sings which exact verse ...

Start of Act 2 Intermezzo: The Sandman Song. At the start of the second act, the Sandman - well, does this. (By the way, I'm not 100% sure it makes sense to have The Sandman on stage as a separate character, it does lessen the essential uncanniness and ambiguity of the whole thing. But I digress.)

Ball Scene 1 - Olympia's Aria and Dance The Hurricane.  Olympia is played, extremely well, by a dancer who's silent, and this explosive rock number is sung by Nathaniel. Full of contrasts, it's got  some incredibly lovely passing touches.
Spalanzani's Workshop - a FIght over Olympia - an instrumental. Heavy on guitar. (By the way, there's another instrumental from Anna in the show, but I forget where. )

Bed Scene 4 - Nathaniel and Clara Reunite - Sunday Light, rearranged for Clara, Nathaniel's mother and Nathaniel's friends Lothar and Siegmund. Mostly to strings. I liked this even better than the first time round. SNIFF.

I'm planning on posting the lyrics in another thread,  since they are available.

Really glad I saw this - it's amazing to hear Anna adventuring into theatre, and taking all the risks that come with that. The run of three songs in the Garden Scene gives you a hint of what she could do in a complete score of her own,  they're beautifully contrasted and evocative of the situations and characters. (Although to my ear, Whip The NIght was the weakest of the three, but that's just me. )  The strongest songs on their own for me were the ones I mentioned above.

I hope the music gets a record release.

3
I too would trade Strange Weather for No More Words any day of the week.  But I can see how DB might think otherwise.

Yup I too stood outside on cobbles, behind two hipsters snuffling and snorting like walruses ... they were after something from The Cure, which apparently sold out in the first five seconds.  Not that I am mean like that, or anything.

What a good concert this was. Off to listen to it, again.


4
News & Interviews / Re: Anna at London Southbank Meltdown August 2015
« on: March 21, 2017, 07:57:59 PM »
This is like the Faberge of Easter eggs.

Thank you so much for finding this AC.

5
News & Interviews / Re: Anna playing live tomorrow night, new music...
« on: February 21, 2017, 09:36:18 AM »
Well, we ARE responding ... just not in the live audience. 

Marianne Faithfull was candid about the reasons for playing fashion shows: £££££.  OK, and new clothes. 

Factor in the orchestra/choir/arranger, studio time and a release -  the positives arguably  balance any negatives.

Still not sure about the new songs, myself, as I wasn't for the Yeats settings: but Anna sounded like she had spent time taking singing lessons, upper register was much stronger and more secure, and modulation really improved.  Plus the performance sounded and looked - I dunno, fresh?

The enduring mystery for me is why Anna doesn't do her own arrangements. I know SIbelius can be a bloody nightmare, but pencil and paper, people, c'mon....

6
Briefly because I am tired (and emotional) after the gig.

There was a guy there with an official videocam.

Maybe it's a countdown to when the "live" stream starts?

7
News & Interviews / Re: David Bowie tribute shows in New York City
« on: March 31, 2016, 07:36:14 AM »
Many thanks AC for the explanation (private note to self: DOH) and videos - and to Molly for your videos too.

Doesn't David Byrne have kind and concerned friends who would tell him?

8
News & Interviews / Re: David Bowie tribute shows in New York City
« on: March 30, 2016, 07:57:17 PM »
I feel so much better about not being able to stay up late for this now ...

I can't download or access the videos, can some kind person tell me what I am doing wrong?

9
I knew one day AC would get pics of Anna performing up before the actual gig... 8)

10
Yes great idea - see everybody there!

11
If like me you're not into deferred gratification, you can preorder and download Anna's track now.


12
News & Interviews / Re: Anna,s Christmas and New Year message.
« on: January 05, 2016, 07:52:13 PM »
Yay! Anna not kidnapped by aliens!!

Good news, yes, and I'm cool with waiting.

Finally was able to listen to and rewatch the St John's Ghost Rider - I had no idea there were cameras upstairs as well.  Despite the searchlights behind Anna and the band, on first viewing I thought they'd put together a video that worked well - much better than the one for Kiss To Your Twin. For one thing, you could actually see who was on stage and what they were doing ... But I'm no expert, and pathetic gratitude may have blinded the little visual sense I have.

13
News & Interviews / Re: Hackney. A year on... Summary of 2015
« on: December 14, 2015, 03:41:14 PM »
Yes very good summary Michael, and I don’t have a lot to add, but in the last twelve months, give or take,  I made it to  -

St Johns
Brighton
Amsterdam
Rimini
Sesto
Edinburgh
Southbank/Meltdown
Blackheath

They split fairly evenly between band and orchestra/choir gigs, and one thing and another the timing just worked out well for me. I guess St John’s sets the tone for the year, with the orchestra, choir (and Patrick Wolf and other guests) as well as the band – what an unexpected direction to go in, I thought, when it was announced, but of course it wasn’t and isn’t, and what we heard that night was incredible and set the direction for the year.

After that, Brighton stays with me as an intense and fabulous gig; Amsterdam was completely magical, fantastic arrangements, wonderful orchestra/conductor, and Anna solo with the orchestra at her most compelling  and moving, but I guess my favourite was Sesto. A sleepy beautiful cultured town, and an incredible location for the gig in the courtyard of a convent/castle thingy. Anna on fire, the band really tight, and the orchestra and choir – maybe the fearlessness of Patrick Wolf in support had something to do with that?  Anyway, whatever made it happen, it was a fantastic gig. There seems to be something about Italian fans and Anna that bring the best out in both of them.

Like a lot of us I got to exchange a few words with Anna, who was very charming and gracious in person. Really pleased I got the chance to say thank you to her face to face.

Maybe Brighton was special because we got to hear a new song that is going to stay with us and tantalise us for where Anna might, or might not, go for her third record - with or without choir and orchestra?  Whatever, I hope Anna gets the time and space to be true to her vision and develop it properly.

Through the fandom and the travel I’ve met some wonderful people who have become good email/real world friends, and the whole social aspect has been brilliant.  I hope we’ve tried to be a community and look out for each other at gigs and travelling.  Like Michael said, nobody needs to go to an Anna gig on their own.

The forum has been a good place to be this year, and I’m in awe of the technological skills on display here, in keeping the place running, and in Brian and Michael for photo and video skills with photos and videos, and but huge, huge thanks to Molly above all for providing this forum and her blog. Is a  Group Hug called for?

14
Very glad to hear that individual fans may get their accounts (and videos?) back.

I'll leave it to the account holders to decide if they are completely happy with the outcome.

15
Thank you AC! brings back a great memory of that amazing gig.

In the lighting in this version, it looks like Patrick's hair is the colour of Anna's lipstick ...  well, it amused me, anyway.

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