The Manchester International Festival is upon us once again and as we’ve come to expect is full of truly innovative shows and performances from the most intriguing acts of the last 40 years. This year’s roster includes a one-off 3D stage spectacular by Kraftwerk enveloped by the UK Cycle team in the Velodrome and Rufus Wainwright’s first foray into the world of Opera ‘Prima Donna’.
The first Friday of the festival sees Antony Hegarty (Antony & The Johnsons) bringing songs from his great new album ‘The Crying Light’, together with other pieces from the length of his career re-arranged by Nico Muhly, for this performance alongside The Manchester Camerata, conducted by Robert Moose.
The supporting act is a wonderfully opulent interpretive dance piece by Johanna Constantine (co creator of the Blacklips art performance group with, none other than, Antony Hegarty). Naked but painted silver and red, she performs a piece in four acts as I see it. Using scythes, masks and antlers her subtle body movement creates a feeling of great discomfort with a number of people around me, who feel it’s time to sneak off for a loo break. Her hands, claw-like, move almost independently from the body, so smoothly it looks un-human, or maybe un-dead. The frightening music score and sound effects intensify it all too well, thanks in part to Prokofiev. You know, I need the loo now.
Encased in darkness from behind a painted gauze we hear the inimitable vocals of Mr Hegarty as the backlight grows to uncover his form. Dressed in a stunning white robe and with elegant Kite like Designs, behind, stage left and stage right (from the hands of local boy Carl Robertshaw of Kite Related Design) he’s completely ensconced in white. Antony later takes a moment to explain to us that the initial concept was to reflect the inner luminosity of a crystal, deep within the darkness and bleakness of a mountain‘s core, whilst the audience pronounce there appreciation. Paul Normandale’s lighting creates a further depth to this and enthrals and electrifies the audience.
Hegarty’s performance evokes a snake trying unsuccessfully to shed their skin. His movements are subtle but appear quite laboured. A grimace often appears on his face as he creates the lilting sound he’s known for. It seems as if he’s constantly at odds with himself, almost in anguish. As the performance goes on he takes of parts of his robe which echoes this.
An altogether sparse performance in it’s entirety but one of great intensity and undeniable beauty. With an unrecognisably heart felt rendition of Beyonce’s ‘Crazy in Love’ there is no lack of humour in the performance. Beguiling is the word, so, so beguiling. Another glistening gem for the International festival team. I can barely hold my excitement in for what else is to come.
Tags:
Classical, Composition, Festival, Jazz, Manchester, Pop, Singer-Songwriter, The North
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