The more astute amongst you will note that I have made scant comment in my periodical postcards of the other opera which is being performed here in Aix.
Mozart, I hear, was quite a clever chap. He knew how to write a half decent tune for a start, and there are a fair few of them in La Clemenza di Tito. He also knew that in music, less is, more often than not, so much more. So I can forgive Wolfgang Amadeus for not wanting to cloud his score with excessive amounts of percussion. He does of course make careful use of the timpani in underpinning the bass lines of the music with tonic and dominant, so Nigel Thomas is gainfully employed, each and every evening, along with the majority of the Orchestra playing in both the Verdi and the Mozart. Does this mean I am doing only half the work whilst I’m here?
Well no, actually.
And my association with La Clemenza di Tito is not entirely null and void either.
Running alongside the Orchestra’s main role at the Festival are a two extensive education projects. The Aix Youth Orchestra draws it’s membership from a wide area of Southern France and will, as of next week, begin preparing for concerts in Aix, Monaco and Marseille all under the direction of another Bon Ami of the LSO, Fran