Fifth Anniversary

Well, today is the Feast of the Visitation and that means that it is also the anniversary of my becoming the Provost and Rector at St Mary’s Cathedral, Glasgow. I remember my installation service with great fondness. It was wonderful service liturgically and the shape of things to come.

Does it feel like a long time? Well, not particularly. I stopped being called the New Provost about 2 years in and time has just passed by since then.

It is my view that St Mary’s had an unsustainable stipendiary staffing level when I came here and this year we’ve managed to do something concrete about that and appoint a Vice Provost. In some ways, that is the most significant thing that has been achieved since I came to Glasgow.

There has been a lot of razzmatazz on the way, of course, for both brouhaha and razzmatazz are handmaids of the gospel and tools of the kingdom.

One significant thing that I said when I came was that there was going to be a moratorium – not the kind of moratorium which bishops and archbishops impose (which is not a moratorium in any case but a ban). Very early on, I stood in the pulpit and announced that there would be no big building project for my first five years in post. It was my view that the congregation needed a bit of time to relax and enjoy the building rather than seeing it as a constant, never-ending project. I’m convinced that was the right thing to do. I note that the time of that moratorium is now passed.

Does that mean that all of a sudden I have grand plans? Does that meant that the appeal for the Kelvin Holdsworth Memorial Gilded Spire is now launched?

Actually, it doesn’t. I’ve no great plan to go on with, except to encourage the congregation to keep doing the things we are good at and get better at doing the things we can get better at. Oh, and to stop worrying too much about the things we don’t happen to be good at, and there are, no doubt, one or two of them.

Have I enjoyed my first five years. Well, yes I have, though the personal toll of working in a relatively big and complex religious institution that is understaffed is huge and I wouldn’t particularly like to go through those five years again. However, we are in good heart and the good times, are just around the corner.

There is a wonderful excitement around at St Mary’s which is infectious. Someone said to me that there was a sense of that excitement which came over in the Radio 4 broadcast recently and that made me very pleased, for it is the kind of thing that you cannot script. It is either there or it isn’t.

As I look back over those five years, I am pleased at the journey made. But anniversaries are times for thinking about the future as well as about the past, and when I think about St Mary’s today, it will not be the past that I dwell on but what is to come.

Rigoletto Review – Scottish Opera

Rating: ★★★★☆

Here’s the review that I wrote for Opera Britannia of Scottish Opera’s current Rigoletto:

From the moment the curtain went up on this stylish and beautifully sung Rigoletto, it was clear that this was going to be a confident production. We saw a dark, blank stage with only a simple door, drawn slightly carelessly as though with chalk. It was but the first of many bold visual images which punctuated an assured and very satisfying musical achievement.

This single door soon gave way to a barrier wall, upon which red curtaining had been painted, which consisted of a further series of doors, through which we could glimpse a ball in progress. What was not immediately apparent was that when we first caught sight of the malevolent chorus of courtiers, they were not in fact dancing with real women at all but with a series of mannequins. These eerie plastic figures were to recur throughout the evening in what was to prove a strong and well thought through staging. The twenty-six strong chorus themselves, when not larking about with mannequins, were in good heart and good voice throughout.

The first to shine on stage was Edgaras Montvidas whose Duke of Mantua was a force to be reckoned with. This duke was a cocky soul, strutting his stuff whenever he was on stage. Montvidas has a voice which perfectly matched the bravado which he brought to his part. This was a Duke who was arrogant, brash, conceited and vain but it was clear too that he had a great deal on offer vocally to be conceited about. His Parmi veder le lagrime in the second act seemed particularly effortless and whilst it is difficult to bring anything new to La donna è mobile, Montvidas gave an assured rendition all the same.

The Duke’s jester, Rigoletto was played by Eddie Wade.  Here was a brilliant performance. Wade’s unfortunate hunchback [Read more…]