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Thursday, July 12, 2018

Nine actors who learned to play a musical instrument for films ...

... and one who definitely didn’t!


Ryan Gosling in La La Land
Ryan Gosling in La La Land. Picture: Rex
By Maddy Shaw Roberts
Among the annals of actors who have made uncomfortable attempts to mime playing an instrument (we’re looking at you, Jeremy Irons), here are a few who did it for themselves…
  1. Ryan Gosling – La La Land

    It’s a huge compliment to Gosling that most people assume his piano close-ups were played by a jazz double – but it was all him.
    He said: “I had to play ‘City of Stars’ for six months, for hours every day. It’s a lot of time alone, and you become a bit anti-social. Every time I tried to have a conversation with someone during that rehearsal period, I felt like Bambi on ice.”
  2. Joaquin Phoenix and Reese Witherspoon – Walk the Line

    Joaquin and Reese's performance as country-singing duo Johnny Cash and June Carter was ridiculously impressive. Trained by Roger Love, the actors were rumoured to have nearly quit over the difficulty of learning to sing and play the guitar at the same time. But just watch them together in ‘Time’s a Wastin’’ – their musicality is perfect, and their chemistry? Through the roof.
  3. Adrien Brody – The Pianist

    To prepare for his role as Chopin virtuoso Szpilman, Roman Polanski forced Adrien Brody to practise piano for a gruelling four hours a day. Plus, in order to truly inhabit a man who had lost everything, Brody also left his girlfriend, gave up his apartment, sold his car, starved himself and lived in solitary confinement in Europe. Yay acting!
    It all (sort of) paid off in 2003, when Brody became the youngest person to win an Oscar for Best actor in a leading role. Here he is, playing Chopin’s beautiful Ballade in G minor with no dubbing whatsoever:
  4. Matt Damon and Jude Law – The Talented Mr Ripley

    Damon and Law learned to play piano and saxophone respectively to create this memorable jazz club scene. However, although Damon’s piano training enabled him to play all the proper fingering, the music we hear is actually played by pianist Sally Heath and Gabriel Yared, who composed The Talented Mr Ripley soundtrack.
  5. Robert Downey Jr – Chaplin

    To channel Charlie Chaplin, the silent film legend who always carried his violin with him, Downey Jr learned to play the violin (and tennis, for that matter) with his left hand – just as Chaplin did. 10/10 for effort.
  6. Bill Murray – Groundhog Day

    Despite using a double for the close-ups, Bill Murray learned just enough piano to play some of Rachmaninov’s ‘Rhapsody on a Theme by Paganini’. Some of the miming looks a tad questionable, but in the wider shots, it was apparently all Bill.
  7. Hugh Grant – About a Boy

    Grant had guitar lessons from British composer Paul Englishby to create this cringey scene from About a Boy. Sure, the actor’s playing and singing are musically questionable, but we want this scene to be horribly awkward – and that’s exactly what Grant gives us.
  8. Rachel Weisz – The Brothers Bloom

    Weisz’s role in The Brothers Bloom required her to play accordion, violin, guitar and banjo in the space of 10 seconds – so she had lessons in all four instruments. It isn’t totally clear whether the music we hear in the film is actually played by Weisz, but the accuracy of her fingering certainly gives a good impression of it.
  9. Nicholas Cage – Captain Corelli’s Mandolin

    Before Paul Englishby taught guitar to Hugh Grant, he was busy making sure Nicholas Cage’s mandolin skills were in ship-shape for Captain Corelli’s Mandolin.
    “Cage actually played it and there is lots of footage of him doing that. It was incredible,” said Englishby. “He really is very talented. Nicolas used to go away for the weekend. He had a private jet and one weekend he asked me to go to Venice with him so he could have his music lessons.”
But not all actors have braved the real deal…

Christopher Walken – A Late Quartet

Despite his loveability, there’s no way Walken could have passed off this illogical bowing action as authentic. We’d suggest a direct line to Yo-Yo Ma for the sequel…

The Romantic Piano Battle, by Edoardo Brotto

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Saturday, July 7, 2018

Ten incredibly beautiful photos ...

... from inside musical instruments

By: ClassicFM London
21K
The inside of a musical instrument can be a shadowy, mysterious place. Here are the most beautiful photographs of an instrument's inner workings.
  1. The inside of a viola, or a minimalist’s ballroom?

  2. Press any key to start...

  3. An old violin, disguised as a dark (very creepy-looking), abandoned train tunnel

  4. Look at those shafts of light.

  5. String oscillations…

  6. This is definitely a scene from Indiana Jones…

    Inside of a cello / Instagram / adrian.borda
    Instagram / adrian.borda. Picture: Instagram
  7. Guitars have the best skylights

  8. This is definitely just some gloopy honey… (it’s actually a saxophone)

  9. Isn’t this part of a trippy sequence from Labyrinth?

  10. True memes.

Shock as £40,000 worth of musical instruments stolen from Hexham workshop

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Thursday, June 14, 2018

Doctors say: Play Babies Mozart in the Womb

... not Adele


Unborn babies prefer Mozart to Adele, say doctors
Unborn babies prefer Mozart to Adele, say doctors. Picture: Getty
By Maddy Shaw Roberts, ClassicFM London
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A new study has found foetuses prefer listening to classical music over contemporary pop songs.
Research by fertility doctors shows that overall, babies prefer listening to classical music than pop songs in the womb.
Beethoven’s ‘Ode to Joy’ from his Symphony No. 9 and Bach’s Sonata for flute, among others, elicited the happiest responses.
Meanwhile, songs like Adele’s ‘Someone Like You’ and Queen’s ‘Bohemian Rhapsody’ saw the lowest level of response.
Scientists at the Institute Marques in Barcelona studied the mouth and tongue movements of over 300 unborn babies, aged between 18 and 38 weeks.
The foetuses were exposed to a range of 15 songs which fell into the following categories: classical, traditional world music, and pop or rock.
Classical music caused the greatest level of reaction (84 per cent), followed by traditional music (79 per cent) and pop or rock music (59 per cent).
Researchers said it is very unusual for these movements to happen during the second and third trimesters of pregnancy without a stimulus such as music.
Unborn babies don’t react well to Adele’s ‘Someone Like You’
Unborn babies don’t react well to Adele’s ‘Someone Like You’. Picture: Getty
The study proves that music is capable of stimulating neurological activity, triggering areas of the brain linked to language and communication.
Dr. Marisa López-Teijón, Director of Institut Marquès, told The Telegraph: “Music is a form of ancestral communication between humans, the communication through sounds, gestures and dances preceded the spoken language.
“The first language was more musical than verbal, and it still is; we still tend instinctively to speak in a high pitched voice, because we know that newborn perceive those better, and this way they understand that we want to communicate with them.”
Dr López-Teijón’s team also tried playing classical music to embryos which have undergone IVF fertilisation.
They said it increases chances of success by up to five per cent.

Mozart 'Queen of the Night' whistled

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Beyonce is actually a mezzo-soprano

Fact: Beyoncé is actually an insanely good operatic mezzo-soprano in disguise


beyonce glastonbury
By Daniel Ross, ClassicFM London
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Beyoncé Knowles is an uncompromising vocal actress who has been using operatic techniques throughout her career - and this is how she does it.
When we think of Beyoncé, we think of the voice. Pure, powerful, aggressive when necessary and plaintive when wounded. This is not a revelation - people have been nuts over her voice for years. 

What’s surprising is that, whether she’s conscious of it or not, Beyoncé’s voice is an almost perfect opera soprano - it’s just that she’d probably never use it for opera. Let’s take a look at some examples of how Bey’s voice actually has its roots in the classical tradition:
Character

One of Beyoncé’s strongest traits is her commitment to character. No matter the size of the venue, she maximises every emotional gesture, and not just in her voice. She’s playing to every seat in the house, fully aware that there’s a whacking great LED screen projecting her image to anyone with eyeballs. 

Here she is singing ‘1+1’ live on telly in America, absolutely embodying her character - it’s essentially a one-sided love duet, during which she KNEELS ON THE PIANO LIKE A LEGEND:
You know else embodies their characters like this? The greats:

Range

Queen B’s range is really something, and we’re used to hearing her rocketing up to the very limits of her soprano range. But what about the very bottom end of it? In the opening verse of ‘Halo’ she effortlessly shoots down to a low C sharp as if it’s nothing:
At the other end of the scale, listen to how Cecilia Bartoli supports herself at the extremes of her register:

Stagecraft

When you’ve got fireworks going off, dozens of TV cameras pointing at you and co-stars to interact with, most of us would probably forget to sing. Or, more accurately, curl up under the stage and do a solid hour of fear-crying. But not Beyoncé - here she is literally in formation as she performs ‘Formation’ for a TV audience of approximately everyone on Earth who ever lived:
So in Puccini’s La Bohème, this set-piece from the end of the second act uses the exact same skills. All the singers integrate with dozens of extras, a whole marching band and complex ensemble singing without breaking a sweat.

Attitude

This is a more nebulous one, and it’s an absolute cop-out to put it down to ‘star quality’ or ‘the x-factor’, but Beyoncé has what Maria Callas has, what Joyce DiDonato has, what Montserrat Caballé has - attitude. The kind of attitude where you can headline Glastonbury while pregnant, where your voice sounds as slick on record as it does when someone’s filming you on their phone.
Here’s Joyce DiDonato still performing WITH A BROKEN LEG:

So, Beyoncé, we salute your technique, your voice and, most of all, your attitude. You’re already doing what so many operatic sopranos should be doing already.
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