Gavin Friday will be joining the Gavin Bryars Ensemble for a performance of Nothing Like the Sun (The Shakespeare Sonnets) at Lancaster University (UK) at 7.30pm on November 26, 2009.

Gavin Bryars, beautiful through-composed score weaves together eight of Shakespeare’s sonnets on the subjects of time, memory and music. It features five sonnet settings by guest composers including Antony Heggarty (Antony and the Johnsons) and Mira Calix. With Anna Maria Friman, John Potter and Gavin Friday.

Tickets:
£15.50, £13 (£13, £10.50 concessions) £7 Young person
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Gavin Friday will be joining the Gavin Bryars Ensemble this summer for two more performances of the Sonnet Project in Leeds and in London.
Gavin Bryars’ through-composed score, ‘Nothing Like the Sun’, weaves together eight of Shakespeare’s sonnets on the subjects of time, memory and music.
The project also features five sonnet settings by guest composers including Antony Heggarty (Antony and the Johnsons) and Mira Calix. Gavin will be performing his own setting of Sonnet 40 as well as narrating Bryars’ 40-minute composition.
Nothing Like The Sun was commissioned by Opera North and the Royal Shakespeare Company.
Leeds: The Howard Assembly Room at Opera North
7.30pm June 14th. Box office: 0844 848 2727
www.howardassemblyroom.co.uk
London: Purcell Room at South Bank
7.45pm July 4th
www.southbankcentre.co.uk

Gavin Friday talks about Disney songs, Shakespeare sonnets, Ferrara films, liking art and reading books.

“Well, Suzanne Vega did a really sexy slow orchestral version of Cruella de Ville,” says Gavin Friday as he tries to remember the night before.

“Lou Reed did ‘Zippidy Doo Da’. Steve Buscemi sang ‘High Ho, High Ho It’s Off To Work We Go’. David Byrne did a version of ‘When You Wish Upon A Star’ and Eric Mingus, who’s Charlie Mingus’s son, said: ‘I’m going to do the most racist song ever written,’ and sang ‘Ooh Ooh Ooh I Wanna Be Like You.’ Garth Hudson and his wife Maud… now I don’t want to be heavy but she’s twenty-something stone and in a wheelchair. She couldn’t get on stage so she sang from the audience while people were coming in. They did a 25-minute version of ‘Feed The Birds’. I sang ‘Chim-Chiminey’, the Dick Van Dyke song from Mary Poppins and the Siamese Cat song from Lady And The Tramp.”

Sure you did, Gavin. I shake my head as if chastising a child. You crazy pop stars and your drugs.

What? It’s real?! Yes, Gavin Friday has just taken part in Hal Willner’s Stay Awake show in New York. In 1988, Willner brought out a much celebrated album of tributes to Disney classics and this year the great, the good and the kind-of-leftfield are celebrating the anniversary in concerts spread across the year. This particular show was a benefit for St. Anne’s Warehouse – a much celebrated New York art centre.

[Read more →]

Gavin Friday will rejoin Gavin Bryars and Opera North to perform Shakespeare’s sonnets and Bryars’ original composition ‘Nothing like the sun’ in Belgium. The show is booked for December 12 and December 13 at the Handelsbeurs in Ghent.
Tickets (22/19 €) are available from the Handelsbeurs website.

Alfred Hickling reviews Nothing Like The Sun for The Guardian:

“But the most charismatic moment occurs when Friday stalks on in gold jewellery and inch-high brothel-creepers to intone Sonnet 40 like a diabolical lounge entertainer.”

Lynne Walker for The Independent:

“The most extraordinary setting, however, is Gavin Friday’s take on No 40, which he intones in a kind of strangulated speech-song. While his words are often inaudible, as a piece of performance theatre it is astonishing. He swerves between Caliban and Puck and several characters in between so compellingly…”

Terry Grimley reviews Nothing like the Sun for the Birmingham Post:

Gavin Friday, who sang his own setting, scored a point by dragging Shakespeare into a pop idiom, turning the final couplet into a classic fade-out.

Read the full review.

The Bardathon blog writes:

The fourth sonnet was set by one of the chief attractions (for me) of the event- Gavin Friday, who performed the sonnet himself. Friday is an old-school friend of Bono and the rest of U2, and has performed with them on and off over the last 25 years, as well as producing his own work including a spectacular reinterpretation of ‘Peter and the Wolf’. He turned Sonnet 40 into a moody lounge number, half-singing, half-speaking the words until he reached the final couplet, for which he transferred to a falsetto as he sung over and over “Kill me with spites, kill me with spites” as he walked off the stage and the music faded away. Writing about music is something I find nearly impossible, but it made everything in me tingle.

Thirteen sonnets scarcely represent Shakespeare’s 154 poems in a Complete Works season but Nothing Like the Sun is at least a nod in the right direction. Opera North and the Royal Shakespeare Company invited Gavin Bryars to curate an evening of musical settings, the centrepiece of which is his own sequence of eight sonnets for soprano, tenor, speaker and ensemble. The first half is made up of music by five musicians, each preceded by a slightly self-conscious and not always convincing reading of their sonnet. With the intrepid James Holmes as keyboard player/conductor, however, the music hangs together better than the words.

Five diverse musical voices and a lack of narrative focus prevents any sense of flow in the first half, though not without some original expression of Shakespeare’s words. Natalie Merchant makes an evocative stab at Sonnet 73, while Mira Calix adds rustling leaves and other scrunchy natural sounds to the quirky No 130. No one chooses the sonnets allied to political events or the ones that speak about sex (No 20) or introduce an explicit erotic element (No 151), and even Nico Muhly and Antony Hegarty avoid playing with gender roles by plumping for “Weary with toil, I haste me to my bed”, conjuring an image of elusive sleep with wandering cello and tinkling piano.

Alexander Balanescu’sNyman-like textures, almost Bachian at times, wrap themselves seductively around No 43, “When most I wink”, Anna Maria Friman’s ethereal soprano tones circling above the instrumental world like a halo. Cruelly written for tenor, it leaves John Potter sounding a little vulnerable.

The most extraordinary setting, however, is Gavin Friday’s take on No 40, which he intones in a kind of strangulated speech-song. While his words are often inaudible, as a piece of performance theatre it is astonishing. He swerves between Caliban and Puck and several characters in between so compellingly that Bryars’ music pales into an atmospheric blur. Piano and cimbalom evoke the antique sound of the virginals mentioned in No 128, while the nightingale of No 102 sings high on bright clarinet. His last setting, No 64, finally brings all the performers together, but it’s a long time coming.

By Lynne Walker

From the Telegraph.co.uk an article on Nothing like the Sun, which finally reveals more detailed information on what we can expect on stage:

“This weekend, the RSC’s Complete Works of Shakespeare will present the first performances of a unique programme of new settings entitled Nothing like the Sun, co-commissioned and produced with Opera North.

Six composers contribute, all of them left-field.

In the first half, you can hear music by Alex Balanescu (“When most I wink”), Gavin Friday (“Take all my loves”), Mira Calix (“My mistress’ eyes”), Natalie Merchant (“That time of year”) and Nico Muhly and Antony Hegarty (“Weary with toil”) – the latter three being best-known for their work in the alternative rock world with 10,000 Maniacs and Antony and the Johnsons.

They won’t be performing live, however: soprano Anne Maria Friman and tenor John Potter will sing throughout, with Gavin Friday as a speaker -(some of the Sonnets will also be recited).”