CLASSICFEEL journeys into art, opera and heritage

As I have mentioned before, I think the CLASSICFEEL team really has quite an amazing job. Once each issue has finally gone to print, we don’t think about the stress of putting the issue together (most times). We don’t dwell on the frustration of seemingly endless delays in getting advertising material (at least not always) and we forget about the great images that we were promised but never arrived (or the bad images that came through in their place). 

Once all of these things are out of the way, all that remains for us is the fun we had preparing the issue, the great privilege of being able to interview some of the most interesting artists, authors and performers and the interactions we have with these people. It is always nerve-racking to prepare for an interview but most of the time it goes so well because the really good artists are almost always the most gracious.

One such example was this month’s cover story – our interview with William Kentridge. Of course it helped that both Kentridge and I are mad keen on opera and this interview is actually more about The Nose opera and its preparation for the world premiere at the Metropolitan Opera in March than the actual Kentridge artworks – but what else can you expect when two opera fans compare notes? The only sad thing that came out of the interview was when we found out that a performance of the opera here in Kentridge’s home country does not look very likely. We shouldn’t even expect an HD recording from the Met at this point.

Of course it goes without saying that I would have given anything to attend this wonderful opera in New York but somehow my budget did not allow for the trip. This is a situation that will be rectified in future if I can help it – I can only try! But talking about performances abroad, when one of our freelance contributors attended the Handspring Puppet performance of The War Horse in London, she immediately thought of the magazine to share this fantastic experience. The show has taken London by storm and is still playing to sold-out houses after three years – great South African artists making their mark.

Also in this issue, in partnership with the African World Heritage Fund, we are starting a fascinating series of monthly features on the very special World Heritage sites on our continent.

But looking at the heritage images stirs another budget-restricted dream – to actually see all these places. I have to confess that I am not only mad keen on opera, I also suffer from a terrible travel bug. So come what may, next time it’s New York Metropolitan Opera here I come!

Lore Watterson

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