Goebbels, Sydney, Stein
Australia is a wonderful place for touring, where you can see a new country, enjoying the natural views and taking in the energies of a new city. Sydney is not new by any means, but it often feels like it. There’s always something exciting going on here, and something that travelers of all ages can enjoy. It’s got an extremely metropolitan feel, while also being close to some of the most gorgeous natural areas. It’s amazing, and it continues to unfold, so that those who return are often stunned by the new things to see and do. It offers the best for travelers who are looking for the best. Sydney hotel accommodations are a lot like the city, with a sumptuous sense of style and the contemporary, but with a great love for the classical as well.
The urban scene is truly spectacular, and it’s sometimes difficult to pull yourself away from the hotel’s fabulous amenities, especially when there’s food involved. In Australia, the notion of eating like a hunter on a barbecue vacation is really rather overdone, when in fact there is an austerity when meals are involved, and quality certainly counts more than quantity. It’s easy to enjoy time here, nonetheless, and eating is a fabulous pleasure, and the city life is another pleasure, and then there are many more pleasures after that even. Like driving perhaps. Or perhaps like driving while reading Gertrude Stein perhaps, but carefully, carefully.
Driving, and Gertrude Stein, and Sydney, seem to come together quite elegantly in the work or the mind of Heiner Goebbels. The German composer was born in 1952, and has done the sound for a number of theatrical and musical productions and projects, and has planted himself firmly in the strange grounds between the cutting edge and the classical contemporary. He’s done a number of projects in Sydney, and perhaps is best known, so far, for his Surrogate Cities, a work that speaks to the city, the city as a metaphor and the city as a real place. Sydney, like L.A. in the U.S. is known for its car culture, and the musicians playing in the 2003 version of the project, composed in 1994, referenced this throughout the work, in a very lively, improvisational, and relevant piece of work that was not about Gertrude Stein, but could be, and should be, or perhaps not that even.
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