Arts Reviews

’Tis the season to be jolly — in spite of the gloom outside and the torrents of rain. ’Tis the season to be jolly — in spite of the gloom outside and the torrents of rain. But how do you banish the winter ghouls, put on a mask of good cheer and go forth beaming into the pre-Christmas crowds? Radio Three has come up with a possible help-all, by launching its Sing Hallelujah! campaign just as the days shorten into dreary half-light. So far the station has signed up almost 350 amateur choirs nationwide who at some time between now and Christmas will be performing Handel’s exhilarating chorus from Messiah.

Proof that even well-intentioned and useful fads can go too far: the Grow Your Own Vegetables movement has reached a tragi-comic end with the news that Shane MacGowan, the hardest-living poet ever to emerge from the mean streets of Tunbridge Wells, is, well, this… Shane MacGowan is set to appear in a reality TV programme about growing vegetables. The Pogues’ frontman and his girlfriend Victoria Mary Clarke both take part in the RTÉ One programme, which is called ‘Victoria and Shane Grow Their Own’. In the show, the pair attempt to emulate the plot of ’70s sitcom ‘The Good Life’, which saw characters Tom and Barbara Good attempt to live

Cecilia Bartoli Barbican Messiah Coliseum After a brief but inspissatedly tedious overture by Porpora, played by Il Giardino Armonico, the curtains at the Barbican were pulled aside and Cecilia Bartoli, dressed like a highwayperson from a 1940s escapist movie, sprang on to the stage, flung off her feathered hat, rocked with superabundant energy as the orchestra played the introduction to her first aria, from another opera of Porpora’s, and launched into the first of many elaborate analogies between love and other conditions which might give an excuse for lots of drooping and even more giddy coloratura. She was on amazing form, and was greeted and received with almost hysterical rapture.

Andrew Lambirth trawls the galleries and finds a visual feast for the festive season Most people who have heard of James Ward (1769–1859) will know his monumental landscape in Tate Britain, ‘Gordale Scar’, but perhaps little else by him. ‘Gordale Scar’ is immensely impressive (I also love Karl Weschke’s versions of the same subject made in 1987–8), but Ward was far from being a one-work artist. A painter of animals as well as of landscapes, his gifts of observation and curiosity made him a valued recorder of country life. A superb show of his drawings at W.S. Fine Art/Andrew Wyld (27 Dover Street, W1, until 11 December) gives a full

Kienholz: The Hoerengracht Sunley Room, National Gallery, until 21 February 2010 The first time I saw Ed Kienholz’s work was at his 1996 retrospective at the Whitney Museum in New York. I was completely overwhelmed — there was something so powerful and so disturbing about his huge stage-set-size installations which covered subjects such as brothels, mental hospitals and abortion. Kienholz was a pioneer of assemblage art in the Fifties and Sixties, using objects he found in flea markets and elsewhere to make up his ‘tableaux’. He died in 1994; but from the early Seventies he and Nancy Reddin, the photographer whom he married in 1972, worked together as a team,

Marianne Gray talks to John Malkovich about his latest film, his vanity and his first love, the stage When I met John Malkovich to talk about Disgrace, the film of J.M. Coetzee’s novel, he hadn’t seen the film yet and was positively tremulous, if a word like ‘tremulous’ can be associated with the forceful Malkovich. ‘I am looking forward to hearing how it does because the film-makers say J.M. Coetzee likes the film,’ he tells me. ‘It is very faithful to the book but the screenplay has expanded from the novel. These are always worrying things. ‘But far more worrying is my South African accent. When we started shooting I

The Artist’s Studio Compton Verney, Warwickshire, until 13 December Sainsbury Centre for Visual Arts, Norwich, 9 February to 16 May 2010 Compton Verney, in the heart of Warwickshire, settles into its Capability Brown landscape like a grand old diva sinking into a sofa. Some surprise then, as this sparkling art museum constantly raises the senses with its refreshing series of exhibitions. Last year saw Giacometti, Oskar Kokoschka and Jack Yeats; this year Constable Portraits and The Artist’s Studio; next year Francis Bacon and Volcano. The Artist’s Studio explores those places that are part workshop, part engine-room, part desert island, and their evolution as a source of creative energy through five