Arts Reviews

The good, bad and ugly in arts and exhbitions

Tuesday

Interconnect

The Connoisseur’s Diary

2nd October New York: Opera Verdi’s Aida opens at the Met, conducted by Daniele Gatti, former principal conductor of the Royal Philharmonic Orchestra. Lithuanian soprano Violeta Urmana sings the title role. 4th October Paris: Racing The Prix de l’Arc de Triomphe is a Group 1 flat race held at the Longchamp course and one of the most fashionable race meetings in the calendar. It is one of the four French Classics and has a prize of €4 million, the second biggest prize on the turf after the Japan Cup (on 29 November). 4th October Japanese Grand Prix This year’s race takes place at the Suzuka Circuit, the only figure-of-eight F1

Sunday

Saturday

Igor Toronyi-Lalic

Getting in on the act

Old operatic conventions will no longer do, says Igor Toronyi-Lalic: no more parking and barking Caricatures are often instructive. Those that acquire legs will offer a crystallised version of the truth. The hoary send-up of opera, for example — the lardy singers, the stilted poses, the outstretched arms — is representative of a historic reality. Opera singers did once park and bark. Character was once illustrated through stock gesture and semaphore. The presumed impossibility of mastering both the singing and the acting meant consigning half the art form to the dustbin. ‘How can you act if you have to hold a sustained note for six measures in the middle of

Michael Tanner

Rough with the smooth

The Damnation of Faust Barbican Rigoletto ENO Berlioz called La Damnation de Faust ‘an opera without decor or costumes’, which is what I quite often wish all operas were. But as David Cairns writes in his characteristically illuminating but tendentious programme notes, ‘It is an opera of the mind’s eye performed on an ideal stage of the imagination; we see it more vividly than any visual medium could depict it, except the cinema (which it at times anticipates).’ That last interesting thought apart, I wonder if my visual imagination is defective — I suspect that it is. Anyway, I don’t find, on the whole, that I do have vivid images

Marcus Berkmann

Oasis of silence

Seconds after I filed last month’s column, Oasis broke up. Seconds after I filed last month’s column, Oasis broke up. As ever on such momentous occasions, I didn’t quite know how to respond. Would a street party be excessive? Might a night on the lash be considered lacking in respect? In the end I settled for opening a bottle of champagne and toasting the good sense of the Gallagher brothers, who should probably have done this years ago, ideally before forming the group in the first place. Why do Oasis generate such loathing? It’s not just me, although I accept I am a repeat offender. Looking back at old columns,

Simon Hoggart

The writing on the wall

Imagine the scene at some BBC committee meeting. The Chief Officer for Commissioning, Unit Programming is setting out the problem. ‘Gentlemen, recent controversies — the Ross/Brand phone calls, the ongoing problem of Ross’s £6 million annual salary, which is more than the entire budget for a year of the Today programme, our own excessive pay and expenses — have brought mistrust and contempt on our management, which not even the record number of Emmys for Little Dorrit has erased. We urgently need to reclaim the moral and cultural high ground. Any suggestions?’ Up pops an underling: ‘Why don’t we bring back Hole in the Wall?’ COCUP: ‘Ah yes, the programme

Kate Chisholm

Heartbeat of the past

‘Life consists not of a series of illustrious actions, or elegant enjoyments,’ wrote Dr Johnson (of whom you may think you have heard too much in the last few weeks, but he is often so pertinent). ‘Life consists not of a series of illustrious actions, or elegant enjoyments,’ wrote Dr Johnson (of whom you may think you have heard too much in the last few weeks, but he is often so pertinent). He was commenting upon the barbarity of Scottish houses in which it was impossible to open a window and get some ‘fresher air’. The greater part of our time, he reminds us, ‘passes in compliance with necessities in

Wednesday

Andrew Lambirth

Spontaneous delight

Henry Moore Textiles The Sheep Field Barn, Hoglands, Perry Green, Hertfordshire, until 18 October Hoglands, the former home of Henry Moore (1898–1986) near Much Hadham in Hertfordshire, was looking radiant on the late-summer day I visited it. The Foundation that Moore set up to care for his estate and reputation acquired the house from his family in 2004 and began restoring it. It gleams today probably more than it ever did when lived in, but a marvellous array of furniture and fittings, art and artefacts (including the original bottles of drink offered by HM to his visitors) ensures that the place still seems more of a home and less of

Lloyd Evans Lloyd Evans

Ramshackle muddle

Mother Courage and Her Children Olivier Speaking in Tongues Duke of York’s Mother Courage, Brecht’s saga of conflict and suffering, is set during the Thirty Years’ War. The title character is a maternal archetype who ekes out a perilous existence selling provisions to the warring factions and chasing off the recruiting sergeants who want to lure her children into the army. Deborah Warner’s wrong-century production announces its intentions early. At curtain-up we know nothing of Courage except that she has ‘lost a son’. And here she comes, aboard her famous cart, wearing sunglasses, bawling into a microphone while cavorting to the sound of an on-stage rock band like the saddest

Alan Judd

Ride with the devil

If Milton had owned a Land Rover he’d never have vanquished Satan and his fallen angels to nether regions of rocks, caves, lakes, fens, bogs, dens and shades of death. If Milton had owned a Land Rover he’d never have vanquished Satan and his fallen angels to nether regions of rocks, caves, lakes, fens, bogs, dens and shades of death. He’d have known that they could have had too much fun with the right wheels, as I did recently among the rocks, lakes, fens etc. of the 54,000 acre Roxburgh estate. Along with, I should add, 679 other motoring hacks, between 60 to 80 Land Rover staff and 80 vehicles.

Saturday

Andrew Lambirth

A propensity to meaning

Andrew Lambirth talks to the sculptor Anish Kapoor on the eve of his major new exhibition at the Royal Academy I interviewed the sculptor Anish Kapoor (born 1954) while preparations for his major new exhibition at the Royal Academy were nearing conclusion. The galleries were busy with technicians so we talked in the Members’ Room (Kapoor has been an RA since 1999). I last interviewed Kapoor 11 years ago, on the eve of his last big museum show in London, when he had the whole of the Hayward Gallery. Now he has been given the grand rooms which comprise the entire main floor of the Academy. Our talk was inevitably

Robin Holloway

Worth the Price

A long drive mitigated by congenial and erudite company, through bosomy green hills under what felt like permanent soft mizzling rain, from one choice little festival on the Welsh borders, Presteigne, to another altogether more remote — Machynlleth, close to the coast, a tiny town (for all that a Welsh king once located his court there), where, in a converted nonconformist chapel, surprising and rewarding events take place. Not so the first I attended, a recital of poetry and song occasioned by the first world war, trudging through well-worn trenches and pastoral hankerings, the recitation shambling, the singing insensitive, the piano overweening. One left depressed by the subject, and without

Lloyd Evans Lloyd Evans

False trails

The Shawshank Redemption Wyndham’s Othello Trafalgar Studios All change at Wyndham’s. The wayward sophistication and creative adventure of Michael Grandage’s first West End season has drawn to a close and been replaced by a karaoke version of The Shawshank Redemption. Smart move. Cameron Mackintosh, the theatre’s owner, must be hoping that this stale piece of air guitar will sharpen our appetite for Grandage’s return in 2010. The Shawshank copycat, directed by Peter Sheridan, has been cast with lookalikes in the Tim Robbins and Morgan Freeman roles, reinforcing the impression that the priority is to cook up a comfort-food replica and not upset the punters with unfamiliar tastes. It’s a maddeningly

Kate Chisholm

Remains of the day

Back in 1924 when radio was still a young upstart technology, full of daring invention and brazen self-confidence, a nature-loving cellist, Beatrice Harrison, sat in her Surrey garden and played duets with a nightingale, which were broadcast ‘live’ on the BBC’s Home Service. Back in 1924 when radio was still a young upstart technology, full of daring invention and brazen self-confidence, a nature-loving cellist, Beatrice Harrison, sat in her Surrey garden and played duets with a nightingale, which were broadcast ‘live’ on the BBC’s Home Service. We heard a clip from one of them on Richard Mabey’s inspiring quintet of meditations for this week’s The Essay (Radio Three). Harrison’s cello

James Delingpole James Delingpole

Techno deprivation

Every summer my wife and I conduct an extraordinary social experiment with our kids which, if the authorities got to hear about it, could land us in jail. We take them for a fortnight to a remote house in the Welsh borders, take the fuse out of the plug so they can’t watch TV, and force them to entertain themselves using nothing but books, board games and the outdoors. ‘The Noughties Kids are going back in time. How will they cope?’ you can imagine the voiceover to the accompanying fly-on-the-wall documentary asking in the manner of such previous retro-porn, home-makeover, history-light classics as The Viking House, The Victorian Farm, The

Wednesday

Laura Gascoigne

Ancient and modern

Rogier van der Weyden 1400–1464: Master of Passions Museum Leuven, until 6 December Musée Hergé Louvain-la-Neuve When I was a child in Belgium, architecture was a dirty word — angry drivers would wind down their windows and yell, ‘Architecte!’ The insult dated back to the 19th century, when the megalomaniac architect Joseph Poelaert imposed the enormity of the Palais de Justice on Brussels, forcing large numbers of residents from their homes. Times change and memory fades; architects are back in favour in Belgium. Last week saw the inauguration of Santiago Calatrava’s new birdcage-roofed station at Liège-Guillemins, hailed as a destination in itself — not a description you’d use, unfortunately, of

Ariane Bankes

On the move

Last weekend, as part of Open House London, the Government Art Collection flung open its doors to allcomers, probably some Spectator readers among them. Its energetic acquisitions and commissioning policy over past decades has made it one of our country’s most valuable cultural resources — yet those of us who don’t stalk the corridors of power may still be only vaguely aware of its existence, let alone the astonishing breadth of its collections. These span four centuries and now contain around 13,500 works of art in almost every medium you can think of. The sceptic might suppose that a collection of this size might on occasion have sacrificed quality for

John Spurling

Back to the sublime

Martin Greenland: Arrangements of Memory Art Space Gallery, 84 St Peter’s Street, London N1, until 10 October ‘In Painting there must be something Great and Extraordinary to surprise, please and instruct, which is what we call the grand Gusto. ’Tis by this that ordinary things are made beautiful and the beautiful sublime and wonderful,’ wrote Roger de Piles in his Art of Painting, translated into English in 1706, extending the notion of the sublime from literature to painting and opening the road to Romanticism. Martin Greenland’s large, skilful, traditionally painterly landscapes bring us smack back from what Reynolds called ‘the little elegancies of art’ to the sublime. Andrew Lambirth’s persuasive

Mark Glazebrook

Love of queens and princes

Watercolour: only a medium but what a medium! It’s so versatile, and when painting the landscape it can respond with lightning speed to changes in the weather. Watercolour: only a medium but what a medium! It’s so versatile, and when painting the landscape it can respond with lightning speed to changes in the weather. The latter’s unpredictability has made it our most predictable national topic and the English have long taken watercolours to their hearts, both as practitioners and as collectors. Indeed, Queen Victoria (a watercolourist herself) presided over no fewer than two comparable organisations, the Royal Watercolour Society (RWS), founded in 1804, plus the Royal Institute of Painters in

Michael Tanner

Anarchic spectacular

Le Grand Macabre English National Opera Don Carlo Royal Opera House Ligeti’s opera Le Grand Macabre has opened the season at ENO in a production of spectacular, amazing brilliance. Every aspect of the piece, visual, musical, dramatic, is dispatched with such panache that it seems a pity to enter any reservations at all, and for anyone in two minds about getting a ticket I’d unhesitatingly say ‘Go!’ The reservation is that the work itself is so feeble a piece, and by Ligeti’s standards shockingly thin, that one is forced to regret directorial and designer’s inventiveness amounting to genius for so unworthy a cause. Anarchy in art, as in life, is