Arts Reviews

The good, bad and ugly in arts and exhbitions

Saturday

Michael Tanner

Pleasure count

Humperdinck’s minor masterpiece Hansel and Gretel is one of those operas that disappears for a time and then comes in waves. I hope that Opera North’s splendid new semi-production of it heralds a fresh wave, because we’ve had a long period without it. It went very well in the grand spaces of Leeds Town Hall, where it has another couple of performances before moving to three other northern destinations. The greatest single cause for pleasure was having the orchestra of Opera North on stage, so that it could be heard to full advantage; I don’t imagine that any other orchestra in the country would have sounded finer. And certainly no

Laura Gascoigne

That elusive something

There’s a central chapter in Moby Dick where the narrator Ishmael traces his fascination with the whale to the colour white. For all its associations ‘with whatever is sweet, and honourable, and sublime’, he feels that ‘there yet lurks an elusive something in the innermost idea of this hue which strikes more of panic to the soul than that redness which affrights in blood’. Could it be, he wonders, that ‘by its indefiniteness …it shadows forth the heartless voids and immensities of the universe, and thus stabs us from behind with the thought of annihilation?’ Ishmael is on to something here. Chromatically, as the colourless sum of all colours, white

Michael Vestey

Abuse and censorship

The distaste for torture and abuse of prisoners or detainees has never been shared by everyone in this country, though on the whole we’re better than those in many other countries. We have our own sadists who somehow end up in charge of others as well as those who, under pressure to provide results, overstep the mark. Document: Recruiting the Reich on Radio Four this week (Monday) uncovered some examples from the post-war period which, needless to say, were covered up. Using the Freedom of Information Act, the presenter Mike Thomson examined documents alleging abuse and even torture committed by Intelligence officers after the war, and he wondered if it

Andrew Lambirth

Man of distinction

The name of Bacon in the 17th century inevitably suggests Sir Francis, first baron Verulam and viscount of St Albans, Lord Chancellor and natural scientist, philosopher and writer. Of an acutely inquiring mind, Sir Francis died of a chill caught trying to deep-freeze chickens. Nathaniel Bacon (1585–1627) was his nephew, and showed some of the same characteristics, being not only devoted to horticulture but also, more surprisingly, a painter of considerable talent and distinction, who experimented with new colours and varnishes. He is currently celebrated at Tate Britain in Nathaniel Bacon: Artist, Gentleman and Gardener (until 17 April), a focus exhibition built around a major painting which the gallery acquired

Saturday

James Delingpole James Delingpole

Festive viewing

I can’t remember a Christmas where I watched so little Christmas TV as this one, which is a shame in a way, because I do think that mammoth sessions in front of the box are the key to feeling truly Christmassy. Going to church helps, too, obviously, but it’s never quite enough. The only way you’re ever going to trick your mind into conjuring up an approximation of all those Christmases you think you remember from childhood where cheery robins perched on snowy gateposts, the turkey breasts were never dry and the presents were always as exciting as you’d hoped they’d be is by brainwashing yourself with constant exposure to

Peter Phillips

Importance of hummability

In a recent article in the Times, Matthew Parris wrote stirringly about the inspiration which may come from listening to buskers: ‘Amazing how a snatch of music heard in passing can lift the imagination and spirit.’ To him the essence of this snatch is hummable or whistle-able melody, and we are told that the ‘superior’ musicians who ignore such a simple ingredient are ‘the parasites on a beast whose lifeblood is melody’. He went on to have a go at Sir John Tavener, who apparently has written new music to ‘Away In A Manger’ because he found the existing tune trite. When Sir John was asked by an interviewer whether

Charles Spencer

Social outlaw

It’s the morning of 2 January as I write, and I’m gloomily contemplating my New Year’s resolutions. Actually, gloomily is hardly the mot juste. I’m having a complete jelly-livered panic attack about them. It’s our family custom to go to the Pilot Boat pub in Lyme Regis for lunch on New Year’s Eve, and to discuss the coming 12 months. It was at the Pilot Boat that we first decided to get a cat, and I now can’t imagine life without Nelson. He’s just greeted me on my solo return from Dorset with a combination of excitement, purring affection and just a suspicion of reproach in his eyes that moved

Andrew Lambirth

Grand tour of Venice

Andrew Lambirth on the splendour of the Canaletto exhibition at the Queen’s Gallery Magnet for tourists as it is, Buckingham Palace is the perfect setting for Canaletto in Venice, an exhibition devoted to the grandest producer of tourist art of the 18th century focusing exclusively on a city which had already become one of the world’s leading tourist destinations. Giovanni Antonio Canal (1697–1768) was known as Canaletto to distinguish him from his father, a successful painter of theatrical scenery. Young Giovanni trained in Venice in the family business, before branching out on his own in the early 1720s and painting views of Venice for the rich nobles undertaking the Grand

Saturday

Michael Vestey

Mercy killing

The good end-of-year news was that Home Truths on Radio Four (Saturdays) is to be taken off the air in the spring. Unfortunately, it seems likely to be replaced by something similar. The new show, says Mark Damazer, the network controller, ‘will continue to feature the sometimes extraordinary experiences of its listeners’. Damazer explained that the late John Peel’s ‘unique personality’ was bound up with Home Truths and now it was time to look for a different programme. I must say I hated it when Peel presented it and I don’t feel any differently now. The only good thing about it for me was that it was sheer bliss not

Robin Holloway

A First for skill

Memory Lane circa 1900, revisited by moonlight without cars, let alone speed cameras: not since Thorsten Rasch’s hommage to late-romantic/early-modern idioms admiringly described in this column a couple of years ago have I encountered so thoroughgoing an exercise in pastiche as the gigantic string quartet that occupied most of a recent evening on Radio Three. ‘Exercise’ is the prevailing term. Except in its vast length and pretensions, Alistair Hinton’s work reminded me of nothing so much as the ‘portfolio of tonal compositions’ submitted by every music student in their second year at Cambridge. Marking these down the decades, I’ve been stirred by even the duffest efforts (no doubt reluctantly undertaken)

Saturday

Giannandrea Poesio

Magical touch | 17 December 2005

Oh joy, oh bliss, it is Nutcracker season again! Hordes of overdressed and overexcited children invade our theatres, much to the despair of those who know that the kids’ excitement and attention will fade as soon as they realise that neither the Mouse King nor the Sugar Plum Fairy can be incinerated by one of Lord Voldemort’s spells. Indeed, a Harry Potter-esque version of the unsinkable classic could be an appropriate addition to the long series of radical, humorous, gothic and psychoanalytical versions of the 1892 ballet that we have seen in the past years. Yet, London balletomanes will find no such thing, nor any other new Nutcracker in their

Lloyd Evans Lloyd Evans

All in the mind | 17 December 2005

On Ego is a lecture that turns into a nightmare. An amiable young neurologist, Alex, strolls on stage and addresses us on the subject of mind. He has a lab technician Derek (Robin Soans wearing a white coat and a lost gaze), who presents him with a bucket containing a brain. Alex picks up the dripping ‘lump of meat’ and uses it to illustrate Francis Crick’s observation that ‘Conscious experience is not caused by the behaviour of neurons. It is the behaviour of neurons.’ The show then evolves, by a series of sudden shifts and jerks, from a monologue into a drama. Derek the lab assistant turns out to be

Michael Tanner

Irresistibly moving

English National Opera’s production of Billy Budd originated in Wales seven years ago, and is also shared with Opera Australia. Neil Armfield is the producer, and the set design is by Brian Thomson. It is an hydraulic platform, which in Cardiff occupied the whole stage, but at the Coliseum leaves a lot of surrounding space unused, and induces less claustrophobia in the audience, though it could well, in its restless heaving, cause motion sickness. It is highly unspecific, so serves, with one or two props, all the purposes it needs to and leaves the creation of atmosphere mainly to the music and the singers, so that is in good hands.

Stephen Pettitt

Festive spirit

Each year the same thing happens. Each year we’re expected to suspend for a month the exercise of sound musical judgment as we’re engulfed, willingly or otherwise, in a deluge of Christmas Music. All of a sudden, banality in various guises becomes completely acceptable. Every church in the land that hasn’t descended to the satanic realms of happy-clappy mass hysteria and which has a half-decent choir offers its own version of King’s College’s Nine Lessons and Carols in cosy, twinkly, feelgood candlelight, pretending that all is well in the world. All the major concert halls in every large city offer Christmas concerts of various hues, swelling the coffers of entrepreneurs

Andrew Lambirth

Christmas round-up

A Christmas spirit hovers over Art of the Middle Ages at Sam Fogg (15d Clifford Street, W1, until 12 January), visible particularly in the Three Kings bearing gifts in the tiny 14th-century French ivory diptych, and in the green-winged stained-glass angel probably from the glazier who worked at Sées Cathedral, Orne in Normandy, around 1270–80. This high standard is maintained in the stucco relief of the ‘Virgin and Child Enthroned’ of c.1420, by Michele da Firenze, a kneeling wooden king from an Austrian ‘Adoration of the Magi’, and a remarkable Bavarian limewood Jesse figure. Other treasures include illuminated manuscripts, miniatures and Romanesque architectural sculpture. Here are gifts indeed to impress

Saturday

Michael Tanner

Challenge accepted

Verdi’s Falstaff is an opera which I have usually found it easier to admire than to love, but English Touring Opera’s production, which has been going round the country since October, is exceptionally endearing. I hope that they might keep it in their repertoire — so many of the best things this company has done have disappeared, while I’m sure that many people who have seen them once would be happy to go to a repeat performance a few years later — what happened to their wonderful Fidelio, for instance? Falstaff is probably the biggest challenge to date, demanding the utmost in precision from the performers, while needing never to

Toby Young Toby Young

Change of heart

When I started writing this column in 2001 I didn’t have much time for the theatre. As a child of the Thatcherite Eighties, I regarded state funding of the arts as a ruse cooked up by the liberal intelligentsia to obtain cheap tickets, and thought of theatre people as effete intellectual snobs who spent their time congratulating each other on being so much more cultured and intelligent than the rest of us. Whenever Jonathan Miller appeared on television, I turned it off. Four years later, I’ve had such a complete change of heart that I felt like one of the luckiest men alive as I sat in an abandoned factory

Saturday

Lloyd Evans Lloyd Evans

Orgy of confusion

Take a pile of bilge, add a bucket of drivel, stir in a few dead babies’ heads and you’ve got Coram Boy. The Olivier’s big Christmas production is a version of a kids’ book about abducted orphans in the 18th century. It’s certainly lavish. A huge cast, acres of costumes, enough lights to land the Shuttle, and an orchestra on stage. What for? An orgy of confusion and tedium, a choppy text and a gang of flouncing show-offs striding about the stage delivering ‘Egad, sir’ dialogue and occasionally breaking into a burst of Handel. Coram Boy, beware, is a curriculum text. The stalls are filled with parping, snickering, beeping teenagers

Giannandrea Poesio

Aural padding

There seems to be a problem with the way some modern-day dance-makers deal with music. Twice in a fortnight, I have been confronted by works in which the score had no relevance to the choreography, and performers seemed to dance to a different tune. I am referring to Rafael Bonachela’s Curious Conscience, reviewed last week, and to Alastair Marriott’s Tanglewood, given its première last Monday by the Royal Ballet. In line with the assumption that ‘50 per cent of a ballet’s success stems from the right music’, Marriott has opted for an intriguing score, Ned Rorem’s Violin Concerto. As the composer explains in a captivating programme note, this is no

Tanya Harrod

Surprise tactics

Suddenly the word craft has resonance. While not exactly on everyone’s lips, it has certainly won unexpected allies. Take the fashionable sociologist Richard Sennett. In his book Respect: the Formation of Character in an Age of Inequality (2003) Sennett seizes on what he calls ‘craftwork’ as a defence against a world dominated by audits and assessments in which comparatively few are singled out for recognition. By ‘getting the act right in itself…the craftsman can sustain his or her respect in an unequal world’. But the term is a slippery one. Craft is being embraced by the art world in the form of DIY of the homeliest kind. Grayson Perry’s evening-class