Music and Opera

Jazz may be an egalitarian, collaborative music, but jazz musicians honor their best with the laurels of hierarchy. Everyone knows the royal monikers of ‘Duke’ Ellington and ‘Count’ Basie, and most people know that Billie Holiday was ‘Lady Day’. But there’s also a whole aristocracy of hip name-drops: ‘The Baron’ (Charles Mingus), ‘Pres’ (Lester Young), ‘The Court Jester’ (Ornette Coleman), ‘The High Priest’ (Thelonious Monk). The list goes on, and on. The mid-century saxophonist Hank Mobley (1930–86) was never ennobled in such fashion — unless you count Dexter Gordon’s hilarious handle for his friend, ‘The Hankenstein’. Nor has historical consensus enshrined Mobley as a leading musician of his era. Fellow tenor

‘I could still be a pop star,’ says Lawrence, sitting on a footstool in his council flat, high up in a tower block above London EC1. ‘I know I’m not going to be a person who has a million hits on the internet. Do they call them hits? Views, or streams, whatever they are. I’m not going to be that person, but I still think I could have a hit record. For me a song like “Relative Poverty” is a song for this generation, and I don’t know why it shouldn’t be an anthem for today.’ Lawrence is now 57, and he has been trying (and failing) to become a

Grade: C+ Mumrock. A lucrative genre, dating from the beginning of the 1970s, when Mums suddenly wanted something a little bit hip. My own mother briefly succumbed to the inane imagery and kindergarten melody of ‘Song Sung Blue’, sometime in 1972, before she moved on to more sophisticated stuff (Gilbert O’Sullivan, as I recall). This is Diamond’s 40th anniversary collection of hits, live or otherwise, and his third Hot August Night containing the same songs. Hasn’t everybody got all this hideous dross by now? Is the only selling point this time that he’s singing them at 71, the voice still throatily pompous, the medallion still on display? Was he ever

Robert Carsen’s new updating of The Beggar’s Opera is a coke-snorting, trash-talking, breakdancing, palm-greasing, skirt-hiking, rule-breaking affair — and every bit as wearyingly tedious as that sounds. Leaving behind the work’s original 18th-century setting, Carsen sets out boldly for present-day London (where the streets are paved with Brexit-related comedy gold), but in Ian Burton’s rewrite seems to land somewhere circa 1990. In a production originally created for Paris’s Théâtre des Bouffes du Nord, Peachum, Macheath and their band of criminal lowlifes are the kind of East End cockney schemers even DCI Jane Tennison would have found it nostalgic to investigate, while corrupt cop Lockit is more Pirates of Penzance than

There’s one big problem with Wagner’s Siegfried, and the clue’s in the name. None of Wagner’s mature works hangs so completely upon a single individual. The character himself isn’t really the issue either, however troublesome he might superficially appear (a ‘randy overgrown schoolboy’, if you believe the misguided programme note for this Usher Hall performance). As so often, confusion falls away once you assume that Wagner — who, after all, wasn’t a complete amateur — knew what he was doing, and take Siegfried as the life-force his creator intended. Someone’s still got to sing the damn role, though, and that’s an Olympian challenge. ‘Most people have never heard a really

In June, a 20-year-old man called Jahseh Onfroy was murdered after leaving a motorcycle dealership in Deerfield Beach, Florida. Onfroy was a rapper, who recorded under the name XXXTentacion, and he had become extraordinarily successful — his two albums had reached No. 2 and No. 1 in the US, despite moderate sales, because of the amount of online plays they had received. The day after he died, my social-media timelines were full of music writers discussing his death, and the tenor — from those with kids, at least — was clear. Post after post noted that XXXTentacion was a nasty piece of work, and few should mourn him, yet the

Some conductors conduct from the fingers — think of Gergiev’s convulsive gestures, flickering up and down the keyboard of an invisible piano in the air — while for others (check out footage of an elderly Richard Strauss) it all comes from the wrist: graceful, fluid and utterly detached. You could cut off Toscanini and poker-down-the-back-of-his-tail-coat Karajan (famously dismissed by fellow-conductor Fürtwangler as ‘just a time-beater’) at the waist and lose nothing from their precise gestures; but try the same trick with the irrepressible Dudamel or Kristjan Jarvi and the life-force of movements that start from the feet and shudder up through the entire body would be gone. With Teodor Currentzis

Early in 1987, a middle-aged woman approached me on the record counter of the Slough branch of Boots. ‘What do you have by Ladysmith Black Mambazo?’ she demanded. Nothing. Boots in Slough wasn’t big on South African isicathamiya choral music. ‘Well,’ she suggested, ‘you really ought to get their records in. They’re going to be huge.’ She was wrong, but I knew why she was so sure. Ladysmith Black Mambazo had been among the standout guests on Paul Simon’s Graceland, released a few months before. Graceland made Simon, by my reckoning, the first pop star who had emerged from the rock’n’roll era to make a major cultural impact across three

Rafael Kubelik is watching Wimbledon when I enter his suite at the Savoy. ‘Tennis fan?’ I ask, slightly surprised. He shakes his head. ‘No. Just her.’ It is 1983, the high summer of Martina Navratilova. ‘She will win,’ says Kubelik in the decisive tone that conductors use to save rehearsal time. ‘And one day my country will be free.’ He had flown out of Prague in February 1948 not daring to tell his wife and son until they landed in London that the communists had seized power and they could never return home. Sir Adrian Boult, a gent among time-beaters, offered to hand Kubelik his job with the BBC Symphony

Imagine living Taylor Swift’s life. She has been staggeringly, life-dominatingly famous since she was 17. Not for a single moment in her entire adulthood (she’s now 28) has she been able to do any of the everyday things the rest of us take for granted. No wonder, then, that so much of what surrounds her seems so peculiar. No wonder her last two albums (2014’s fabulous 1989, last year’s rather less fabulous Reputation) have been dominated by songs about how other people perceive her life: every thing she does, as she is well aware, goes through a filter. She sings not about her love life — her relationships with the

A young Korean, 22 years old, won the Dublin International Piano Competition last month. Nothing unusual about that. Koreans and Chinese, raised in a school of hard knocks and rounded off in western conservatories, are winning most prizes. A few — like the phenomenal Lauren Zhang who made child’s play of Prokofiev’s second piano concerto in the BBC Young Musician of the Year — are prodigious talents with bright futures ahead. Dublin’s winner Sae Yoon Chon is probably not one of them. His Prokofiev, an effortful shadow of Zhang’s electrification, trundled along at pedestrian pace with one or two stumbles. I was therefore surprised to see that Chon won. I

The picnic hamper’s open, the bubbly is chilled, and country house opera is starting to eat itself. When you arrive at the Wormsley Estate you enter a fantastic, baffling world. Figures in black tie stroll between topiary hedges in obedience to unstated rules, while serving staff hover a few paces behind, gliding silently in to reassert neatness and order. Children dressed in red (they’re from a local Scout group) pop up to help and guide. Then the new production of Die Zauberflöte begins and with a deft, surreal spin, the director Netia Jones bowls it all straight back at you. That’s a big part of the fun here. Jones has