Music and Opera

Tristan und Isolde Met Opera Live I am sick to death of productions of Tristan und Isolde which leave me bewildered, alienated, distracted from the work and its significance, unable to concentrate on the music. I haven’t seen a Tristan which didn’t do all these things for many years, and had vowed never to go to another, until the Met advertised its new production, with a starry cast and with Simon Rattle, a conductor who at his best, as he has been recently, is quite wonderful, even revelatory. My hopes were soon dashed. Musically, because the Prelude was so restrained, and turned out to set the tone for the whole

Music likes to tell the same story over and over again. This is part of its tradition but even individual composers can be drawn back to the same models in attempts to reclothe and reinterpret musical forms and structures and settings of classic texts. This is especially the case with the Crucifixion narrative. Bach is revered for his two Passions — St Matthew and St John — but there have been other ways for composers to relate this story in sound. The Seven Last Words from the Cross is a now defunct liturgical form which attracted the attention of Lassus, Schütz, Haydn, Gounod and César Franck. The liturgy of Tenebrae

I was looking forward to going to Malcolm Williamson’s opera English Eccentrics set to a text by Edith Sitwell at the Peacock Theatre this week partly because my only experience of meeting the composer was so bizarre, not to say traumatic, that I haven’t been able to face listening to any of his copious output since. Not that there have been many opportunities, since he seems to be neglected in concert, on the radio and to a large degree on CD. The week before the Queen’s Silver Jubilee in 1977 Rodney Long, the great doctor who successfully treated me for advanced alcoholism in 1971, phoned me up — he believed

The bad news for old rock’n’rollers is that there’s not much time left to stay at Heartbreak Hotel — these days located not at the end of Lonely Street, but on Elvis Presley Boulevard, Memphis. In October it will close, to be replaced by the demurely named Guest House at Graceland: in reality a swanky new hotel with nearly twice as many rooms as the Dorchester. But this is only the latest addition to Elvis’s former pad since the operating rights were bought by the Authentic Brands Group in 2013. Already Graceland has an expanded visitor centre, and the tour of the house now comes with a rather good iPad

Forty years ago, I spent 14 hours in a large field near the A1 in Hertfordshire. I had just taken my O-levels, liked Be-Bop Deluxe, Genesis and Rachmaninov, and often danced my head off to The Who’s ‘Won’t Get Fooled Again’. I was confused about girls and worried that I’d chosen one wrong A-level (Ancient History). In the nation at large, Harold Wilson had resigned as prime minister in March. Under James Callaghan, Britain would wobble further into a strife that marked the late 1970s like a purulent eczema. Pop music would start, rather violently, to reflect it. In the polity these were not confident times. Friends had persuaded me

Walking along the Brighton seafront, I was struck by posters advertising endless tribute acts; among them Suspiciously Elvis, the Small Fakers and The Kinx. The Edinburgh Fringe is much the same. Shows this summer include Dirty Harry: The Ultimate Tribute to Blondie and Billie Holliday: Tribute to the Iconic Lady Day. Or how about Gary Bland’s Mr Romantic: A Tribute to Johnny Mathis — ‘an insight into Mathis’s career, and how Mathis’s music has been a big part of Gary’s life through love, heartache and laughter’. The theatre at Edinburgh, too, is full of remakes. Fancy Dan Choo-Park’s The Song of Beast (after Hamlet), where the Prince of Denmark is teleported to

Michael Heath, The Spectator’s brilliant cartoon editor, has been on Desert Island Discs – which is like a knighthood, but without the cronyism. He’s been talking through his illustrious career and his decades-long association with The Spectator. Subscribers know how well he draws; but his wit is a secret hitherto shared with those of us lucky enough to work with him. The interview (above) shares a bit of that with the rest of the world. Avant-garde jazz, he says, “sounds like fire in a pet shop”. “I am the most romantic man you’ve ever met in your life – absolutely, completely certifiably-mentally soppy. If you showed me Bambi, I’d mop the

Electronic Dance Music is dying. You may not have noticed. It may not affect you directly. But it’s a really big thing and, unless your teenage children have already told you, then you heard it here first. In fact, your teenage children are probably still in denial about it, so go and tell them. Get them back for scratching the car or vaping in the kitchen or whatever pitiful infractions pass for rebellion these days. Tell them: sorry, but electronic dance music is dying. Your rave is going to its grave. Ibiza now exerts the same cultural pull as any other barren 220 square-mile island, including the Isle of Man.

This must rank as the most heartbreaking example of premature chicken-counting in musical history. ‘Gotter has made a marvellous free adaptation of Shakespeare’s The Tempest,’ wrote poet Gottfried Bürger to the translator A.W. Schlegel on 31 October 1791. ‘Mozart is composing the piece.’ Three days later, brimming with misplaced confidence, the dramatist Friedrich Wilhelm Gotter confirmed that ‘the edifice is all ready to receive Mozart’s heavenly choruses’. By 5 December 1791, Mozart was dead. Most probably, he never saw Gotter’s Tempest adaptation, although the musicologist Alfred Einstein stirred the pot of Mozartian myth by presuming that the master had set to work on it during his dying days. So the

After peaking at around the tenth instalment, birthday celebrations get progressively less interesting, for their subjects at least. I remember the lunch we held for my great-aunt Winnie’s 100th birthday. It was a jolly affair and she received the toast with a fine speech of thanks. When the cheering subsided, she delivered the speech again, verbatim. Classical music nowadays seems largely to be propped up by birthday celebrations for people who couldn’t care less, mostly because they’re dead. For some decades, the planning of concert seasons has come down to whether the number of years since a composer died or was born has a zero on the end of it.

In a week that saw the UK vote itself out of the EU, the resignation of David Cameron followed by most of Jeremy Corbyn’s shadow cabinet, the audience who dutifully trooped to the Royal Albert Hall this Sunday for a concert celebrating the 2,000th performance of Karl Jenkins’ The Armed Man – A Mass for Peace were clearly looking for reassurance. And reassurance is what they got – because whatever happens in the big wide world outside, Jenkins’ music has always been, and probably always will be, utter crap. If you believe ‘crap’ to be unworthy of the critical lexicon, no word could be more apt. Believe me, nothing would have

Radiohead have been at the top of the musical tree for so long now that it’s easy to forget what an irreducibly strange band they are. Last Thursday, during the first of their three hugely anticipated gigs at the Roundhouse, they uncharacteristically played three popular favourites on the run — in their defence, it was the encore — causing someone in the audience to call out for another one. ‘No,’ replied Thom Yorke with a smile, ‘this is all getting too much fun.’ And with that, he launched into the melancholy bossa nova shuffle of ‘Present Tense’ from the new album A Moon Shaped Pool — as if to make

About 200 million people tuned in to the Eurovision Song Contest last night, and will have seen Britain finish third-last. The country of Adele, Ed Sheeran, the Mumfords and The Beatles was defeated by countries with a twentieth of our population (and musical talent) – so what’s going wrong? The answer is fairly simple: the UK entry is controlled by the BBC. Asking it to choose a Eurovision Song Contest winner is like asking the Parliamentary Culture Committee to choose a Christmas No1. I’m a huge fan of the BBC and its Eurovision coverage is generally first class, as are Paddy O’Connell and Graham Norton. But choosing a winning musical act is a

There aren’t too many things I have in common with Zayn Malik, but as of this week, we do at least now have a shared enemy: Azealia Banks, the American rapper and part-time witch. She took to Twitter on Wednesday to send racist tweets to the former One Direction star, including one in which she called him a ‘curry scented bitch’. The think pieces have not stopped since. This is not a think piece from an outsider though, but from one of Miss Banks’ other victims. I first came into contact with her last month when she threatened on Twitter to kill a friend of mine’s mother using a voodoo curse,

One of the greatest choral symphonies of the 20th century, entitled Das Siegeslied (Psalm of Victory), has been heard only three times since it was composed in 1933. The last performance took place in Bratislava in 1997. The text is a German translation of words from Psalm 68: ‘…as wax melteth before the fire, so let the wicked perish at the presence of God’. One critic has described Das Siegeslied as ‘a shattering, armour-plated juggernaut of a symphony’, whose huge orchestra marches in a frenzy across ‘voice parts conceived wholly in terms of the harsh consonants and barking vowels of German’. Yet there is also captivating beauty: the lapping of harps