There has been a certain amount of controversy about this exhibition, the first Michelangelo show at the British Museum for 30 years. The exhibits are drawn almost entirely from the collections of three museums — the Teylers in Haarlem (where the exhibition was shown last year), the Ashmolean in Oxford and the BM itself. These
British gardeners are often accused of being parochial, and we rarely make much attempt to defend ourselves against the charge. We think it is probably true but wonder what anyone expects, considering the advantages of climate, soil and geography we enjoy and how beautiful our gardens can be as a result. It is scarcely surprising
Three fine exhibitions are currently gracing the public galleries of Bath, and even though the new spa is shamefully late in opening, art-lovers are spoilt for choice. In fact, these shows are well worth a day trip from London if you live in town. Bath is a relatively easy hour-and-a-half’s journey from Paddington, and the
Back yet again in the dentist’s chair last week, where time compresses, yet elongates, into infinite present as if there were no events or memories in-between each visit. No ‘laughing gas’ these days (‘breathe deep: now blow it away — one, two, three’). Consciousness is unbroken, every sense screwed to its highest pitch — the
Since I first became aware of it, I’ve always loved Broadcasting House in Portland Place. The first time I started work there I had to sit in a café down the road and gaze up at its magnificent white Portland stone art deco fa
Deal or No Deal (Channel 4, weekday afternoons and Saturday) is the quintessence of television, in that it is remarkably boring, mildly hypnotic, and stars Noel Edmonds, he of the neatly trimmed beard and the grin that manages to be simultaneously wolfish and ingratiating. Noel Edmonds! He seems like a figure from the mists of
Has Harold Pinter become too dominant a figure? I’m not just talking about the trophies he’s picked up in the past 12 months — the Wilfred Owen prize, the Franz Kafka prize, the Nobel prize, the Europe Theatre prize — but, more worryingly, the fact that so many new British playwrights seem content to ape
Almost everyone who has written about Vaughan Williams’s opera Sir John in Love has defensively insisted that we put all thoughts of Verdi’s Falstaff out of our minds because Vaughan Williams had something quite different in his mind. He knew all the going operatic versions of the play, including Nicolai’s (which is a minor masterpiece,
It’s a little cheeky of Christopher Simon Sykes to have chosen a line from Rupert Brooke’s ‘The Soldier’ as the title of a show of photographs of country houses, but A Richer Dust Concealed does happen to combine the three essential ingredients of his subject: riches, concealment from the outside world and dust. Sykes has
Forget for a moment the importation of ‘Gothic’, a term more usually confined to architecture or the novel, and consider the main protagonists. Blake will be familiar to most art-lovers, but what about Fuseli? Born Johann Heinrich F
Radio Four listeners have been complaining about the John Humphrys ‘interview’ with David Cameron on Today a fortnight or so ago. So they must have been even more irritated to hear the programme’s deputy editor, Gavin Allen, defending the encounter on Feedback last week (Friday, repeated Sunday), even going so far as to describe it
One reason I find most TV thrillers such a huge waste of life is that the bad guys so often turn out to be evil capitalists, corrupt Tory MPs or sinister right-wing terrorist organisations. This owes more to the wishful thinking of instinctively bien-pensant scriptwriters than to reality. Since the war — or even before
Phoenix Dance Theatre is ‘25 years young’, as a filmed documentary shown halfway through last Thursday’s performance reminded us. The notion of youth is a relative one, particularly in the performing-arts world, where a quarter of a century is often regarded as a respectable old age, synonymous with a well-established reputation, a sound history and,
At its première just over 50 years ago, Arthur Miller’s The Crucible was, at least in part, a sane man’s strike against America’s McCarthyite paranoia about communism. Miller’s cover for his protest was, of course, the infamous Salem witch-hunts conducted by the New England Puritans in 1692. In resurrecting the play as its tribute to
When Berg’s great tragic masterpiece Wozzeck opened at the Royal Opera in 2002 in Keith Warner’s production, I was more angry and depressed than I have ever been in an opera house. The utter betrayal of everything that Berg, who included in his score extremely detailed specifications as to how it should be staged, indicated,
In the summer of 1811 the 37-year-old Turner packed his sketchbooks, paints and fishing rod and headed west for his first tour of Devon and Cornwall. The purpose of his trip — from Poole in Dorset around Land’s End and back along the Bristol Channel to Watchet in Somerset — was to gather material for
The Sackler Wing of the Royal Academy is currently in deep-green livery to conjure up a rus in urbe setting for the grandest of the Dutch landscape painters of the 17th century — Jacob van Ruisdael. The first impression is a dark one — storm-tossed seas and forests, cloud-filled skies: the untamed might of nature
I caught the last Facing The Truth (BBC2, Saturday–Monday) in which Desmond Tutu moderated a meeting between the widow of a Catholic killed in the Ulster troubles and Michael Stone, the Milltown cemetery killer, who was behind her husband’s murder by loyalist gunmen. It was slightly less moving than expected — at least before the
I hope that I am second to none in my fondness for Dutch art galleries — normally, at least. A candlelight evening in the Franz Hals museum, over 40 years ago, memorably transported me straight to 17th-century Holland — or so I imagined. The unmissable Vermeer exhibition in The Hague in 1996 reinforced this magical
Verdi’s Macbeth is one of those operas which I always have hopes will be greater than it ever actually seems in performance. Its seriousness of intention is plain from the outset, and by and large Verdi maintains an intensity which the subject requires, and which isn’t to be found in any of his previous nine