The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
Sometimes, contrary to a widespread suspicion, critics do get it right. On 17 August, 1798 an anonymous contributor to the Diario de Madrid, reviewing an exhibition at the Royal Spanish Academy, noted that Goya’s portrait of Don Andrés del Peral was so good — in its draughtsmanship, its freedom of brushwork, its light and shade
This is my 345th and last monthly column about pop music for The Spectator. I believe I might be the third-longest continuously serving columnist here, after Taki and Peter Phillips. Others have been writing for the magazine for longer, but have occasionally been given time off for good behaviour. You may be astounded to learn
What a fate it is to be hung next to the most famous painting in a gallery. To be overlooked, a framing device, just out of shot of every selfie taken in front of ‘The Ambassadors’ or ‘Mona Lisa’. The painting immediately to the left of Johannes Vermeer’s ‘Girl with a Pearl Earring’ in the
That cinema is having another Ballardian moment will surprise few fans. J.G. Ballard, who died of cancer in 2009 at the age of 78, was one of the darkest, most unsettling of post-war British novelists. In a career that spanned half a century from his debut as a science-fiction writer in the mid-1950s, his surreal
Opera North’s new production of Cole Porter’s masterwork Kiss Me, Kate has been so widely and justly praised that I wonder whether there is much for a week-later reviewer to add. It’s not as if the work needs much exegesis or critical commentary, though it may be worth pointing out that what we hear in
Philippe V was a Bourbon prince who secured the throne of Spain using his family connections. Claire van Kampen is a writer who relied on the same method to secure a West End opening for her play about Philippe. It stars Mark van Kampen (aka Mark Rylance) as the charmingly dotty Frenchman. Philippe was a
It’s probably blasphemous to admit that I’ve never thought very much of John Lennon’s music. Common sense tells me it must be good but it’s never made much of an impact on me no matter how hard I’ve tried to appreciate it. If I like a Beatles song, I usually discover it’s by George. But
Close to the Edge (BBC4, Tuesday) feels very much like an idea conceived during a particularly good night in the BBC bar. Why not take the ‘scripted reality’ methods of such youth hits as The Only Way Is Essex and apply them to a group of over-65s living in Bournemouth? So it is that the
When the novelist David Vann was 13, his father — a difficult, unhappy dreamer in his thirties, constantly in dread, as Vann puts it, ‘of becoming something other than what he had always imagined himself to be’, and who had failed first as a dentist and then as a commercial fisherman in Alaska — blew
Like Richard Hannay, I had to run to catch the early morning train from London to Edinburgh. Thankfully, unlike Hannay, I wasn’t wanted for murder — I’d merely overslept again. As the train pulled out of King’s Cross, I fished out my old Penguin edition of The Thirty-Nine Steps, Hannay’s first — and most famous
Should you wish to have a good copy of the 1916 edition of Wisden, cricket’s annual bible, you should be prepared to part with at least £5,000 and, quite possibly, much more than that. This reflects its rarity — the Great War ensured that the almanac had a limited print run — but also the
In a recent book review, the historian Norman Stone wrote: ‘Maybe the second world war can now be left to novelists.’ Perhaps he was thinking of Allan Massie’s 1989 masterpiece A Question of Loyalties, an utterly convincing portrayal of a man making all the wrong choices for the noblest reasons in Vichy France. It’s such
The last time I cried was September 1989. That was my first week at public school. The reason I cried was that my allocated room-mate, a malevolent pixie named Toby Cox who later became one of my closest friends, had informed me that he ‘knew a lot of people’ at Harrow and he was going
The front cover of this book describes the Hermitage as ‘the Greatest Museum in the World’. That sobriquet must go to the Louvre. The Hermitage is perhaps the second greatest, one which its current director Mikhail Piotrovsky calls an ‘encyclopaedic’ museum, housing ‘the culture of humanity, which is represented in all its variety…’ Not quite.
Up the stairs with flying feet, You would burst upon us, cheering Wellington’s funereal street. Fresh as paint, though you’d been ’railing Up from Scotland all the night, Or had just returned from scaling Some appalling Dolomite… Pundit, publicist and jurist: Statistician and divine; Mystic, mountaineer and purist In the high financial line; Prince of
First things first: this is one of the heaviest books I have ever read. Eventually I finished with it resting uncomfortably on my knees, as I perched on the edge of my bed. It reminded me of when I met Jennifer Worth (of Call the Midwife fame) and she showed me her hardback copy of
The Met in HD series got off to an exciting start this year with Il Trovatore, an opera I adore but have never seen a satisfactory performance of, until this one. The production by Sir David McVicar is in his now traditional style, with a reasonable number of very solid-looking props designed by Charles Edwards,
I suppose you can look at it two ways. Glastonbury, and rock festivals generally, were once patronised by music obsessives; largely male and probably some distance along the autistic spectrum, in many cases. People like me, in other words, when I was younger. Oh yes – and that’s another thing. Age. They used to be
Here are some fur coats reclaiming the design canon for the sisterhood. They are draped over the back of tubular steel chairs. In this daring arrangement, they subvert the established patriarchy by partially obscuring the ‘autograph design object’ of the chair, something that represents the historic subsuming of all female creativity under male dominance. While
Brian Sewell, who died last month, was not popular with his fellow critics. He accused them of kowtowing to power, of puffing up every trendy artist put forward by the galleries and collectors. Of ‘arse-licking’, to be precise (see for example this exchange with Matthew Collings). They could brush off this charge easily enough: Sewell just
Next week Frank Auerbach will be honoured by the British art establishment with a one-man show at Tate Britain. It’s a fitting tribute for an artist who’s widely (and quite rightly) regarded as Britain’s greatest living painter. Yet although Auerbach has spent almost all his life in Britain, what’s striking about his paintings is how
The artist, according to Walter Sickert, ‘is he who can take a piece of flint and wring out of it drops of attar of roses’. In other words, whatever else it is — and all attempts at definition tend to founder — art consists in making something rare and memorable out of not very much.
Radio 3 on Saturday had interesting, if over-long programmes about the effect of music on the mind. In one of them, people were discussing musical education. All the panellists agreed with the proposition that ‘everyone is musical’. Later in the day, I attended an exhibition opening at the De La Warr Pavilion, Bexhill, at which
This is a version of a speech I made to the No Boundaries conference at the Bristol Watershed Theatre on how censorship affects the arts, museums and libraries. The organisers asked me to talk about political correctness and the arts; a touchy subject which requires enormous sensitivity to the feelings of others, and long, thoughtful
After the years at the gym, the diets and the supplements, he comes — nevertheless — to the time of shoring up. Now he is under the aegis of the Holy Trinity of Dentistry, Cardiology and Urology whose gods must be placated and obeyed. He turns towards his bathroom reflection, to assess the state of
‘Kiss me, Sergei! Kiss me hard! Kiss me until the icons fall and split!’ sings Katerina Ismailova, adulterous antiheroine of Lady Macbeth of Mtsensk. Stalin was not amused by Shostakovich’s bleak black comedy but our culture would be poorer without bored wives like Katerina. Perhaps all that Emma Bovary, Anna Karenina and Laura Jesson needed
There was blood on the walls and floor at the birth of Kenneth MacMillan’s Romeo and Juliet in 1965. The violence of the subject was matched by the goings-on in the wings, the scrap over the first-night casting, in which the original Juliet, the young Lynn Seymour, found herself relegated down the list having had
Who goes to big-screen Shakespeare? Not theatre-goers much, and with reason. Apart from the odd corker by Kurosawa, arguably Olivier and Orson Welles — and let’s bung in Zeffirelli for those with a sweeter tooth — the Bard is a better scriptwriter when the words are dumped and the plots he nicked from elsewhere are
London’s Goethe-Institut has a two-month season of films of Rainer Werner Fassbinder (whose 70th anniversary it’s celebrating), but only five movies, each one alternating with a film influenced by him from another country. Considering that Fassbinder created about 60 films, it seems rather a slim effort. Still, half of his output is available on DVD,