The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
How should opera, and particular operas, be made ‘relevant’? And what kind of relevance, anyway, should they try to achieve? The questions are too big to answer in a brief review, but Birmingham Opera Company’s largely magnificent production of Monteverdi’s Il Ritorno d’Ulisse in Patria heroically attempts to cope with them. Using the highly individual
It is difficult to place oneself in the position of the pioneers of graphic art shown at the Estorick Collection: their extraordinary leaps of the imagination have become the standard vocabulary; the shift from old to new they represent now distant history. Born in the 19th century when 90 per cent of human understanding came
Conwy in north Wales is among the most enchanting of our small towns. It’s like a toy fort, its encircling walls surviving intact until Thomas Telford had to breach them for his bridge. He did it elegantly, even delicately, creating a suspension bridge that actually enhanced the little town. It was for our brutal, automanic
When you are so addicted to writers’ works and feel bereft after finishing all their novels, you become restless and fretful. It happened to me last year with the Aurelio Zen detective novels of Michael Dibdin, as I lamented in The Spectator Diary column. Zen is the Italian policeman who is sent to different parts
The television broadcasts of the late Pope’s funeral and the marriage of Prince Charles, coming as they did on consecutive days, gave the opportunity to compare two different styles of choral singing at their most typical. Of course I am going to go on to say that the British version, as represented on that occasion
It’s quite hard to enjoy Shakespeare’s history plays these days if you have any sympathy for Blair’s decision to throw in Britain’s lot with America in the Iraq war. First, Nicholas Hytner gave us a revisionist version of Henry V in which the young king was portrayed as a shallow glory-seeker willing to embark on
When I started visiting Barcelona in 1961, its museums were both thin on the ground and impoverished, and the lingua franca between the Catalans and the British was French, without which it was, if one had neither Spanish nor Catalan, hard to survive. Today the city is awash with fine, well-funded museums and, for anyone
Peter Coker died in December last year after a long illness. He had been involved in the initial choice of material for this small but representative memorial exhibition, and would I think have approved of the final result, which succeeds in bringing together work from the 1950s, 60s, 70s and 80s. It’s a commercial show
Genghis Khan (BBC1, Monday) was a remarkable 60-minute documentary. Normally, something filmed on such a massive scale would be stretched to last several hours over many weeks. I can only assume that the Mongolian extras work for much less than their British counterparts. Mongolians playing Mongolians, eh? In television terms that’s the equivalent of people
The Mills family, according to David Thomson, has ‘crowded us out with insipid, tennis-club talent’, which is a cruel verdict, but hard to disagree with. When the gals tried being naughty, you felt embarrassed and sorry for them. Juliet Mills’s skinnydipping in Billy Wilder’s Avanti! (1972) is the only topless scene I’ve ever wished would
A chill spring day in Stratford for the RSC’s launch of its summer comedies season with a new Midsummer Night’s Dream from Gregory Doran. A production to warm the heart? Certainly, for how could any half-competent staging fail to do so, and anything directed by Doran is usually rather better than that. But where so
Fate has not dealt kindly with Sir John Everett Millais (1829–96). For those who are not enthusiasts of the Pre-Raphaelites, this founding member of the Brotherhood tends to be categorised as the one who ‘went populist’ with such all-too-memorable scenes as ‘The Boyhood of Raleigh’ (now in the Tate) and the notorious Pears Soap advert
While Rover sank (it was warned, twice, in this column), another car was launched, in Venice. An amphibian? No, a Bentley. Perhaps because it rarely advertises, Bentley’s car launches are like no other. Each is divided into three- to four-day segments designed for different audiences. The basis is driving and learning about the car, with
Much as I love the nostalgic idea of the original Ask the Family, the reality was rather different. The questions were way too hard and made you feel thick even when you weren’t (Robert Robinson’s smug avuncularity served mainly to rub salt into this wound), and the families were really freaky, the parents never having
Until James Bond came along in the Sixties, the most successful movie series to date had been the Road pictures with Bing Crosby, Bob Hope and Dorothy Lamour. Sahara seems to be an ill-advised attempt to merge the two into one almighty eternal franchise. It eventually winds up with our hero and the gal running
While the ENO Ring was in preparation, and we were seeing semi-staged performances of the dramas at the old Coliseum and the Barbican, there were plenty of grounds for hope. With action reduced to almost a minimum, we could concentrate on the real action, which needs, I have increasingly come to feel, very little in
Compton Verney House has reopened for its second season, continuing its founder Sir Peter Moore’s aim of bringing art which is under-represented elsewhere in Britain to a new audience. Alongside landscape paintings by the 17th-century Neapolitan artist Salvator Rosa is a larger, thematic exhibition, Only Make-Believe, curated by Marina Warner, who brings to the task
Bryan Kneale comes from the Isle of Man and, after winning the Rome Prize from the Royal Academy Schools, was one of the leaders of the British sculptural revolution of the 1950s and 60s. In 1970, against the advice of his friends and fellow-artists, he was the first abstract sculptor to join the Royal Academy.
Robert Crumb (born Philadelphia 1943) is variously hailed as a ‘virtuoso weirdo’, the ‘father of underground comics’ and ‘the Brueghel of the last half of the 20th century’. Robert Hughes is responsible for that final appellation and one can see his point, though Nicholas Garland has called this assessment ‘just silly’, and Crumb himself has
At the Berlin Staatsoper, the evening after he conducted Parsifal Daniel Barenboim conducted Carmen, a sequence that would have had a strong appeal for Nietzsche, who advertised the Mediterranean virtues of the latter’s music over the ‘tragic grunts’ of the former. Whether Nietzsche would have approved of Barenboim’s way with Carmen is more doubtful. Though
This is the fourth of the Holburne’s recent exhibitions devoted to 18th-century British portraiture, a series which has done much to put the Museum on the map of enlightened gallery-goers. Previous subjects have been Love’s Prospect (dealing with the marriage portrait), Pickpocketing the Rich (portrait-painting in Bath) and Every Look Speaks (portraits of David Garrick).
There was a time, half a century ago, when vegetable gardening was the preserve of old boys on allotments and jobbing gardeners in spacious suburban gardens. No longer. These days, the vegetable grower is as likely to be a 30-year-old female social worker with a small urban garden and a Point of View about pesticides
When you’ve seen how much vilification Prince Charles and Camilla Parker Bowles have endured from the tabloids and the republican broadsheets over the years, you wouldn’t have been surprised to see or hear the Prince’s muttered comments about the BBC’s royal correspondent Nicholas Witchell in Klosters last week. Witchell, known inexplicably among his colleagues as
There are 13 Canalettos and 19 Guardis in our National Gallery; there are no paintings by either artist in the Rijksmuseum. The Dutch, having been painting landscape views for years, had enough of their own by the 18th century not to bother with Venice: canals were not exactly a novelty to them. So while the
‘You’re not going to write about them, are you?’ said my wife contemptuously, when I announced that I was going to devote this month’s column to the Grateful Dead. ‘They’re one of the worst.’ As regular readers will know, my wife hates all pop music with a passion, but she especially dislikes the Dead because
When I spotted that the conservative American writer and wit P.J. O’Rourke was giving two 20-minute talks on Radio Four, the first on Easter Sunday, I rubbed my eyes thinking there must have been some mistake. Or maybe a printing error. How did he get past the Guardianistas at the BBC? Did he slip in
Andrew Lambirth finds plenty to enjoy at the V&A’s Arts and Crafts show, despite the gloom International Arts and Crafts is the third of the V&A’s major 19th/20th century ‘lifestyle’ themed exhibitions, following on from the successes of Art Nouveau (2000) and Art Deco (2003). Both those shows were ingenious and loving tributes to their
The Flowers emporium in Shoreditch, which does such a competent job of purveying art to the chattering classes, shows an eclectic range of artists, from the geometrically abstract to the photo-realistic. Dennis Creffield (born 1931) belongs to neither extreme, but fits into that fruitful expressionist middle ground where the quondam students of David Bomberg struggle
For its spring season, English Touring Opera has chosen an ambitious pair of operas, Mozart’s Cos