The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
Opera North has launched its spring season with Giles Havergal’s 2013 production of Benjamin Britten’s Albert Herring, performed (as conceived) in the Howard Assembly Room – the company’s studio space next door to the Grand Theatre. The economics of opera are a dark and dismal science, but one of the few constants is that ticket
Two archetypal ballet heroines have been facing each other across WC2: at the Coliseum, Giselle the blameless virgin, wronged in the first act, disembodied in the second; at Covent Garden, Manon the seductive, manipulative courtesan who can’t choose between love and money. Both in different ways are victims of a cruel world, and both must
Of their many cultural quirks, Americans retain a slightly ridiculous and yet rather touching belief in the power of ‘punk rock’ (nobody in the UK ever calls it that, of course: it’s just ‘punk’). Despite laying claim to the progenitors of the whole punk thing – the Stooges, the New York Dolls, the Ramones –
Aristotle wrote that classical tragedy should evoke pity and awe. With Richard Strauss’s Elektra, the awe can be taken as read: a certain irreducible level of epicness is written into the score, even if – like Sir Antonio Pappano on the first night of this new production at the Royal Opera – a conductor takes
About 30 minutes before the end of Richard Strauss’s Elektra, the universe splits open. Elektra, daughter of the murdered king Agamemnon, lives for the day when her brother Orest will return to avenge her father by slaughtering her mother. Now Orest is here and his sister no longer recognises him. Until suddenly, shatteringly, she does,
Shall we get the pop predictions for this year out of the way first? Taylor Swift will continue to conquer the world; the charts will continue their descent into meaninglessness; some long-forgotten group or style will become inexplicably popular because kids use it to soundtrack their TikTok videos. There. That’s the coming year taken care
Fun fact: Engelbert Humperdinck composed part of Wagner’s Parsifal. Shortly before the première, it was discovered that Wagner’s score didn’t allow time for a crucial scene change. The 27-year-old Humperdinck, then working as Wagner’s assistant, composed a few temporary bars to cover the gap and, rather to his own surprise, found that they met with
Bob Dylan is heading into the new year with a reduced property portfolio, having sold his Scottish bolthole, Aultmore House in Speyside, for a shade over four million quid. Though the spec looks grand – 16 bedrooms, 11 bathrooms, a folly (to complement his Christmas album, presumably) – only one aspect interests me: did Dylan
The Nutcracker is one of those Christmas traditions that turns out to be not very traditional at all. First performed in St Petersburg in 1892, it didn’t catch on outside Russia until the late 1950s, when Balanchine’s version for New York City Ballet was repeatedly screened on network television in the USA and Festival Ballet’s
Choosing a concert opener is an art in its own right. Fashions shift: the traditional overture has fallen from favour in recent years, and you might go seasons now without hearing such one-time favourites as The Thieving Magpie or Euryanthe. The opening slot is more likely to contain something short and contemporary, or worthy and
Grade: C+ Maximum points for self-awareness, you have to say. The title track of this pleasant, if largely underwhelming, album include the lines: ‘These recycled riffs aren’t going anywhere, any time.’ Never a truer word spoken. Here, this fitfully engaging singer-songwriter shuffles through predictable chord changes pinioned by forgettable piano riffs and intones – deploying
Infinite Life is about five American women, all dumpling-shaped, who sit in a hotel garden observing a hunger strike. Some of them haven’t touched food for days, some for weeks. ‘Don’t be afraid to puke,’ counsels one of the dumplings. ‘Puking is good.’ They pass their afternoons wittering inanely about nothing at all. One dumpling
Live music is thriving right now. According to the US trade magazine Billboard, Taylor Swift’s Eras tour has so far grossed an estimated $838m, and that’s just from 66 shows in the Americas. It’s already the second highest-grossing tour in pop history, and she hasn’t had to cross an ocean yet. At the top end,
Peter Gabriel is terribly fond of a Big Idea. With Genesis he would sing in character as a lawnmower, a fox and as ‘Slipperman’. His final work with the band, in 1974, was The Lamb Lies Down on Broadway, a double album driven by what we might kindly describe as a ‘kaleidoscopic’ narrative involving a
In Bernard Shaw’s Man and Superman, Don Giovanni finds himself in hell, chatting to the sentient Statue that dragged him to his doom. ‘It sounds rather flat without my trombones,’ admits the Statue, conceding that once you remove the genius of Mozart from the mix, you’re left with a trite (if titillating) morality tale. You
I first heard of Noah Kahan in a cave in France this summer, when my 23-year-old daughter started wailing with distress at realising she had missed the chance to buy tickets to see him because she was in a cave when they went on sale (two shows at the Forum sold out in seconds). Kahan,
Imagine being a concert pianist and choosing your own programmes. All those possibilities; all that power! ‘I am the orchestra!’ declared Hector Berlioz, imagining himself inside the head of Franz Liszt. ‘I am the chorus and conductor as well. My piano sings, broods, flashes, thunders.’ The heart lifts when a pianist thinks a little differently
When the Ballets Russes first presented Fokine’s Polovtsian Dances at Covent Garden in 1911, such was its orgiastic savagery that ladies in the audience were said to be genuinely terrified that its grease-painted warriors were about to leap off the stage and ravish them. The Mongol Khan, a great hit imported from Ulan Bator, may
Choose your weapon. Artists are closely defined in the public imagination by their instrument of choice. Though the most untamed and transgressive progenitors of rock’n’roll – Jerry Lee Lewis and Little Richard – were piano pounders, and despite the later efforts of Elton John, over time the instrument has come to be associated with restraint
It’s nearly a quarter of a century since Michael Nunn and William Trevitt bravely left their safe haven at the Royal Ballet to set up BalletBoyz, a company aimed at developing the underused potential of male dancers and exploiting Nunn and Trevitt’s passion for film technology. At the time this seemed like a useful mission
The American music website Pitchfork is the journal of record for alternative America. It has became this generation’s Rolling Stone, for both good and ill. Long before it was bought by Condé Nast, however, it was famous for a disastrous jazz review in which the site’s founder chose to employ what he appeared to believe
London’s two opera houses have been busy staging non-operas. Handel’s English oratorio, Jephtha, is his final exercise in a form that only existed because it was, explicitly, not opera (Georgian theatres needed something to play during Lent). We know better today, and dramatised reboots of Handel oratorios are proliferating, possibly because – unlike his actual
Grade: A The last song the Beatles ever recorded was called, appropriately enough, ‘The End’, on the Abbey Road album. As a consequence of digital sorcery, however, ‘Now and Then’ is the last song we will ever hear from them – a demo passed from John to Paul, dubbed over in the early 1990s by
Ben Duke belongs to a class of younger choreographers who have decided to flout the convention that dancers should remain silent on stage. Liberating their voices is by no means a new phenomenon (in 1961 Frederick Ashton had Svetlana Beriosova speak verse by Gide in his sadly forgotten Persephone), but it’s one that particularly suits
A violinist friend in the City of Birmingham Symphony Orchestra used to talk about an orchestra’s ‘muscle memory’; a collective instinct that transmits itself, unspoken and unconscious, among the members of the ensemble. The occasion was a return visit from Sir Simon Rattle, a good decade and a half after he’d left Birmingham. At that
In May 1966, Bob Dylan toured the UK with The Band, minus drummer Levon Helm, and abrasively pulled the plug on any lingering notions of his being a mere folk singer. Playing two sets every night – the first acoustic, the second electric – even the solo numbers were wild, lysergic, unravelled. The electric ones
You won’t see two more contrasting shows this year than Corinne Bailey Rae performing her album Black Rainbows and Brian Eno presenting work with a symphony orchestra. One had music that did everything; one had music that did very little. But both were overwhelming and filled with joy of rather different kinds. When Bailey Rae
Opera North is ending its autumn season with a big-hearted production of a lopsided opera. There’s much to love about Puccini’s La rondine, and much to drive you up the wall. This bittersweet love story about an older woman and a younger man, set in Paris and Nice and channelling the operetta sweetness and sparkle
Joseph Haydn, it’s generally agreed, invented the string quartet. And having done so, he re-invented it: again and again. Take his quartet Op. 20, No. 2, of 1772 – the first item in the Takacs Quartet’s recital last week at the Wigmore Hall. The cello propels itself forward and upward, then starts to warble like
