A distractingly surreal moment during an otherwise thrillingly powerful performance of Don Carlos at Opera North in Leeds last night. At a point of high dramatic intensity, the requisite explosive gunshot sound from offstage failed to materialise so Rodrigo, for whom the bullet was intended, was forced to expire dramatically for no discernible reason. A
The South Bank Show has been going for a very long time – since January 1978 – and now, after being pushed further and further into the dimmest reaches of the late-night schedules, it’s being axed altogether. This might not be such a cause for dismay if one could feel convinced that anything even approaching
Henrietta Bredin finds out what it is that draws actors to the gruelling one-man show Judi Dench says she’d never do it, Roy Dotrice didn’t do it for 40 years but started again in 2008, Joanna Lumley says that managing to do it while looking at her own reflection in a mirror made her feel
Katie Mitchell explains to Henrietta Bredin how she is creating a parallel film world with Purcell’s opera It is 350 years since Henry Purcell was born and his music is, gloriously, being played and sung all around the country. And there are a lot of different Didos about: Christopher Marlowe’s Dido, Queen of Carthage at
Has anyone else noticed how frequently and with what merry relish BBC Radio 3 announcers are saying Jiří Bĕlohlávek? (Chief Conductor of the BBC Symphony Orchestra just in case you were wondering.) I think they’re so thrilled to have (pretty much) mastered the pronunciation that they just can’t help themselves.
Henrietta Bredin talks to Jonathan Pryce about the difficulties he found with Athol Fugard’s Dimetos It is the end of a long day of rehearsal and Jonathan Pryce is sitting patiently at a scrubbed wooden table strewn with water glasses and roughly carved dishes, behind him a tangle of ropes and pulleys slung from an
Belatedly catching up with the BBC’s Margaret on iPlayer. It wasn’t the haircuts or the clothes that really characterised and dated the actors as politicos, it was their glasses. Huge great gig-lamps with clunkingly heavy frames and they were all wearing them, from John Sessions as a doleful Geoffrey Howe to Michael Maloney as a
Henrietta Bredin talks to the baritone Gerald Finley about how he portrays ‘the destroyer of worlds’ At precisely 5.30 a.m. on Monday 16 July 1945 the world entered the nuclear age. The first atomic bomb exploded in a searing flash of light and a vast mushroom cloud unfurled in the skies above New Mexico. ‘Now
A new arts centre with no public subsidy? Henrietta Bredin talks to its founder Peter Millican Let’s get one thing out of the way immediately — King’s (with an apostrophe) Cross in London is the location for the new and very splendid mixed-use office building and performance space, Kings Place, which has no business letting
Henrietta Bredin talks to Ian McDiarmid about turning a novel set in Scotland into a play Ian McDiarmid possesses a voice that, if he chose to let it, could curdle milk. Half-strangled and poisonously clotted it emerges in an evil flow in his portrayal of the Emperor Palpatine in the Star Wars films. As Satan
For anyone still feeling faintly the worse for wear, the zippingly clever book by S.J. Perelman and Ogden Nash for Kurt Weill’s One Touch of Venus has the memorable line: ‘God, I feel awful! All my teeth have little sweaters on them.’ Happy 2009 to us all.
For anyone who’s having a last-minute Christmas present panic, or who simply wants to hear something utterly delectable instead of the unending stream of noxious news being poured into our ears as if we were so many unsuspecting old Hamlets, I strongly recommend nipping out to buy Opera Rara’s new recording of Offenbach rarities, Entre
Mozart’s Die Zauberflöte opens with the hero, Tamino, being pursued by a terrible monster. It’s always a challenge to depict such a creature on stage but for the first performances of Nicholas Hytner’s now much revived production at English National Opera, a startling image was conceived. The tenor Tom Randle (then, as now, unaverse to
It is worth remembering that the BBC, despite its recent, excessively well-aired problems, gives us a great many stimulating, well-made programmes, on both radio and television. Rather surprisingly, given its format and the yawning, ever-present potential for dumbed-down disaster, the BBC2 Maestro series, aired in August/September this year, turned out to be all of those
Henrietta Bredin talks to Edward Gardner, English National Opera’s music director There is a ridiculously tiny, narrow room carved out of the foyer of the London Coliseum, known as the Snuggery. I think it was originally intended as somewhere for King Edward VII to retire to for a touch of silken dalliance or simply to
Henrietta Bredin on how book illustrations can bring the narrative to life The illustrations in children’s books play a crucial role in expanding the imaginative horizons of the reader and fixing the story in the memory. The very best book illustration is so inextricably linked to the text that it is hard to think of
There’s an intriguing performance coming up at the Purcell Room on London’s Southbank next Tuesday. Façade, the collection of poems by Edith Sitwell set to music by William Walton, will be recited by another Sitwell (William, also known as editor of Waitrose Food Illustrated and Food Spy for the Evening Standard) for the first time
Henrietta Bredin talks to Peter Manning about taking risks and creating opportunities There is an almost palpable forcefield of energy around Peter Manning. You expect a crackle of static to explode when he shakes your hand or wraps you in an enthusiastic hug. Concertmaster of the Royal Opera House orchestra, founder of the eponymous Manning
It was the final of Maestro on BBC TV last night and I have been glued to every episode. Despite being extremely wary to begin with at the thought of a bunch of amateurs plunging in to try their hand at something so complex as conducting, a skill that requires years of study to master,
Book groups are clearly here to stay, with little gatherings across the land busy discussing the latest Ian McEwan or Julie Myerson. These discussions may well be of great interest and hugely enjoyable but what I can highly recommend is refining the focus rather more rigorously. I am a newish recruit to a gloriously recherché
