Features
Kieron Tyler
Norway’s Hedvig Mollestad Trio reset the dial to what jazz fusion sought to do when it emerged, and do so in such a way that it’s initially unclear whether they are a jazz-influenced heavy metal outfit or jazzers plunging feet-first into metal. Riffs form the basis of their instrumentals, with improvisation following on from that though within rigidly structured formats. A composition's main melodic themes and rhythms are never far away. Theirs is not a music of aimless, flaccid noodling or of playing so mired in technical proficiency that it requires multiple degrees in musicology to grasp Read more ...
Robert Howarth
I’m here in Leeds at the end of five weeks of quite intense rehearsals for Opera North's new production of Mozart's The Magic Flute. Our director James Brining and his amazing team (including assistant director Deborah Cohen, set and costume designer Colin Richmond, and choreographer Tim Claydon) are putting it on the stage, and I’m ably assisted by George Jackson and Philip Voldman. Together we’re all unpicking and stitching the piece back together.What’s fascinating to me is that James and I are coming at this piece from quite different perspectives. He has worked with Opera North Read more ...
David Nice
Starry times with the big spectaculars really paid off this year, even if the works performed weren't unusual for London. Pappano's latest Verdi Requiem at the Royal Opera was the classiest perfection imaginable, crowned by the phenomenal Lise Davidsen. Bernstein's MASS revisited the Southbank Centre for centenary year, again under the experienced steering of Marin Alsop - not a great conductor, but a terrific motivator - in another Southbank marshalling of multiple forces from so many spheres of musical life. I can't say I was necessarily expecting wings from Thomas Søndergård's Mahler Read more ...
David Nice
Outnumbered by four to one: out of the classical/opera team, Alexandra Coghlan, Jessica Duchen, David Benedict and Boyd Tonkin all chose English National Opera's production of Gershwin's Porgy and Bess as their best of the operatic year, while I went on another night when the spirit from usually zesty conductor John Wilson and a fine cast seems to have been shining less bright. Most disappointing, I thought, was the cliched staging and the way that director James Robinson had failed to encourage even a singer as consummate on stage as Nicole Cabell to find a convincing body language. But I Read more ...
Boyd Tonkin
If you believe the bulk of the “books of the year” features that drift like stray tinsel across the media at this time of year, Britain’s literary taste-makers only enjoy the flavours of the Anglosphere. With a handful of exceptions, the sort of cultural and political notables invited to select their favourite reading overwhelmingly endorse titles from the UK or US. For our book-tipping elite, it seems, a hard literary Brexit happened decades ago. Yet publishing history tells a different story. The sales volume for translations of literary fiction released in the UK has doubled since the Read more ...
David Nice
Five of Leoš Janáček's 10 operas are staples of the worldwide repertoire. Two I'd never seen on stage, so the slice I chose of the19-day festival devoted to all of them for the second time in the history of Brno, the cultured Moravian capital where he spent most of his life, tended to the rare and local. I could also have seen productions from the Welsh National Opera (From the House of the Dead), Flanders (The Makropulos Affair and Ivo van Hove's staging of the song-cycle The Diary of One Who Disappeared) and Poznan in Poland (Jenůfa) as well as the tributes of Brno's world-class Read more ...
'I’ve told everyone that it’s a comedy – but will anyone laugh?' Jonathan Dove on his new Marx opera
Jonathan Dove
Marx is having a terrible day. He is supposed to be finishing volume two of Capital but he’s distracted by his lust for the maid, workmen are taking away the furniture, his daughter thinks she’s caught a spy.... and what will his wife say when she discovers he’s taken her silver to the pawnbroker? Where is Engels when Marx needs him most?The answers are in Marx in London, my new opera opening in Theater Bonn on 9 December. If the plot sounds a bit like Richard Bean’s play Young Marx, that’s because at one point I asked Richard to write the libretto for my opera, and that gave him the Read more ...
Boyd Tonkin
Before we hear a note, extras dressed as maintenance staff potter about the stage. They try to erase a scrawled slogan on a wall that reads “Hur allt började”: how it all began. “It” is the story of Wagner’s Ring cycle as presaged in the introductory drama of Das Rheingold, which kicks off the tetralogy. Prior, though, to the ominous, mesmeric swell of the E flat chord that anchors the Rheingold prelude, Stephen Langridge’s production for Gothenburg Opera shows us a busy, dogged human world of toil. This sphere may be alien to the passions and quarrels of gods, dwarves and giants we will soon Read more ...
Joe Muggs
Rob Smith & Ray Mighty are truly the unsung heroes of British bass music. Coming out of the same cultural melting pot in Bristol that gave us Massive Attack, Tricky, Portishead and mega-producer Nellee Hooper, they looked to be among the city's big successes when they first emerged in 1987. Their debut single, a cover of the Bacharach / David classic "Anyone who had a Heart" on their own Three Stripe label was a club success, they produced Massive Attack's debut single "Any Love", and Fresh 4's 1989 rave and chart hit cover of "Wishin' on a Star".However an uncomfortable major label deal Read more ...
Heather Neill
Robert Hastie is a little late for our meeting. Directing Shakespeare's darkest tragedy in London while also running Sheffield Theatres must sometimes cause a logjam of simultaneous demands, but whatever the morning's problem in the north of England, he remains smiling, relaxed, thoughtful and gracious during a break from rehearsals.Hastie (pictured below right © James Stewart) began as an actor. After reading English at Cambridge he won a scholarship to RADA, benefitting, he says, from a small window when the course led to a degree and there was still funding available. He was in the Read more ...
Jasper Rees
It’s a story of a mad old man who imagines himself to be a knight errant. On his quests he sees virgins in prostitutes and castles in roadside inns. His adventures have spawned an adjective that describes delusional idealism, typified by the activity of tilting one’s lance and charging at windmills one has mistaken for an army of giants.For Milan Kundera, the modern era – “and with it the novel”, he adds – is born when Don Quixote rides forth on his nobbly nag Rocinante. The Adventures of Don Quixote by Miguel de Cervantes was published in two parts, the first in 1605. By the time the second Read more ...
Calidore String Quartet
Classical musicians spend much of their lives inhabiting the realms of the past. To effectively practise and perform the music of Bach, Brahms, Beethoven and countless others, performers must combine research and personal intuition to time travel into the era of these great composers’ lives. After months of exploration, as one begins to comprehend the social customs, politics and science of the era, a clearer understanding of the composer's individual personality and musical aesthetic begin to emerge.Many performers spend their entire life unravelling issues such as how Beethoven’s Read more ...