Germany
Joseph Moog
It can be found in any contract. Both artists, as well as promoters, are aware of it, but it used to be an exception so rare that only a few have ever experienced it: the clause of "force majeure". Now it is sadly commonplace in the world of the performing arts.Who could have ever imagined a scenario as serious and drastic as the one we are currently experiencing? When I first read about this mysterious new virus in early January 2020, I thought back to similar headlines surrounding the swine influenza or SARS outbreaks in recent years. The feeling was similar and the potential threat was Read more ...
Kieron Tyler
Even though nothing on Tape Archive Essence 1973–1978 was released at the time it was recorded, every track evokes material which was issued. Any fan of the German legends Cluster and Harmonia needs this album gathering extracts from tapes key member Hans-Joachim Roedelius recorded on his own during the period when both outfits were active.Cluster was initially Kluster, a trio which released a couple of experimental, free-form albums. After performing live at Göttingen University in May 1971, Conrad Schnitzler left and the remaining members Dieter Moebius and Hans-Joachim Roedelius changed Read more ...
David Nice
Inventiveness waxes ever stronger, it seems, in quarantine, as do the number of faces and instrumental sounds gathered together at any one time. As the branches diversify, embracing pre-filmed concert and opera, solo and multiple livestreams from home, it made sense not to try and yoke all this together, and to give individual slots to each happening, from two innovative opera productions to a fabulous young cellist playing in his back garden. Opera North's Orchestra plays '2001' plusOrchestral get-togethers online have yielded some fascinating results, including the Lahti Symphony Read more ...
David Nice
Bach, being The Greatest, can take any amount of adaptation. I'm especially addicted, for instance, to CDs on which the Japanese percussionist Kuniko plays cello suites and violin sonatas on the marimba. So it was going to be fascinating to hear a truncated St John Passion for Good Friday arranged, in this needs-must time, for percussion and harpsichord/organ, with a tenor taking all the lines bar the chorales, livestreamed by ensembles which would have participated in this year's Bachfest in Leipzig plus a vocal quintet in the same church, the Thomaskirche for which Bach wrote his great Read more ...
Adam Sweeting
When the notorious Bergen-Belsen concentration camp in northern Germany was liberated by the British 11th Armoured Division on 15 April 1945, the BBC’s reporter Richard Dimbleby was there to record the occasion. It was Dimbleby’s report for BBC radio, describing how he’d been plunged “into the world of a nightmare”, that alerted the wider world to the scale of the horrors which the Nazis had been perpetrating in the camps. The BBC producers in London were so appalled by Dimbleby’s account that they were proposing not to broadcast it, until he threatened to resign if they didn’t.There were Read more ...
Joseph Walsh
Benni, the central character in German writer-director Nora Fingscheidt's haunting new film, has a life of tragedy and violence. She’s the product of a dysfunctional family and an abusive childhood that has left her rage-ridden and incapable of controlling her anger. Playing Benni is talented newcomer Helena Zengel. Over the course of two hours she rages, weeps and wails across the screen in an utterly harrowing performance. Behind her waif-like appearance lies a fury that most people don’t achieve in a lifetime, much of which is conveyed Read more ...
David Nice
In Beethoven anniversary year, there are three ways to enhance our ongoing concert dialogues with the composer beyond the bog-standard overture-concerto-symphony format: complete cycles of the quartets, symphonies and sonatas, preferably without old vulgarians presenting; focusing on Beethoven and his contemporaries, including programmes recreated from the early 1800s; and linking the genius with what our own contemporaries have to say about him.By making its own unique tribute to the whopping "academies" the composer presented, not least in the 1808 blockbuster which included the premieres Read more ...
graham.rickson
Brahms: The Orchestral Music Gewandhausorchester Leipzig/Kurt Masur (Decca Eloquence)Conductor Kurt Masur's role in Germany’s reunification has tended to obscure his musical strengths. I'd previously dismissed him as a safe, reliable pair of hands, so exploring this Brahms set was an enjoyable surprise. The warm, dark brown sonority of the Gewandhausorchester is one plus, with some gorgeously idiomatic vibrato on winds and horns. Philips’s analogue engineering has scrubbed up well too, the sound consistently detailed and well balanced. And this is an ensemble which gave several Read more ...
Adam Sweeting
The 75th anniversary of the liberation of Auschwitz reminds us once again of the unfathomable horror of the Holocaust. The revival of anti-semitism in our own country and elsewhere is why it’s worth telling these terrible stories again and again.Belsen: Our Story (BBC Two) gathered together a small group of survivors – all looking remarkably healthy, considering their age and their experiences – to knit together the saga of the Belsen-Bergen camp in northern Germany. Originally an internment camp for prisoners of war, it was only later redesignated a concentration camp, and became steadily Read more ...
James Dowsett
In Clemens Meyer’s new collection of short stories Dark Satellites (translated from German by Kate Derbyshire), the lonely frequently enter into each other’s orbit. Their loneliness is intensified by every rotation they make of one another. These are people at the very margins of society. It is here where the author plies his trade. In this worthy follow-up to the Booker International Prize-nominated Bricks and Mortar, which was set in Leipzig’s red-light district in the days of the former GDR, Meyer returns to Germany’s fringes. His stripped-back prose is suffused with meaning.The short Read more ...
Tom Birchenough
The Cakemaker is Ofir Raul Graizer’s debut feature, and the film must somehow reflect the parabola of the Israeli-born director's life: it’s set between Berlin and Jerusalem, the two cities apparently closest to him, and one of its main subjects – alongside weightier themes such as grief and loss – is food, especially the rich experience of cooking. (Graizer’s biography records how he studied film, as well as – a phrase you don't expect to find in such contexts – “trained in kitchens as a cook and will soon publish his own Middle Eastern cookbook”.) The result is independent cinema at Read more ...
Boyd Tonkin
Alina Ibragimova’s solo journey (in 2015) through the peaks and abysses of Bach’s Sonatas and Partitas gave me vivid Proms memories to treasure for a lifetime. The Russian-born violinist’s Bach abounds in both majesty and tenderness, as well as a consuming fire of intensity when the music so demands. She brought something of the same quality to her performance last night of Mendelssohn’s E minor concerto at the Barbican. Nathalie Stutzmann conducted the London Symphony Orchestra in a menu of well-seasoned 19th-century favourites that began with generous chunks of Wagner’s Tannhäuser and Read more ...