Reviews
Gary Naylor
In the framing device, a professor (Jonathan Guy Lewis) stands at a lectern and asks if anyone has had a supernatural experience. Somewhat to my suprise, up went my hand. In the cold winter of 1981/82, I lived in a house in Finchley. One morning, it had snowed overnight (I had barely seen a fall stick properly before) and, looking out of the French doors of the living room, I could see fresh human footprints leading from the tree at the bottom of the garden all the way up to those doors. There they stopped. Abruptly.The doors were locked off, ingress to the house impossible. So, too, Read more ...
Jenny Gilbert
As the new season opens, confidence is high at ENB, just as it should be given the roaring success of recent programmes featuring the latest work of iconoclast William Forsythe. His classical steps set to disco raised the roof.The company’s current mixed bill, R:Evolution, also contains some Forsythe, but within a more sober, even academic frame, the idea being to track the evolution of ballet across eight decades: from George Balanchine and Martha Graham – two distinct voices of the 1940s – to a Forsythe classic from 1992, to a grandly conceived new work from internationalist David Dawson. Read more ...
Mark Kidel
Trio Da Kali are griots, and their traditional role in West Africa is to connect: to evoke the glories of the past and to bring communities together through mediation and spiritual admonition. Their role, even though sung in Bambara, without surtitles – a thought worth considering – could not be more appropriate in a world so perilously divided. Their performance at the Barbican’s Milton Court concert hall transported the audience into a space in which boundaries were erased, and hearts open full-wide. The members of the trio are all three outstanding musicians: Lassana Diabaté is Read more ...
alexandra.coghlan
It’s a good year to be Handel-lover. No sooner have summer runs of Rodelinda (Garsington) and Saul (Glyndebourne) finished than we’re into autumn and Opera North’s Susanna, Giustino at the Royal Opera’s Linbury Theatre, with Ariodante still to come on the main stage.Outings of Susanna don’t come around every day, but Giustino is a proper back-of-the-cupboard rarity – a lighter affair than the big opera serias, short on da capos, and long on supernatural silliness. Throw in a long-lost brother and a bear, and this freely fictionalised account of the rise of sixth-century Emperor Justin I is Read more ...
Nick Hasted
Armageddon is here again, as Kathryn Bigelow’s first film in eight years examines the minutes before a nuclear missile hits Chicago from multiple perspectives, finding no hope anywhere.Captain Olivia Walker (Rebecca Ferguson) is our first witness, clocking on as normal in the White House Situation Room, where a missile launch at a febrile international moment is at first logged as inconsequential. When it sickeningly dips from orbit towards the US, Ferguson’s patrician cool exudes the comforting professionalism you’d wish for at the potential end of the world, till she calls her husband and Read more ...
Bernard Hughes
Echo Vocal Ensemble have their genesis in Genesis. Sarah Latto’s group were initially formed by a cohort of the Genesis Sixteen young artists’ programme – and she has turned them into one of the most innovative vocal groups around. The programme at Union Chapel on Sunday night was a good example of their approach, with eclectic repertoire, new commissions, improvisation, a smattering of classics – and a loose-limbed dancer adding a visual element.The conceit of the programme was the progression from dusk to night. We started at 6pm, to catch the last light of the day, and ending with the Read more ...
Robert Beale
Turning Handel oratorio into opera can be a rewarding enterprise. Charles Edwards’ presentation of Joshua, over 15 years ago, for instance, was very effective for Opera North in using projection as well as costume design to make a parallel of the biblical story with Israel’s 1948 War of Independence. And the score offered some vintage material, including the original version of “See the conquering hero comes” and “O had I Jubal’s lyre”.Others have done similar things: Samson – based on Milton’s work in what he considered to be the style of Greek drama – is a text that cries out to be Read more ...
David Nice
One miracle of musical performance is that a work you’ve loved for years can be revealed as never before in an outstanding interpretation. That happened to me last week at the New Ross Piano Festival when 22-year-old pianist Magdalene Cho turned us upside down in Bach’s Sixth Partita. It happened again last night when Peter Whelan and his Irish Baroque Orchestra hit 1788 with one of the three symphonic masterpieces Mozart composed in a single summer, the 39th.Problematic, on the other hand, was the first-half Mozart, third of the four concertos he composed for his beloved horn virtuoso Joseph Read more ...
Kieron Tyler
The reappearance of These Were The Earlies for its 21st-anniversary is a surprise. Although The Earlies' debut LP received a maximum-marks review from NME on its 2004 release – and widespread praise in general – it is not an album instantly shouting “cult item.” Nonetheless, as the reissue and a tie-in reformation of the band show, there is a residual affection.Playing These Were The Earlies confirms why. From its opening seconds, it sets itself up as top-notch modern psychedelia, with references – some overt, some subtle – to The Beach Boys, Love and, more contemporaneously, Mercury Rev. A Read more ...
Demetrios Matheou
The National’s latest production of Hamlet opens with a bang: a sureness of style, atmosphere and refreshing comedic effect, accompanied by a performer, Hiran Abeyeskera (The Father and the Assassin, Life of Pi), whose presence promises a night of sparky originality. What a pity, then, that this promise peters out, and an ambitious conceit ultimately fails to deliver. It’s one thing presenting Hamlet as an almost childlike clown, whose emotions are heightened even before he’s aware of the rot in Denmark, but to do so at the expense of the tragedy – of one of Shakespeare’s most Read more ...
Boyd Tonkin
Even in the 21st century, it may not take that long for an outlandish literary experiment to jump genres and become an established musical classic. In 2008, I enthusiastically reviewed a strange, poetic, almost Beckett-like novella by the writer and music critic Paul Griffiths.His let me tell you reconfigures the 483 words that the hapless Ophelia speaks in Hamlet into a haunting, melancholy first-person testament of love, sorrow and (in Griffiths’s version, if not Shakespeare’s) dogged survival. Five years later, the Danish composer Hans Abrahamsen brilliantly embraced the intrinsic Read more ...
Like Water for Chocolate, Royal Ballet review - splendid dancing and sets, but there's too much plot
Helen Hawkins
Christopher Wheeldon has mined a new seam of narrative pieces for the Royal Ballet, having started out as a supreme practitioner of the abstract. After The Winter’s Tale and Alice in Wonderland, he landed in 2022 on the magical realist novel Like Water for Chocolate, set in Mexico at the turn of the 20th century. This for me is less successful than the other two.Which is not to say it doesn’t provide many pleasures along the way, not least its superb stage pictures, which start right from curtain up, when we see a long line of Frida Kahlos in wedding dresses and Day of the Dead masks, who Read more ...