Reviews
stephen.walsh
There were a lot of horns on display in the BBC NOW’s latest concert in Cardiff’s Hoddinott Hall. Brahms’s Second Symphony has four of them, and so does the Elegy for Brahms that Parry wrote on hearing of Brahms’s death in 1897. Gavin Higgins’s Horn Concerto, whose world premiere formed the programme’s centrepiece, has no less than five.It was a horny concert, in the nicest sense, but even in that other sense that nice people don’t mention, such is Brahms at his most – shall we say – virile.Higgins is himself a horn-player, so his concerto is not just a passing commission but clearly Read more ...
Simon Thompson
Violinist Jonas Ilias-Kadesha was placed front and centre of the publicity for this concert. This is his first season concert with the SCO, though back in 2019 he stood in for an indisposed soloist at short notice for one of their European tours. Inviting him back is a vote of confidence, so I was looking forward to hearing him as soloist in Mozart’s Violin Concerto No. 5 and Ravel’s Tzigane.His Mozart turned out to be a very mixed bag, however. It began well, with clipped, precise playing from the Scottish Chamber Orchestra in the opening tutti, and an improvisatory opening flourish from Read more ...
Kieron Tyler
The Bull And The Lion was originally released in 1976 by Jo'burg, a South African label which opened-up for business in 1973 with a couple of singles and the first album by black singer Margaret Singana. Her debut LP was titled Lady Africa. The same year, the imprint issued the second single by Rabbitt, a white pop-rock band whose guitarist Trevor Rabin became internationally known when he played with Manfred Mann and then joined Yes.Jo'burg, it seems, was not bound by genre limitations and the strictures of working within Apartheid-era South Africa. After 1973, Singana and Rabbitt remained Read more ...
David Nice
Those were happy days back in 2014 when, justifiably flushed with the success of the Royal Opera’s Tristan und Isolde revival, director Christof Loy, music director Antonio Pappano and soprano Nina Stemme mooted possibly the toughest role challenge of them all, that of Strauss and Hofmannsthal’s vengeful obsessive Elektra. Yet nearly a decade is a long time in the life of a dramatic soprano, and on last night’s evidence, it's come too late in London.The music drama might have carried it, but oddly, given Loy’s track record, nothing that happens onstage matches the focused intensity and spine- Read more ...
Gary Naylor
It is no surprise that the phrase “Witch Hunt” is Donald Trump’s favoured term to describe his legal travails. Leaving aside its connotations of a malevolent state going after an innocent victim whilst in the throes of a self-serving moral panic, it plays into a founding psychodrama of the USA - the Salem Witch Trials of 1692. Arthur Miller’s play based on those events, The Crucible, is now embedded in the high school curriculum keeping the flame alive, so it makes sense for Talene Monahon to write a prequel from a feminist perspective and, after a run in New York, it has reached the Read more ...
Robert Beale
Reviving Giles Havergal’s 2013 production from its “Festival of Britten” of that year, Opera North have an Albert Herring that’s both immersive and intimate, to quote their own publicity.Immersive because it was designed specifically for the refurbished Howard Assembly Room inside the Grand Theatre buildings in Leeds, with the audience mainly on two sides of the long performance space, with a few at the narrow end furthest from the 13-piece orchestra; intimate because it’s all very close-up, the action taking place often only a few feet away from us. (It isn’t going to tour, unlike the other Read more ...
Kieron Tyler
Nailah Hunter’s debut album occupies a domain where trip-hop, Lana Del Rey were she recording in a deep, echo-filled cave and ambient-slanted pop overlap. There’s a kinship with FKA Twigs and Julia Holter, but Hunter’s propensity to channel what feels like a mystical experience means that Lovegaze is more inscrutable than what’s generated by first impressions.Her voice is distant, a low-ish soprano set in a wash of synths. Pattering percussion and the glissando of her Celtic harp pierce the aural mist. On the relatively sparsely arranged “Adorned” – which has a slight Alice Coltrane feel – Read more ...
David Nice
An inexhaustible masterpiece shows different facets with each new interpretation. I’d thought of Jenůfa, Janáček's searing tale of Moravian village life based on a great play by a pioneering woman (Gabriela Preissová), as an open razor rushing through the world, cutting left and right. Simon Rattle presented instead an opulent bouquet, one slowly purged of the poisonous blooms within it.Last year’s concert performance of Káťa Kabanová offered a more obvious candidate for luminous lyricism. Jenůfa, an earlier work not without problems, rather than great originalities, of orchestration, needed Read more ...
Adam Sweeting
It’s not easy to find a new way to package a drama about that perennially popular topic, the dark side of policing, but Criminal Record at least gets its ducks in a row with some strong writing by Paul Rutman and a strength-in-depth cast. Peter Capaldi (pictured below) is in chilling form as the Hackney-based DCI Daniel Hegarty, a veteran detective who evidently knows where a lot of bodies are buried. When he starts getting inquiries about a decade-old murder case from the comparatively junior DS June Lenker (Cush Jumbo), it looks like a mild irritation he can merely brush off.Naturally that Read more ...
Sarah Kent
When it was published in 1976, “The Hite Report” caused such a sensation that it was translated into 19 languages and flew off the shelves in 36 countries to become the 30th best selling book of all time. Yet it’s author, Shere Hite was treated as Public Enemy Number One.Her crime? To reveal truths about female sexuality that American men didn’t want to hear. So they conspired to vilify and silence her. They were so successful in their mission and her fall from grace so complete that, fast forward 20 odd years, and not a single New York publisher would give her a book deal.Nicole Newnham’s Read more ...
Heather Neill
Reports of supernatural events are always met with either willing belief or dismissive scepticism. The "camps" generally don't have much to say to each other: belief in immovable logic, discounting the weird as merely the so-far unexplained, can be as entrenched as its opposite. In the case of the ghostly goings-on in Enfield, sincerity and mischief are also stirred into the mix.Writer Paul Unwin seems genuinely fascinated by the experiences described by young Janet and Margaret Hodgson in late 1970s suburbia and unable to come down on either side, for or against the truth of their stories. Read more ...
Helen Hawkins
Seabiscuit, Creed, Rocky, The Full Monty, Chariots of Fire… George Clooney’s latest directorial project is in the same vein as these earlier films, but swap Seabiscuit et al for a rowing eight. All have a format film-makers love because they know it will jerk a tear from anybody who loves a saga about an underdog, especially if it’s true. The Boys in the Boat is based on a 2013 bestselling account by David James Brown (co-writer on the film) of the US rowing eight’s bid for glory at the Berlin Olympics in 1936. The date is significant because the historical context allows the boys in the Read more ...