20th century
Marina Vaizey
When they were children the interviewees in this film – the last survivors – were taken away in incomprehensible circumstances, on their way to be murdered for who they were, in Germany and places further east. A handful of the few thousands who reached the UK after 1945, now octogenarians and nonagenarians, bore witness in this incredibly painful, profoundly necessary programme.In spite of the sheen of normality as we met these elderly people in their apparently comfortable homes, it was almost unbearable to watch. What some of the survivors asked even now was what could they do with their Read more ...
Owen Richards
In a telling scene midway through Colette, our lead is told that rather than get used to marriage, it is “better to make marriage get used to you.” In this retelling of the remarkable Colette’s rise, it is evident she did much more than that; by the time she was done, all of Paris was moulded in her image, and in Keira Knightley's hands, it’s no mystery why.When we first meet Colette, she is a wide-eyed country girl caught in a whirlwind romance with Paris lothario Henry Gauthier-Villars, better known by his penname Willy (Dominic West, pictured below). He’s full of bombast and opinion, never Read more ...
Jessica Duchen
When the biggest laugh in Bernstein’s Candide goes to a narrator’s mention of how nationalism was sweeping through Europe, you may have a problem. Still, the Bernstein Centenary has been among the best of all possible anniversary celebrations this year and at the LSO Candide - the great man’s bonkers operetta-ish take on Voltaire, a flawed masterpiece with a succession of glorious tunes and snappy lyrics - could have been its apex. At times, it was.If it wasn’t wholly up there, that is in large part due to the conundrum the piece poses about how to bring it convincingly to the stage (or here Read more ...
Richard Bratby
Mid Wales Opera makes small-scale touring look fun – even when you suspect that, behind the scenes, it really isn’t. Barely 24 hours before this performance of their current production of Ravel’s L’heure espagnole, and 11 dates into their current 16 date tour, their Torquemada, Peter van Hulle, was invalided out. Companies this size, and working on this budget, can’t carry understudies. So up stepped tenor Joseph Doody to sing the role from the wings and up, too, stepped the company’s artistic director (and this production’s director) Richard Studer, who mimed the role on stage with such ease Read more ...
Robert Beale
At first sight, performing Stravinsky’s The Rite of Spring – premiered in 1913 and sometimes seen as presaging the whole world of modernism – in the centenary year of the 1918 Armistice might seem to be lagging behind in timing (if centenaries float your boat).But Sir Mark Elder’s choice of the piece for the Hallé’s last concert of the year in the "flagship" Thursday series had more to it than that. (Opera North, incidentally, are soon to perform it on stage, with Phoenix Dance Theatre, so there’s a couple of northern trendsetters with similar inspirations).At this distance, we can see it Read more ...
Katherine Waters
When, in 1853, Edward Burne-Jones (or Edward Jones as he then was) went up to Exeter College, Oxford, it could hardly have been expected that the course of his life would change so radically. His mother having died in childbirth, he was brought up by his father, a not particularly successful picture- and mirror-framer in the then mocked industrial city of Birmingham. Early on at King Edward’s School he was marked out as a pupil of promise and transferred to the classics department which enabled him to attend university and prepare for a career in the Church. Yet he never took his degree, Read more ...
David Nice
How many times have you heard live in concert a concerto for string quartet and instrumental ensemble? In my case, three, all of the occasions performances of John Adams's Beethoven-based giant scherzo Absolute Jest. Two more got added to the list last night in Vladimir Jurowski's typically rich and rare compendium which ticked quite a few boxes: as a showcase for strings, wind and brass respectively; as centenary homage to an independent Czechoslavakia; and (though this was not acknowledged in the programme) as a reminder that it was 80 years ago this coming December that the first Read more ...
Maev Kennedy
The most touching tribute to the relationship between two giants of early 20th century art, Gustav Klimt and the much younger Egon Schiele, hangs in the first room of this fascinating exhibition at the Royal Academy – Schiele’s poster for the 49th Secessionist exhibition in 1918. It shows a group of artists around a table, an empty chair at one end – that of Klimt, who had died of pneumonia in February. Schiele has included his own ramshackle self seated at the opposite end, gazing at the place which should be occupied by his friend, mentor and inspiration, not knowing that within Read more ...
Richard Bratby
There’s always a special atmosphere when the City of Birmingham Symphony Orchestra returns to Birmingham Town Hall, and it’s not just because of the building’s Greek Revival beauty: the gilded sunburst on the ceiling, or the towering, intricately painted mass of the organ, topped with its cameo of Queen Victoria. Or, for that matter, the sense of history: that you’re occupying the space where Mendelssohn, Dvořák and Elgar premiered major choral works, and where Gounod narrowly escaped assassination at the hands of a jilted mistress (advanced students of Birmingham musical history can savour Read more ...
David Nice
You get a lot of notes for your money in a two-piano recital - especially when seven pianists share the honours for two and a half hours' worth of playing time. Well, they did call it a marathon, crowning the London Piano Festival so shiningly planned by Katya Apekisheva and Charles Owen, and the baton passed seamlessly from two pairs of hands to the next. All the more remarkable when nothing seemed likely to surpass the infinite poetry of the opening couple, young Pavel Kolesnikov and Samson Tsoy in Debussy's arrangement of Schumann's Six Pieces in Canonic Form. Nothing did, but there were Read more ...
Glyn Môn Hughes
There must be something of a beauty parade going on in Liverpool now that Vasily Petrenko has called time on his tenure at Philharmonic Hall. After all, someone will need to step into his shoes from 2021 after he departs for the Royal Philharmonic Orchestra. It was refreshing, therefore, to welcome Anu Tali to conduct the Royal Liverpool Philharmonic, making her debut with the orchestra. She’s conducted extensively in the USA and in Asia and in many parts of Europe, especially Germany, Scandanavia and her native Estonia. But her appearances in the UK are few and far between. That’s Read more ...
David Nice
Sibling incest among the symbolic clutter of the Royal Opera Ring on Wednesday, last night necrophilia and a bit more incest – mother and daughter this time, courtesy of the director's imagination – in a stone-cold ENO Salome. Adena Jacobs' credentials were promising, not least her time at Sydney's cutting-edge Belvoir Theatre. That this would be a Salome unlike any other was a given. But throw out the essential interplay between the characters of Wilde's ornate play as filtered through the insidious colours of Richard Strauss's ever-amazing score, and you have to find an equally feverish Read more ...