20th century
judith.flanders
If you’ve seen pictures of the Ballets Russes, then you’ve seen Hoppé photographs. But then, if you’ve seen any society pictures from the 1920s and 1930s, then you’ve seen Hoppé. And famous writers. In fact, for portrait photography in Britain between the World Wars, you can pretty well bet the photo is Hoppé’s. But what's so good about this new exhibition is that it shows a side to Hoppé that is much less well-known - the street-view. And these photographs are thrilling, in form as well as content.E.O. (for Emil Otto) Hoppé moved to Britain from his native Germany in 1902, aged 22, and Read more ...
David Nice
Too many column inches have been devoted to Percy Grainger’s sado-masochistic sexplay and celebration of blue-eyed Anglo-Saxon supremacy, but it’s his music I love. And have done ever since they celestially sounded the wineglasses for Tribute to Foster, his fantasia on "Camptown Races", at the 1982 Aldeburgh Festival (Britten had been an adoring fan). None of our main orchestras has yet taken up a similar gauntlet on the 50th anniversary of the Australian-born one-off’s death. So hurrah, in principle, for the smaller-scale enterprise of Kings Place’s four-day festival devised by pianist and Read more ...
David Nice
Metcentric New Yorkers tend to think an opera hasn’t achieved classic status until it arrives at their vast inner sanctum. Whereas other cities worldwide know that the inimitable Peter Sellars production of grand opera’s last masterpiece (to date) has become a virtual brand since its 1987 Houston premiere. John Adams's first, and biggest, opera was an obvious here-to-stay triumph at the Edinburgh Festival the following year, and its strengths become more apparent with the passing of time. What we celebrated last night was the way this hallucinatory musical meditation around 1972's East-meets- Read more ...
alexandra.coghlan
It was Leonard Bernstein who declared of English music that it was “too much organ voluntary in Lincoln Cathedral, too much Coronation in Westminster Abbey, too much lark ascending, too much clodhopping on the fucking village green”. Fey, whimsical and faintly patterned with chintz – English music doesn’t always get the best press. In the hands of the Britten Sinfonia however, it defies any notion of pastel prettiness, stepping out in only the feistiest and most glorious Technicolor.Any half-decent orchestra can start a note convincingly – just watch your local amateur symphony in action of a Read more ...
fisun.guner
London’s literary world must be as small as it was in the 18th century. Or at least that’s the impression you get when you watch book programmes on the BBC, for it’s the same old characters that keep cropping up. Martin Amis, Will Self, Jenny Uglow – like minor players in a picaresque novel in which the novel itself is the hero devouring new experiences, you’re sure to encounter at least two of their like in quick rotation, ubiquitous with their insights and wisdom. And so it was with BBC Two’s Faulks on Fiction and BBC Four’s Birth of the British Novel. The first aired on Saturday Read more ...
mark.kidel
Theatre, particularly tragedy, can pack a terrific punch when things are kept simple – even if the themes evoked are enfolded in layer upon layer of complexity. Brian Friel’s Faith Healer, a play with three characters, each of whom takes to the stage alone, explores in a multifaceted way the life of an itinerant Irish healer who plies his trade along the backroads of the Celtic fringes of Britain.It is as much a meditation on the business of moving the spirit and effecting spiritual and physical change in an audience as it is a complex exploration of the shifting borderline between fiction Read more ...
alexandra.coghlan
Emlyn Williams may have been dubbed the “Welsh Noël Coward” and the action of his long-neglected Accolade may take place in a drawing room, but there’s little of the smiling social comedy to be found here. Trading sparkling cocktails and repartee for whisky and unpalatable truths, Williams’s play exposes the pinstriped hypocrisy of 1950s society – a society that will press its powdered cheek to all manner of sordidness in the name of Art, while recoiling from even a passing acquaintance with the workaday squalor of its members. Frank, and more than a little apt, the result is a stylish Read more ...
stephen.walsh
Mahler cycles in his centenary year are about as predictable as dead leaves in autumn. But they perhaps belong more in Birmingham than in some other cities. Mahler, after all, was a big factor in making Simon Rattle’s name, and Rattle was a big factor in getting this superb concert-hall built. So the current cycle there, now halfway through, is like a civic statue to the Master: a tribute both ways, honour to the giver and the receiver.The fourth term in this equation, the CBSO’s present music director, Andris Nelsons, also has excellent Mahler credentials, and some may feel it’s a shame that Read more ...
David Nice
"You have to start somewhere," remarked Debussy drily at the 1910 premiere of young Stravinsky's Firebird ballet. Even so, that was far more of a somewhere than the ultra-nationalistic Hungarian tone poem Kossuth, first major orchestral flourish of Béla Bartók, the Russian's senior by one year. In choosing it to launch Infernal Dance, the Philharmonia's 2011 celebration not of Stravinsky (as the title weirdly implies) but Bartók, principal conductor Esa-Pekka Salonen showed how far his main Magyar travelled to works like the hyper-percussive First Piano Concerto and the ballet-pantomime The Read more ...
graham.rickson
This month’s carefully sifted new releases include some quirky Americana and a piano filled with ping-pong balls. A Baroque specialist plays some ripe orchestral transcriptions and a neglected cello concerto gets a new ending. Six Danish symphonies blow the cobwebs away, and we’ve two discs of music by a 20th-century German master. There are songs from Vienna, and a cappella choral music from Russia. A contemporary English composer celebrates the town of his birth. The most soothing of requiem settings contrasts with an hour of Soviet ballet music, prompting memories of circuses and Sunday- Read more ...
David Nice
Tradition has often bedded down very comfortably in the Russian performing arts, which ought to be an asset in the current vortex but brings mixed blessings. Detailed ensemble work, the Moscow Sovremennik Theatre's strongest asset, takes time to develop, yet actors with roles for life may be slow to yield to fresh blood. So does theatre legend Galina Volchek's 21-year-old production of a tough literary adaptation about women learning the "new language" of the terrible year 1937 on the way to Siberia merit a standing ovation? If you're a Russian with a long memory, yes; but taking the Read more ...
emma.simmonds
Two members of Thet Sambath’s immediate family were murdered during the Khmer Rouge’s time in power in Cambodia. His father was killed when he objected to the organisation's seizure of his property, while his mother was then forced into marriage with a Khmer Rouge militia. She died soon after following complications in childbirth. His older brother, who had witnessed the brutal murder of his father, was also later executed. Enemies of the People, a documentary made with Rob Lemkin, is Sambath's illuminating, admirably restrained insight into a brutal regime.Sambath has spent the past decade Read more ...