Reviews
Sebastian Scotney
The German soprano Diana Damrau has had the role of Violetta Valéry in La Traviata in her sights for a very long time. As she has explained in interviews, seeing the Zeffirelli film of the opera, with Teresa Stratas in the title role, as a 12-year old was a decisive moment in making her want to become a singer. That was 30 years ago. Now, as the pre-eminent high soprano in the world, she is performing the role in several leading opera houses. Last night she made her debut as Violetta at Covent Garden.Damrau's musicality and security of vocal line are spellbinding. It is impossible to imagine Read more ...
Jasper Rees
The last time the BBC dramatised the creation of a great musical work, it didn’t quite hit the spot. Eroica starred Ian Hart as Beethoven glowering at the heart of a drama which had rather less of a narrative through-line than the symphony it honoured. For Messiah at the Foundling Hospital, the BBC have gone to the other extreme and kept eggs out of the one basket. There was a bit of drama, a bit of documentary, some costumed musical performance and there were even two presenters to come at the story from opposite angles. The potential for hodge-podgery was considerable.The story of Coram’s Read more ...
Kieron Tyler
John Tavener: The Protecting VeilIn its tribute to John Tavener which followed his death last November, theartsdesk acknowledged the difficulties his devotional music brought. David Nice asked “what was there here that I couldn’t get from a standard traditional service?” He continued to describe The Protecting Veil as a masterpiece which “certainly cast its spell.” The tribute also included a fond and frank reminiscence from cellist Steven Isserlis, for whom The Protecting Veil was composed. Tavener was “was complicated," he said, "and could be very difficult.”This reissue of the Read more ...
Matt Wolf
Even Emma Thompson's finely honed deadpan delivery can go only so far in The Love Punch, a caper movie (remember those?) that moves from the implausible to the preposterous before sputtering to a dead halt. A revenge comedy nominally steeped in a desire to right social injustice, writer-director Joel Hopkins's film soon abandons all loftier aspirations in favour of one jaw-droppingly daft sequence after another. If you've ever wanted to see four distinguished British thesps d'un certain age don body-hugging scuba gear while they attempt to crash a French wedding by any means necessary, here's Read more ...
graham.rickson
Britten to America – music for radio and theatre Hallé/Sir Mark Elder, Ex Cathedra/Jeffrey Skidmore Samuel West (narrator) (NMC)The official catalogue of Britten’s music currently runs to 1183 pieces – so, besides the 95 works with opus numbers there’s an enormous amount which remains little-known. The works assembled here can’t be described as juvenilia. Not everything stands up to repeated listening, but much of the music is highly engaging. Britten’s score for Auden and Isherwood’s mountaineering drama The Ascent of F6 was written largely on the hoof, and he was exasperated by the Read more ...
Jasper Rees
“You’re great listeners. You have surrendered your ears.” The reverent hush that descended for two hours on the Festival Hall is a new sort of sound at a Christy Moore concert. There was a time when such a gathering would bristle with fervour. Twenty years ago, if not of Irish descent, you could feel distinctly like the odd one out. Things have changed, for any number of factors: the peace dividend in Ulster, the ever-diluting Celtic DNA of the Irish diaspora, while the senior sections of Moore’s audience – and pensioners abounded last night – have grown older and less raucous with him.But Read more ...
Matt Wolf
What is it with the London theatre and this particular Arthur Miller play? In 1987, Michael Gambon reached a career-best peak playing the Italian-American longshoreman, Eddie Carbone, in a defining National Theatre revival of A View From the Bridge directed by Alan Ayckbourn, and Ken Stott was arguably even more scorching in the same role on the West End five years ago. Now along comes the Flemish director Ivo van Hove to rattle the cages of received theatrical practice with a stripped-back approach to Miller's high-octane text that places the focus directly on leading man Mark Strong and an Read more ...
Stuart Houghton
Noir Syndrome is a procedural detective game. That's to say procedurally-generated rather than a police procedural - the game is designed to create a random mystery for you to solve with each new game, and puts you in the worn-out shoes of a down-at-heel private eye who must catch a serial murderer who is cutting a swathe through the inhabitants of a big city.The game is rendered in a faux-retro 2D pixel art style and scored with a smoky jazz soundtrack that evokes just the right atmosphere for a gumshoe walking the mean streets. You have just two weeks to catch the murderer, and considering Read more ...
Veronica Lee
Science has fallen in love with comedy – or maybe that should be the other way round. Whichever, geek is now chic, and being in possession of a brain is something to be laughed with, rather than at. All of which explains the popularity of Radio 4's The Infinite Monkey Cage, or Dara Ó Briain's School of Hard Sums on the Dave channel, both of which employ a large dose of comedy to discuss some terrifically complex topics.Helen Arney, Steve Mould and Matt Parker are all scientists by training and perform comedy separately as well as together under the moniker Festival of the Spoken Nerd. Their Read more ...
Katherine McLaughlin
If Crystal Fairy is about "the birth of compassion in someone’s life”, as director Sebastián Silva explained when it premiered at Sundance last year, then Magic Magic (which he shot at the same time) can be seen as a companion piece of sorts. It’s not too far a reach to assume Silva is testing his audience with this disorientating and incredibly taut look at mental illness. He explores how deep sympathies really lie for a disorder that some have difficulty empathising with and how the decisions arrived at by a pack mentality can lead to devastating consequences.Silva cleverly sets this Read more ...
alexandra.coghlan
Plotted on the Nunn Curve of Fatal Attraction to Flare Path, Sir Trevor’s latest West End outing – Noël Coward’s post-war comedy Relative Values – lands solidly in the upper-middle reaches. Why not the unqualified upper? The stock answer here would be that Coward’s play is fatally flawed, blighting even a director at his best. Any alternative risks straying into the stickiest of ideological mires, braving the final social and theatrical taboo: class.“Comedies of manners swiftly become obsolete when there are no longer any manners,” proclaims Wodehouse-esque butler Crestwell in Act II. Coward Read more ...
Florence Hallett
Not so long ago, photographers were rejoicing in the freedom the digital revolution seemed to bring; unencumbered by the limitations of film, paper and darkroom practice, photography was suddenly liberated from the niggling pedantry of material constraints.So it is in the cyclical nature of things that the photographers shortlisted for this year’s Deutsche Börse Prize all hark back, in some way, to pre-digital image-making, whether in their choice of equipment, technique or subject matter. Brett Rogers, director of the Photographers’ Gallery, argues that this illustrious prize plays a Read more ...