Reviews
Gary Naylor
In Annus Mirabilis, Philip Larkin wrote,"So life was never better than In nineteen sixty-three (Though just too late for me) – Between the end of the "Chatterley" ban And the Beatles' first LP."That might be the only point on which he and Joan Littlewood, a fellow poet, might agree, because she caught the zeitgeist and was doing iconoclastic work of her own in Stratford (emphatically not "upon Avon") with her revolutionary musical Oh What A Lovely War. Though it feels now to be something of an artefact in theatre’s archaeology, it has not lost its sting nor its Read more ...
David Nice
Sometimes all the stars align in musical performance. There’s no soprano more alive to the expression of musical joy and rapture than Louise Alder, no composer more levitational in his strange later adventures than Fauré, no instrumentalists strings better than pianist Joseph Middleton, the Doric String Quartet and double-bass player Laurène Durantel at being supernatural companions throughout his song-cycle La bonne chanson.Fauré's other miracles among his chamber works turn up with comparative regularity in concert, but for some reason I've not experienced his nine-song tribute to Paul Read more ...
Kieron Tyler
After leaving Midlake while recording their fourth album, Tim Smith said he was pursuing music under the name Harp. That was in 2012. Smith had been the Denton, Texas-based band’s singer and main songwriter. Without him, Midlake pushed on and issued 2013’s still-stunning Antiphon album.A decade later Smith is releasing Albion, his first record as Harp. During the interregnum, his only known musical activities were appearing on the 2017 and 2021 albums by Lost Horizons, a project driven by former Cocteau Twin Simon Raymonde. Harp, Midlake and Lost Horizons are all on Bella Union, Raymonde’s Read more ...
India Lewis
Coming at the end of a long year’s gigging, This Is The Kit’s performance at the Barbican on Saturday night was an excellent demonstration of the whole band’s familial, compelling musicianship.Support came from The Raincoats’ Gina Birch (and friends), whose politely raucous set was backgrounded by films that she had made during her art school days – the first of which, she told us, is featured in Women in Revolt!, currently on show at Tate Britain (a still from it is actually the poster for the show). Gina and her two bandmates played a rousing collection of songs, pulling no punches and with Read more ...
Rachel Halliburton
The Icelandic composer Anna Thorvaldsdottír found her work put under a strangely unforgiving lens when it was featured in Tár, the now infamous Todd Field film made in 2022 starring Cate Blanchett as a tempestuously exacting female conductor. In a scene where Lydia Tár is taking a masterclass at the Julliard, she savages a student who is conducting a string quartet playing Thorvaldsdottír’s music, saying it sounds like “tuning up”.Yet it’s part of the film’s sophisticated psychological narrative that this scene, far from condemning Thorvaldsdottír’s music, represents Tár’s divorce from the Read more ...
Kieron Tyler
"Both of us have always enjoyed listening to dance music, and we wanted to interpret disco in our own way. We wanted to make good quality soulful electronic dance music, more biting than the usual bland disco stuff. We wanted to make records that would stand out in a disco and that you could listen to in your own bedroom."Speaking to NME’s Paul Morley in May 1981, Soft Cell’s Marc Almond clearly expressed where he and Dave Ball intended to go with their music. At this point, the duo had not issued much. October 1980’s barely available Mutant Moments EP was followed by one track on the Read more ...
Boyd Tonkin
The German composer Detlev Glanert, taught by Hans Werner Henze and a past collaborator with Oliver Knussen, received a Proms commission as far back as 1996. He remains, it might be fair to say, a shadowy presence here despite his prominence back home.Yesterday he came to the Barbican to hear Semyon Bychkov and the BBC Symphony Orchestra give the UK premiere of his Prague Symphony, commissioned by the conductor for the Czech Philharmonic and first performed in the city late last year. Although, after the interval, Bychkov followed up with a big-boned and open-hearted reading of Brahms’s Read more ...
Helen Hawkins
The O2 has to be the K2 of comedy peaks: a vast ovoid drum of a place where those right at the back have to be content with watching magnified images on screens. And for a standup, there are no electric instruments to drown out the echoing acoustics.So it’s a measure of Trevor Noah’s charisma and charm that he cut right through these handicaps. It’s not the worst place he has played since his return to live comedy from hosting The Daily Show on US TV. That would be the giant tent his promoters booked for him in India, which had to have a score of air conditioning units on the go: there was no Read more ...
David Nice
Fascinating for the history of opera, less so for opera. The most interesting thing about Gazzaniga’s take on the libertine and the stone guest, apart from a couple of sprightly numbers, is the libretto by Bertati, repurposed with better dramatic shape by Da Ponte for Mozart, whose masterpiece opened in Prague eight months after the lesser work’s Venice premiere of February 1787. We have a right, though, to witness Gazzaniga’s unadulterated original. This wasn’t it.For most people in the audience, the first surprise – apart from discovering that the opening scene is Mozart/Da Ponte’s in Read more ...
Simon Thompson
Nobody would describe Felix Mendelssohn as a fringe composer, but his piano concertos aren’t exactly central classical repertoire either. They lack the foundational status of Mozart’s and the high Romantic seriousness of Beethoven’s or Brahms’, and Mendelssohn doesn’t help himself in the way that an air of the faintly hilarious hangs around his First Piano Concerto.It’s often so hyperactive that it’s impossible to take it seriously, with an almost comically energetic first movement that feels like a greyhound straining at the trap, and a finale so light-hearted that it’s almost a self-parody. Read more ...
Helen Hawkins
Joanna Hogg has made a film that resolves itself backwards: what happens in the final reel recasts what you have just seen completely. It’s something of a departure from her previous films in style, but equally probing and moving.The Eternal Daughter is the third Hogg film to feature a writer-director called Julie Harte, the lead character in The Souvenir I and II. Hogg explained at a recent Barbican Q&A that she had landed on making a film about her relationship with her mother back in 2008, after finishing her first feature film, Unrelated. But the outline she’d written for it Read more ...
Demetrios Matheou
Henrik Ibsen may well have wanted to shake things up, to rile against the social mores of his time. But his visionary critiques didn’t usually come with anything as radical as, say, optimism. And there’s no more of a downer than Ghosts.Directing his own adaptation, Joe Hill-Gibbins offers an intense night of the soul, which feels horribly contemporary in its depiction of characters suffocating in the fear of gossip, tarnished reputation and shame. Lest that appears too depressing, he’s aided by an excellent cast in nimbly navigating between despair and the kind of amusement that flows Read more ...