Reviews
igor.toronyilalic
Even Schubert’s very earliest compositions terrify. His first songs, written when he was only 13, are unforgettably vivid, gory, messy, mangled, full of darkness and horror, like dead little birds. He never shakes off this Gothic sensibility; it’s never ironed out of him. A part of him remains untutored, untamed, right to the end, and over time his dark preoccupations gather a more and more frightening shape. Pitch blackness is reached in his Piano Sonata in A minor, D784, one of strangest pieces in the whole piano repertoire, a work of utter nightmarishness and a focal point for last night’s Read more ...
edward.seckerson
Wigmore Hall does not always take kindly to big voices; it’s an easy hall to over-sing. But when the singer is the American soprano Christine Brewer and the sound so open, so rich and effulgent, hall and voice become one resonance. It’s almost as if Wigmore is selective in its response. It warms to the right voice in the right music. Brewer in Strauss is about as right as it gets. And besides, regardless of the venue, Brewer has never sung to be heard; she sings to be understood.This BBC Lunchtime Concert began at the beginning of Strauss’ life in song with Zueignung, generally sung at the Read more ...
james.woodall
He was the biggest hitter in an A-team of mid-20th-century American painters: Jackson Pollock, Barnet Newman, Willem de Kooning. Mark Rothko, born Marcus Rothkovitz in what has become Latvia, was Abstract Expressionism's shaman, its restless thinker and febrile poet, an artist who fashioned from an investigation into the power of pure colour a philosophy of art as potent as Crick and Watson's contemporaneous unravelling of the double helix. Red, John Logan's new play about Rothko, directed by Michael Grandage, is both a tribute and an excoriation: a portrait of the artist as headstrong Read more ...
ryan.gilbey
Of all the film genres to flourish in recent times, mumblecore is both the most ethereal and, to date, the least profitable. But unlike, say, torture-porn or mockumentary, it has some distance to go before it outstays its welcome. For the uninitiated, mumblecore is essentially an offshoot of the rom-com, but instead of Kate Hudson, Sandra Bullock and/or Matthew McConaughey, you get an infinitely preferable gathering of aimless twentysomethings gently groping their way through matters of the heart, usually while wearing cardigans. (If the NME "C86" class of bed-wetting, thrift-shop-attired Read more ...
Veronica Lee
It’s a rare show that has every critic reaching for the superlatives and wishing they could award six stars out of five, but Pajama Men’s The Last Stand to Reason did that at the Edinburgh Fringe earlier this year earlier this year. Pajama Men consists of Mark Chavez and Shenoah Allen, two thirtysomething men from Albuquerque, New Mexico who, in a remarkable display of vocal and physical dexterity, create a world so detailed, so fully, beautifully and comically realised that it’s astonishing to note they do it with the aid of just two chairs and occasional music from the onstage Kevin Hume. Read more ...
aleks.sierz
What’s the appeal of the traditional ghost story? Is it the knowledge that while the victims of the tale quake in their boots, you are perfectly safe and grinning like the Cheshire Cat? Or is it because the supernatural gives us a chance to journey into the weird and fearsome corners of our psyche, all the time kidding ourselves that we are just normal human beings? In Michael Punter’s new ghost story, Darker Shores, which opened last night at the Hampstead Theatre, all the rooms of the haunted house story get an airing.It is Christmas 1875, and the setting is Sea House, a suitably isolated Read more ...
Adam Sweeting
It was well worth a dash down a rain-deluged Shaftesbury Avenue to catch this live digital broadcast from Milan at the Odeon, Covent Garden. For a start it meant saving a plane fare and a ticket at 250 euros or (much) more, and it also meant eavesdropping in vivid close-up on what may have been a nugget of history in the making at the grand old opera house.For his second gala opening since becoming La Scala's principal guest conductor, Daniel Barenboim couldn't go far wrong by picking Bizet's bomb-proof classic. By casting Georgian mezzo-soprano Anita Rachvelishvili in the title role, Read more ...
Jasper Rees
A bit like the British constitution, it’s never been written down. That doesn’t mean it doesn’t exist: the edict, issued from a leather-bound desk somewhere within the innermost enclave of the citadel that is Television Centre, that an audience’s intelligence must never in any circumstances ever be taken as a given. No horses were frightened in the making of this programme.Thus, for years, those comedians presenting documentaries on often immensely serious subjects of which they overwhelmingly tend to know something fairly adjacent to bugger all. Thus the - in private - no doubt perfectly Read more ...
sheila.johnston
It begins with a touch of brio: a sinuous, swirling tracking shot plunges deep into the daily chaos of a market place in a remote Algerian desert village. Signs are hoisted aloft and askew, mobile phones noisily bickered over, clapped-out bangers pushed out of the way. Eventually, the camera pauses on three old men as they, as one, clasp their handkerchiefs to their noses: a honking wedding cortege is about to roar past in a miniature dust-storm to set the seal on the mayhem.A battle of the sexes, a comedy of errors and a cutting satire, Mascarades has won plaudits on the international Read more ...
David Nice
Seeking the snows of yesteryear, I remember a time when John Schlesinger's Covent Garden Rosenkavalier filled every moment of Hugo von Hofmannsthal's rococo libretto and Richard Strauss's jewel-studded score with life and meaning. 25 years on, its creator is no more, a revival director (Andrew Sinclair) fails to pull a dramatically variable cast together and many startling new productions have shown more readiness to engage with the opera's Viennese time machine - that's to say, any era between the 1740s and the present day - and with greater panache.A strictly period Read more ...
igor.toronyilalic
Piano ballades and fantasies are the repositories of dreams. They are the places where the mind is left to wander, to roam precipitously, unaided by known paths, undisturbed by familiar structures. The romantic fantasies and ballades of last night's Wigmore Hall recital plunge and soar, catch you by the feet and dangle you by the ankles. To cast the right spell, to heave the right ho, you need the right storyteller, one like the ancient Mariner: a glittering eye, a hoary beard, a man of myth and terror. In fact, you need what we got: the towering Paul Bunyan-like Russian, Nikolai Read more ...
rose.dennen
Everybody needs a daddy and the paternal focus of Battles is their drummer - nothing seems to be done without the say of John Stanier. This is no bad thing, a lynch pin is needed in every rag-tag mob. With Battles, last night, they seemed extremely comfortable in airing new material and, for the first time, fucking with their tried and true older material. Every other time they've played they've played by rote; as on the album as is on stage. Last night they elongated and morphed "Atlas" from their first and only album proper "Mirrors" and it felt like it was being played like Coney Island Read more ...