Southbank Centre
Tim Cumming
Steve Earle is country music's great polymath - short story writer, playwright, novelist, activist, actor, oh yes, and singer and songwriter of some of the most acutely intelligent and literate songs in contemporary country. He's adept at evoking the human cost of American history, American politics and the lay of the promised land, and on his latest album, The Low Highway, the first song takes a long, slow panning shot of the body politic. It’s not in great condition. Happily, though, Steve Earle’s muse is.Not only that, this, one of his first band tours in years, with the gallantly named Read more ...
Adam Sweeting
For a celebration of all that's supposedly best in British television, this year's telly-BAFTAs felt mysteriously flat and anticlimactic. Even perennial host Graham Norton seemed less fleet of foot than usual, though he did manage one caustic barb about the plank-like acting skills of Downton Abbey's Lady Mary. Perhaps he was distracted by his own dual nominations (he won for Entertainment Programme). The ejector seat from his chat show might have been the perfect accoutrement to add a bit of adrenalin to the occasion.An ominous early omen was the win for the tepid Last Tango in Halifax in Read more ...
edward.seckerson
Vladimir Jurowski deemed this the most challenging of any programme in the Southbank’s year-long The Rest is Noise festival and proceeded to tell us precisely why. That his little preamble lasted almost twice as long as the first piece - Webern’s Variations for Orchestra Op.30 - was an indicator of just how scientific the thinking behind his programme was. Jurowski instinctively understands how and why works impact on each other in the way they do. Intellectually and emotionally speaking this was a classic of its kind - and with one possible exception the accomplishment of its execution was Read more ...
David Nice
Visiting orchestras and conductors often complain about agents’ insistence that they programme their main national dishes. The request is partly understandable: we all want to hear the Vienna Philharmonic in Mahler, the Czechs in Dvořák, the Hungarians in Bartók. On this occasion, it seemed like no bad thing to welcome back the Budapest Festival Orchestra and its febrile, masterly music director Iván Fischer in a work they’ve brought to London before, Bartók’s Concerto for Orchestra. But it was a surprise to some of us to find that this passionate, flexible team’s interpretation had stiffened Read more ...
edward.seckerson
It was clear that there was an Italian on the podium. Muted strings invoked an atmosphere so crepuscular that, when one involuntarily closed one’s eyes, the murmur of voices intoning the words “Requiem aeternam” seemed to come from deep inside the cathedral. The theatricality of Verdi’s Messa da Requiem is inescapable but what was also inescapable under Daniele Gatti’s baton was that every phrase, instrumental and vocal, is breathed as a singer might breathe it. Already, as the opening pages of the piece unfolded, one noted Gatti’s way of keeping the line fluent and singable with dovetailed Read more ...
Peter Culshaw
I hadn’t been through Mumbai (although lots of people there still call it Bombay) for a while – I once Iived in a beach house here for several months in Juhu while working on a fairly insane project with, among others, Boy George, Bollywood playback goddess Asha Bhohle, and the brilliant film composer RD Burman called the West India Company. The whole thing was like Spinal Tap goes East – money was wasted, people went crazy, gangsters came round, the cook set fire to himself, everyone got dysentery. That story is for another time, perhaps.These days the city, and not just me, has calmed down Read more ...
Peter Culshaw
Hariharan gives the appearance at least of being fabulously laid-back when I meet him in the lobby of one of Mumbai’s top five star hotels. Wearing a jaunty hat, he is recognised by a lot of passers-by, and when he orders a cappuccino HH is fashioned artfully from chocolate in the foam (see photo below right).Now 56, for the last 30-odd years he has been one of India’s best known and most innovative singers. He’s had the Hindi Bollywood hits, but also has recorded for films in the South of India “at least 800 Tamil songs”, as well as Malayalam, Kannada, Marathi, Bhojpuri and Telugu songs. Read more ...
edward.seckerson
When Schoenberg made his steroidal orchestration of Brahms’s G minor Piano Quartet he saw and heard what many don’t - that Brahms was more of a radical than the music world was ready to acknowledge, that he was not the conservative in the shadow of Wagner that commentators at the time felt the need to brand him. And yet at the heart of that orchestration, at the root of its motivation, was Schoenberg’s deep-felt reverence for the past, and who better to reveal that than an orchestra - the Vienna Philharmonic - so steeped in tradition that voices of approval from the likes of Brahms, and Read more ...
Sam Mills
On Wednesday I will strap on a guitar and take the stage at the Royal Festival Hall for the opening night of this year's Alchemy Festival. I am the musical director and happy accompanist to a line-up of spectacularly talented musicians, all with roots in different parts of the Indian subcontinent. As I write, visas are being stamped and air tickets finalised for 11 musicians flying in from India and Pakistan. I am part of the London contingent: Susheela Raman (pictured below right), whose concert this is, is a Tamil Londoner. Aref Durvesh, a longstanding colleague and the UK’s funkiest tabla Read more ...
geoff brown
Any conductor who ends a concert with only one leg on the ground, as if engaged in the Highland fling, is either a little fanciful or has been utterly carried away. In Keith Lockhart’s case last night, it was probably a bit of both. No-one can take charge of Duke Ellington’s big band tone poem Harlem by impersonating a lamp-post, especially at its roaring end, the epitome of jubilation in sound. But the BBC Concert Orchestra’s transatlantic Principal Conductor is also a conscious showman. Sometimes his hands trace such sensuous curves that you feel he’s stroking a Ming vase.All his gifts for Read more ...
David Nice
Like Prokofiev’s The Love for Three Oranges and Puccini’s Turandot, Wagner’s first opera – The Fairies in English – has its roots in a “theatrical fable” by the 18th century Venetian playwright Carlo Gozzi. There the resemblances end. Only Prokofiev follows Gozzi’s playful mix of commedia dell’arte and fairy-tale characters. The 20-year-old Wagner has one moment of fun – cut in this performance – but a mere handful of musical gestures and plot devices prophesying greatness to come rises to the surface in this gloopy mess. You’ve got to admire the ambitious scope of it, but inspiration is Read more ...
David Nice
Curious and curiouser. Lutosławski’s Cello Concerto, centrepiece of Esa-Pekka Salonen’s latest Philharmonia concert celebrating the Polish master’s centenary, adds ballast to the idea that the composer, like Schoenberg and Tippett, burrowed into a specially comfortless rabbit warren in his later works. On the other hand his Concerto for Orchestra, begun two decades earlier in 1950, proved its mettle as a serious audience-pleaser. Yet if you asked an unprepared listener to name that composer, the answer would most likely be – not Bartók with his work of the same name but that other, much more Read more ...