Reviews
David Nice
In one sense it was a New Year’s Day “nearly”, just stopping short of giving us the already great Irish lyric-dramatic soprano Jennifer Davis in the music of the man she was born to sing, Richard Strauss. Berlin will witness her Arabella shortly, but the one Bavarian intruder in the otherwise all-Viennese carnival yesterday afternoon, the Moonlight Music from Capriccio, stopped before the Countess’s final scene.Yet that slice of heaven still served as a breath from another planet in a glittering programme: did the audience realise it was getting one of the world's best horn players, Alec Read more ...
Adam Sweeting
Having carved a swathe of terror and destruction through the Axis forces in North Africa, the SAS return for a second series (again written by Steven Knight, and with another rockin’ soundtrack featuring the likes of The Cult’s “She Sells Sanctuary”, Deep Purple’s “Highway Star” and Magazine’s very apt “Shot by Both Sides”).With the SAS’s founding father, David Stirling, a prisoner of war in the medieval pile of Forte di Gavi, command of the unit has passed to Paddy Mayne, played with a kind of barely-controlled madness by Jack O’Connell. Now the unit is tasked with being the point of the Read more ...
David Nice
As always, great concerts have outnumbered great opera productions over a year, and all of our national orchestras can be proud of their record. I’ve sometimes started by celebrating youth, and it’s good to be able to do that in the shape of two competition finales totally satisfying as programmes. The palm, though, goes to two veterans who made me wonder at their ease and natural communication.In the case of 97-year-old Herbert Blomstedt conducting Mahler’s immensely taxing Ninth Symphony, it was the Philharmonia which did all the burning and intensity, while the conductor’s natural sense of Read more ...
Jenny Gilbert
In an ideal world an end-of-year roundup would applaud only new ventures – fresh productions that you may curse for having missed but whose success would almost certainly ensure a second run.The past 12 months in dance has offered few of these. Instead, it was a year of fine revivals. At a time of tightened belts, tightened as never before, it made sense to programme the tried and tested. There were some novelties, of course, but it was the best of the seen-befores that made the bigger splash.The Royal Ballet, flush with its new status as the dominant company at Covent Garden after 80 years Read more ...
Helen Hawkins
Maybe it was the timing, even though most of the action takes place in bright sunlight, that made The Split’s two-parter uncharacteristically soft-centred. This was a Christmas-but-filmed-last-summer special, often a guarantee of a mushy mash-up. And indeed, it was as if writer Abi Morgan had started channelling Richard Curtis. The opening scene was Four Weddings by way of Mamma Mia!, as the tribe of Defoe women, led by divorced Hannah (Nicola Walker) and accompanied by her ex-husband Nathan (Stephen Mangan, pictured below, with Annabel Scholey) though not his new wife, descended on Read more ...
Sarah Kent
I thought I might never be able to say it’s been a great year for women artists, so forgive me for focusing solely on them.Things were kickstarted with a retrospective of Barbara Kruger (Serpentine Gallery) who uses words and images to illuminate the way language is (mis)used to cajole, bully, manipulate and lie. Having explored similar territory for 50 some years, you’d have thought the American artist would have run out of ideas. Not a bit of it. Dominating the central space was a huge screen showing Untitled (No Comment) (main picture) which explores the Orwellian soup of Read more ...
Boyd Tonkin
“O stay and hear,” sings Twelfth Night’s jester Feste in his song “O mistress mine”, “your true love’s coming,/ That can sing both high and low.” And loud and soft, earthbound and airborne, Heldentenor-grave and night-club frivolous: Nicky Spence’s wide vocal span and stylistic versatility made him the ideal soloist for this cheerful post-Christmas canter through several centuries of Shakespeare songs.Roger Quilter’s urbane yet melancholy take on “O mistress mine” (one of a trio of items from the composer) represented just one stop on a musical journey that began with William Byrd and ended Read more ...
Veronica Lee
Looking back over the past 12 months, it struck me how it has been the shows fashioned from personal stories that have stayed with me. It wasn't simply that the comics could make very good jokes about their travails or embarrassments, but that the material had a strong ring of authenticity. There's nothing wrong with delivering other people's gags (plenty of top-flight performers do it, of course) but when it rings true, it's somehow funnier.So among the comics whose shows I've liked most were Kiri Pritchard-McLean's Peacock (tour restarts 25 January), in which she talks about her experiences Read more ...
theartsdesk
They say cinema is dying (you never know, they may be wrong), but you can’t help noticing the stampede of movie stars towards TV and streaming. Many of 2024’s most memorable shows had a big-screen name attached, even if it was impossible to be entirely certain that it really was Colin Farrell inside all those prosthetics as he romped his way through the gripping second season of The Penguin (Sky Atlantic).Then we had Eddie Redmayne as the titular character in Sky Atlantic’s rather ponderous revamp of The Day of the Jackal (“The Day of the Jackal feels like a month,” as one sceptic noted), Read more ...
Kieron Tyler
A reissue can be an aide-mémoire, a reminder that a record which has been off the radar for a while needs revisiting, that it deserves fresh attention.In that spirit, this column has looked at straight vinyl reissues of albums of varying styles, from various periods; from the well-known to those which attracted barely any consideration when they first surfaced. In the latter category, there is the reissue of Horizoning by the Canadian folk-inclined singer-songwriter Stefan Gnyś whose sole album had, until 2024, never advanced beyond the 12 two-sided acetate discs which were specially cut in Read more ...
Helen Hawkins
The most hyped special of the season came to a cosy comedy ending with pairings accomplished, evil witch Sonia and her coven dispatched and the usual everyday chaos reinstated. Tidy.Except that I almost wanted Ruth Jones and James Corden to put a bomb under their famous creation and blow it apart with key expectations unmet, Nessa (Jones) literally at sea, Smithy (Coren) rebuffed and big questions left unanswered. It worked for Gone with the Wind, after all. But even with the feelgood factor on overdrive, it was a hilarious, satisfying last outing.Not that it’s a really big question, but Read more ...
David Nice
Ireland takes the palm for best of 2024, with Wexford hitting comic heights among its three rarities in Donizettian let’s-make-an-opera, while Irish National Opera gave us a world-class Salome, a Vivaldi rarity strongly cast, a Rigoletto featuring my favourite performance from a Manchester-born Irish-Iranian soprano, and the perfect solution to Berlioz’s half-Shakespearean Béatrice et Bénédict, thanks to Fiona Shaw and three more sensational Irish women.Before we deal with those, let’s celebrate another Irish soprano in English National Opera’s most gripping offering of the year. We’ve sorely Read more ...