Southbank Centre
David Nice
From a privileged position in the Festival Hall stalls, I could see 97-year old Herbert Blomstedt’s near-immobile back as he sat on a piano stool with the score in front of him, but also his supremely expressive right arm and hand, every finger brought into play, the left hand occasionally visible to me as he raised it at moments of high emotion. The Philharmonia simply burned for him, every phrase and dynamic brought into focus to heighten an already assured vision.Only absolute mastery will do for Mahler's Ninth, his deepest symphony, its first movement alone a monumental test of ebb and Read more ...
Boyd Tonkin
Victims of their own success in the postwar era of well-recorded sound, the Brandenburg Concertos first arrived in the ears of listeners from my generation via glossy, plush and polished recordings by heavyweight orchestras of a sort that would have baffled Bach. Four decades ago, period-conscious bands began to strip the gloopy varnish off and let the strange, bold paintwork beneath shine. Yet the look, and sound, of these six pieces “for several instruments”, rather obsequiously dedicated by the job-seeking Bach to the Margrave of Brandenburg in 1721, can still startle audiences. Last Read more ...
Nick Hasted
Roy Haynes, who had begun to seem immortal, has died aged 99. In this extensive Arts Desk interview from 2011, one of the greatest jazz drummers ranges across his remarkable life with sharp intelligence and generous feeling.The man who played with everyone, Roy Haynes earned his Lifetime Achievement Award at this year’s Grammys, in a career even his 86 years hardly make credible. He was 21 when he got the call to drum for Louis Armstrong in 1946. He was at the drum stool as Billie Holiday played her last club gig, crying at the pain of her dying body. Charlie Parker, John Coltrane, Thelonius Read more ...
Saskia Baron
One of the many pleasures of the London Film Festival is the chance to see high-quality documentaries on the big screen. If lucky, these films might get a brief, specialist cinema release, but all too often non-fiction features are destined for TV. Seeing them projected full-size in the dark with a live audience sharing the experience is a far better way of gauging their impact than watching them alone in a living room. Victoria Mapplebeck’s Motherboard (pictured above) got the warmest reception: its sold-out screenings were greeted with laughter and a standing ovation. It’s a Read more ...
Tim Etchells
Forced Entertainment is a theatre company based in Sheffield, touring original performances around the world. The core group of 6 artists has been working together for 40 years, often inviting others to collaborate on particular projects. From the outset we wanted to make a different kind of theatre, incoporating influence from music, cinema, visual art, stand-up and performance art as well as from experimental theatre. The idea was to make theatre to speak about the times in which we were living, in a language born out of those times. The shows vary: lots of talking or none, loud music or Read more ...
David Nice
If there was ever a time for the inevitable "Rach Three” (piano concerto, not symphony) in the composer’s 150th anniversary year – and I confess I dodged other occasions – it might as well have come in the fresh and racy shape of Leif Ove Andsnes' interpretation and the equally alert, forward-moving playing of the London Philharmonic Orchestra under a kindred spirit, its principal conductor Edward Gardner.In short, there was no slack either in the concerto or an even greater masterpiece, the Choral Symphony The Bells, and yet no lack of emotional intensity either. Andsnes is usually Read more ...
Boyd Tonkin
This autumn, the Philharmonia’s “Nordic Soundscapes” season promises music suffused with the epic vistas, and weather, of high latitudes, along with reflections on the climate crisis as it threatens the traditional bonds between nature and culture. So far, so piously programmatic. But what difference can such a high-minded schema make to the music made by the orchestra’s outdoorsy Finnish maestro, Santtu-Mathias Rouvali, and his colleagues? On last night’s evidence from the Royal Festival Hall, enough to refresh and reframe the works they play. In particular, Sir Stephen Hough’s bracing Read more ...
Gary Naylor
In the 1960s, Cilla Black was rescued from hat check duties at The Cavern and made a star. In the 1980s, Rick Astley was whisked away from tea-making at the Stock-Aitken-Waterman studios to launch, 30 years later. a billion RickRolls. In the 2020s, Frankie Taylor is spirited away from a Milton Keynes cinema popcorn stand to the bright (and I mean bright) lights of Bollywood. Okay, it’s the least likely of those unlikely routes to stardom, but this is Musical Theatre, a world in which if you just believe hard enough, you too can be the idol of millions, with all the dubious rewards that Read more ...
Rachel Halliburton
This luminously persuasive, radically inventive performance of Shostakovich’s music begins – quite literally – at the end. Beneath a slowly revolving monochrome moon, a lone musician delivers a plangent rendition of the Moderato and Allegretto from the final viola sonata the composer wrote before dying of cancer in 1975. From the shadows an accordionist emerges as the accompanist, eking out the understated melancholy from the shifting harmonies. It’s a deceptively simple, elegiac introduction to the wonderfully daring ninety minutes that ensues.The electrically compelling Finnish violinist Read more ...
David Nice
Lilac time in Oslo, a mini heatwave in June 2023, a dazzling Sunday morning the day after the darkness transfigured of Concert Theatre DSCH, the Norwegian Chamber Orchestra’s from-memory Shostakovich music-drama. Pekka Kuusisto and I decide not to enter the café where we’ve met but cross the road to the Royal Park and sit on a park bench talking for two hours.Kuusisto in conversation is exactly the inspirational, enthusiastic and galvanizing person you may have seen spellbind Proms audiences in a song-and-fiddle encore, transform a classic or cross supposed boundaries into folk music. I’ve Read more ...
Kris Nelson
LIFT 2024 is nearly here. It’s a festival that will take you on deep and personal journeys. We’ve got shows that will catch your breath, spark your mind and rev up your imagination. There’s adrenaline too. It’s international theatre for your gut. With three world premieres and a host of London debuts, this year’s LIFT takes on two themes. The Personal is Epic explores deeply personal stories of justice, migration, and protest, amplifying them to mythic proportions. Meanwhile Play the Future, Play the Past is a strand of shows that reframe history and imagine the future. We start the Read more ...
Boyd Tonkin
As he approaches his 70th birthday, Masaaki Suzuki has not just travelled into pastures new but proved himself thoroughly at home in them. The founder-director (in 1990) of Bach Collegium Japan, a distinguished harpsichordist-organist as well as one of the most rigorous and scholarly interpreters of the Baroque legacy, has just completed a tour with the Philharmonia that joyfully embraced a selection of Romantic masterworks. They returned from Spain to the Royal Festival Hall (pictured below) with a programme that saw Suzuki, stick-less and relaxed but fiercely attentive to every fine Read more ...