Because it was the capricious Finn who got us going and provided us with the evening's only chunks of nourishment. His performance of Rodion Shchedrin's Fourth Piano Concerto was joyous and thrilling. I wasn't expecting a great deal from Shchedrin after the critical drubbing the opening salvo in this mini-celebration received on theartsdesk. But, despite passages that stewed in a vat of concentrated Shostakovich for far too long, I was pleasantly surprised overall.The piano voice of this Fourth Concerto is quite unlike any other. Soaked in Carnatic flavours and free-form jazz, it emerges into Read more ...

Complicite’s Shun-kin delivers sex and violence aplenty. A warped, wilfully kinky fusion of the two lies at the core of the play and its central relationship – sexy, edgy material with just the right degree of poetry to help smooth its way across the sophisticated palate of London’s theatre-goers. Yet to dwell on this is both to misunderstand and misrepresent Simon McBurney’s generous drama. With a skill typical of this company, a tale rooted in the passions and perversions of a single character becomes an echo chamber for a muted symphony of historical and philosophical musings.Although it Read more ...

We have good days and we have bad days. Ian Bostridge, at last night’s concert at the Barbican, was not having one of his better ones. But time and CD releases wait for no man, and so he gamely ploughed through his programme of music written for three great Baroque tenors (no prizes for guessing what the title of the album is – do you think EMI would pass up an opportunity like that?), and by the end appeared a little more comfortable than at what was a rather tentative start.The concept is actually quite an interesting one. Most of us could tell you about that castrato-extraordinaire Read more ...

Tonight the company dedicated to the greatest radical of modern dance, Merce Cunningham, opens its farewell tour to London, a valedictory odyssey that will end next year. Last year Cunningham died, aged 90. He had just premiered a work called Nearly Ninety, and this is fittingly the last thing we will see of his company as it blazes one final circuit before closing down in December 2011. With work as exacting as his, it is inconceivable for his dancers to continue to operate as a full-time company without him, and so the grave decision was taken to carry out a final two-year tour around the Read more ...

Exhibitions about fashion tend to divide the public. Those passionately interested in fashion go to them; everybody else doesn’t. There’s a prevailing view that we already hear enough about top models, superstar designers and their attendant dramas through the media, the high street and the imposition of having to go and buy the stuff, without extending the experience into the art gallery. And that’s a crying shame, since London has had a whole wave of superb exhibitions highlighting the aesthetics of fashion – Skin & Bone, Viktor & Rolf, Maison Martin Margiela – that the general Read more ...

Elgar and Delius are two geniuses who only ever composed themselves - the first drawing heavily on psychology and physiognomy, the second drenching his country visions in painful nostalgia. So it made good sense to have man and nature side by side in Sir Andrew Davis's latest enterprising concert. Oh, and there was a commission from the Royal Philharmonic Society's Elgar Bursary too, though this was only "new" music by the old guard. I suspect that the BBC Symphony players could have done without Edwin Roxburgh's Concerto for Orchestra in a heavy programme, resplendently though they tackled Read more ...

Happy Birthday, Tony! Last night the great Nigerian musician celebrated the fact that he has spent 70 years on the planet, with 52 of those years exploring – as no other drummer has explored – the humble kit drum (or drum kit if you prefer). This standard arrangement of bass drum, snare drum, toms, cymbals and percussion has been the engine behind most popular music for only a couple of decades longer than Tony himself has been bashing away at the things for.A review of a concert which involved some 30 musicians and singers can't possibly be done justice, so I will stick to just mentioning Read more ...

As experienced Wagnerian Jiří Bělohlávek came on to launch the BBCSO's new season in mid-air with the Tristan Prelude, I wondered whether the world's finest interpreter of Isolde's serving maid Brangäne, lustrous mezzo Sarah Connolly, was waiting to up her game, and her range, and tackle the Liebestod. Sadly not: that remained, as often in concert, Music Minus One. Connolly was there for a different kind of game-upping - a noble attempt to enter the charmed circle that's developed around the memory of the great Lorraine Hunt Lieberson with husband Peter Lieberson's Neruda Songs.Hunt Lieberson Read more ...

This season's LSO artist-in-focus, violinist Viktoria Mullova, is an incorrigible off-roader. The rougher the terrain the better. Early, modern, rock, folk: she'll absorb their shocks, vault their bumps, relish their pitfalls and come out without so much as a scratch. So Mullova's opening concert last night was intriguing. Prokofiev's Second Violin Concerto isn't exactly smooth terrain, but its roughness is pretty suburban.Mullova's approach was typically counterintuitive. There was no attempt to rough things up. She played to the work's inner shyness and tenderness. When a game of hide-and- Read more ...

After only a couple of songs there are shouts from the audience to turn Mulatu up. But these people have missed the point. The clue is in the name of the instrument he's playing: the vibraphone, or vibes for short. The word "vibe" has long been slang for “a good feeling” or a mood, and that’s precisely what its role was in last night’s concert; to add some of that ambient mysteriousness intrinsic to the five-note Ethiopian scale. Mulato Astatke, the supernaturally calm 67-year-old, delicately bounced his three wooden mallets off its aluminium bars, and an enraptured Barbican audience was Read more ...

It's the Mousetrap of musicals, the wholly unstoppable show and, to mark its 25th anniversary this year (the 30th, if you date it back to the initial French concept album and Paris production), it will be staged in London at three different venues. You can even see them all in a single, mighty weekend bender, if the mood takes you: the original Les Misérables at the Queen's Theatre, a celebratory all-star concert at the O2 Arena on 3 October and an invigorating new production which plays at the Barbican after a national tour until 2 October.Sadly, in this annus miserabilis, the festivities Read more ...

This was a warm and convivial evening in the company of the American folky-rootsy-rocky singer and songwriter Josh Ritter. His band made a rich noise, and his voice was keen and true, almost every lyric clearly audible. At the end of this, the last night of Ritter’s UK tour, the crowd – he seems to have a strong female following - were on their feet, and there were several calls of, “We love you, Josh!” from the stalls. And the songs, in which myth and metaphor and stories from the old America summoned up a world of ships and wolves and death and love and mountains (and cars, too), were Read more ...