Russia
David Nice
Russian bells and spinning tops dominate Richard Jones's predictably unpredictable take on Musorgsky's saga of a conscience-stricken Tsar. Latter-day purism tends to insist on the composer's seven-scene 1869 original – possibly for economic more than artistic reasons – and this two-hour-plus, interval-free whizz through seven years of Russian history is the most faithful to the first score I've heard. It's also a first for the Royal Opera, which has preferred the much longer, so-called 'supersaturated' combination of two versions in its long-running Tarkovsky production preceding Jones's. Read more ...
David Nice
London has been missing out on Boris Giltburg for too long. He's been playing Shostakovich concertos back to back with Petrenko in Liverpool, and the big Rachmaninov works up in Scotland (see theartsdesk's review today of the latest Royal Scottish National Orchestra programme). But like his similarly Russian-born peers – take your pick of a favourite among Yevgeny Subdin, Daniil Trifonov, Rustem Hayroudinoff, Nikolay Lugansky, Alexander Melnikov and Dennis Kozhukhin – the 32-year-old Israeli-based pianist unleashes astonishing stamina and intellect in cleverly-concocted recital programmes; we Read more ...
Kieron Tyler
The second album by Russian shoegazers Pinkshinyultrablast neatly side-steps any language-barrier issues either by submerging their mono-monikered singer Lyubov’s voice into their sea of noise, or ensuring that what is heard could be wordless singing along the lines of The Swingle Singers – even though she sings in English. As it should be with music so much about texture, the sound of Pinkshinyultrablast marks them as virtuosos of the indirect.However, where they draw from is clear. As it was with their debut album, 2015’s Everything Else Matters, Cocteau Twins, Lush, Slowdive and, of course Read more ...
David Nice
What fun it must have been to attend any of the St Petersburg Free Music School concerts during the second half of the 19th century. Balakirev, idiosyncratic mentor of the group briefly together as the "Mighty Handful", and his acolytes – Borodin, Musorgsky, Rimsky-Korsakov and the one we usually don't mention, César Cui – would have had orchestral works and sometimes the odd aria from an opera-in-progress on the programme, often alongside music by their western idols Berlioz, Liszt and Schumann. If something wasn't ready, which was often the case, colleagues would help out or offer a Read more ...
David Nice
At the end of Episode Five, Brian Cox's savvy old Field-Marshal Kutuzov gave the order to retreat and abandon Moscow, with hardly a hint of Tolstoy's council of war. That left the final hour and 20 minutes to wrap up the burning of Russia's sacred capital, Pierre's capture by the French and his best shot at the meaning of life through the peasant Platon Karatayev, Natasha's reconciliation with the wounded Andrei, the French retreat dogged by partisan attacks and then all the other loose ends. A mere 350 pages of novel, in short, not counting Tolstoy's final disquisition on the nature of war Read more ...
David Nice
Risk-taking is what gives so many of Vladimir Jurowski's concerts with the London Philharmonic Orchestra their special savour. But did two risks for last night's programme pay off? I was as excited as many Russians and hardcore Russophiles at the rare visit of legendary 73-year-old cellist Natalia Gutman, and it could only be interesting to hear the little-heard, hour-long first version of Bruckner's Third Symphony. But interesting, with a few flashes of inspiration, was as far as it went in both cases.Gutman's recording of the two Shostakovich Cello Concertos is up there with the Read more ...
Tom Birchenough
Georgian director Zaza Urushadze’s Tangerines made the shortlist of five for last year’s Best Foreign Film Oscar category (it didn't win). It was nominated from Georgia, but could equally well have represented Estonia: this incrementally powerful anti-war film is that rarest of things, a co-production between two rather different countries with a story that draws genuinely on the worlds of both.The consequences – human, most of all – of the break-up of the Soviet Union as it accelerated through the second half of 1991 haven’t been reflected all that widely in cinema, and Tangerines is Read more ...
Adam Sweeting
Even the most glazed-eyed Europhile must have begun to notice that the EU's righteous halo is dimming a tiny bit. Against a backdrop of currency chaos and uncontrolled immigration, issues of sovereignty and national self-determination are beginning to loom large. This is the aiming point of this new drama series, created by Norwegian novelist Jo Nesbø, though it comes in at a slightly different angle.The setup is that the Norwegian government, led by Prime Minister Jesper Berg (Henrik Mestad), has decided – for climate-aware ecological reasons – to cut off the nation's production of oil Read more ...
Tom Birchenough
So, Andrew Davies has bitten off the big one. It may have come as a surprise to some that the master of adapting the British classics for television hadn’t read Tolstoy’s classic-to-end-all-classics until the BBC mooted the idea of a new screen version, but this first episode (of six) boded very well all the same.It was Davies adeptly laying out the domestic ground (battlefields, too), and introducing the characters. For anyone intimidated by the length of the original novel – not to mention the heavy accretions of philosophy and history that Tolstoy loaded onto it – the surprise may have Read more ...
David Nice
Searing emotional truth has to be at the core of any attempt to stage Tchaikovsky’s “lyrical scenes after Pushkin”. I was among the minority who thought Kasper Holten got it right, with deep knowledge of the original verse-novel, in his first production as Covent Garden’s Director of Opera back in February 2013. Then he had total commitment from Simon Keenlyside and Krasimira Stoyanova as an Onegin and Tatyana looking back in anguish on their youthful selves, and Pavol Breslik to the manner born as doomed, callow poet Lensky. This time only one of the three principals is about much more than Read more ...
Kieron Tyler
The story of the Soviet Union’s ice hockey team's pivotal role in relations with North America is fascinating. Its players were not just sportsmen. They were also in the army and integral to their home country's portrayal of itself on the world stage. Central to the Cold War battle of wills, the seemingly unbeatable team was a propaganda tool and, after perestroika, its members played for American and Canadian teams. Russia had infiltrated its adversaries. The Werner Herzog-produced documentary Red Army tells this tale.The film is packed with characters. Chief among them is Vyacheslav Fetisov Read more ...
David Nice
Why play a very substantial act of ballet music in concert? In the case of Aurora’s wedding entertainment from Tchaikovsky’s The Sleeping Beauty, there are at least three good reasons. It embraces the most inventive and unorthodox of divertissements in any ballet – the one in The Nutcracker comes a close second – and a symphony orchestra deserves the chance to perform at least a substantial chunk of what Stravinsky called Tchaikovsky’s chef d’oeuvre. Besides, you won’t have heard every sequence in any choreographed version, not even the very thorough one by Matthew Bourne, who includes more Read more ...