Scotland
Christopher Lambton
Even at the tragic heart of Janáček's Jenůfa there is ambiguity. As the Kostelnička or village sacristan takes her stepdaughter Jenůfa’s baby boy outside to drown it in the icy river, you cannot quite be sure whether she is motivated by pride, fear or her love for Jenůfa. In this poised new co-production by Scottish Opera and Danish National Opera, there is no doubt that she is driven by love. Murderous it may be, and it will nearly destroy her, but her compassion cannot be denied. Likewise, when Laca, jealous of Jenůfa's love for another man, slashes at her face with his newly Read more ...
Christopher Lambton
Ronald Stevenson, who died on Saturday at the age of 87, was a composer and pianist who will be much missed both in the small Borders village where he lived and by the much larger musical community in Scotland and beyond. As a composer he was unashamedly rooted in the late 19th Century tradition of intellectual pianism – in his music you can trace a line of descent from Bach to Liszt through his great hero Busoni. He believed passionately in the “primacy of melody”; he loathed The Rite of Spring and in his polemical book on Western music (Kahn and Averill, 1971) he reflects that the “impact Read more ...
Christopher Lambton
Is there an ideal way to programme Metamorphosen? Richard Strauss’s elegiac masterpiece requires 23 solo strings. That’s more than most chamber orchestras can muster, but with a full size symphony orchestra the piece leaves most of the players with nothing to do. In this Usher Hall concert the Royal Scottish National Orchestra chose to let Metamorphosen stand in glorious isolation before the interval. Those players that could opted to stand – not an option for the lower strings – in a tight semicircle round principal guest conductor Thomas Søndergård, with the rest of the orchestra’s Read more ...
Matthew Wright
You wonder what gets them out of bed. After more than a decade together, and with this, their fourth album, just released, The Twilight Sad must be feeling very miserable. The odd thing is, they seem to revel in their misery. “Scottish band who enjoy drinking & making miserable music,” says The Twilight Sad’s Twitter profile. “Enjoy” and “miserable” are key. They have taken shoe-gazing mournfulness to a new level of craftsmanship. This time, it’s more enjoyable than ever, but you can’t help feeling it’s a bit less spontaneous. There’s just a hint that this is not ordinary misery, but Read more ...
Christopher Lambton
“Mahler, with a chamber orchestra?” In his introduction to the Scottish Chamber Orchestra’s winter season brochure, principal conductor Robin Ticciati anticipates the reaction of an audience brought up to believe that a chamber orchestra leaves its comfort zone somewhere in the early 19th Century. But the truth is that in the 40-odd years of its existence this innovative orchestra has persistently pushed at the boundaries of its core classical repertoire, where justified historically or musically – in the case of Brahms symphonies, for example, it is now widely acknowledged that early Read more ...
Heather Neill
There are 15 characters in Robert McLellan's quirky 1948 comedy, but the star is the language most of them speak. To mark the referendum later this month, the Finborough is mounting a season of Scottish work, including a trio of classics, under the title "Scotland Decides 2014/Tha Alba A'Taghadh 2014". While the linguistic medium of The Flouers o'Edinburgh is more accessible than this might suggest - Scots rather than Gaelic - it nevertheless requires a Southerner to make some effort to tune in.
Scots is more than a dialect of English and yet not a separate language. By the time the play is Read more ...
Jasper Rees
Sofie Gråbøl as Danish royalty: it hardly stretches credulity. The face of Nordic noir has been a star in her home country ever since appearing in Bille August's Pelle the Conqueror in 1987, but is solely familiar on these shores as Sarah Lund, the jumpered Copenhagen detective from three unmissable series of The Killing. This autumn the only thing that will be recognisable about Gråbøl will be those big blue eyes as she is spirited back to the late Middle Ages, bewigged, bejewelled and billowing, to play a queen of Scotland.No, not that one. She is starring as Margaret, the very capable Read more ...
Tom Birchenough
You didn’t have to wait for the words in the closing credits, “written and presented by”, to know that The Writers Who Shaped a Nation was a project that Andrew Marr was involved with fully. Its sheer broadcasting quality showed it from the beginning. It’s the first project that has taken Marr out of the studio since his stroke, and it confirmed that his agility of mind (and legs, given the amount of mountain walking involved) was as powerful as ever.Simply put, viewers can really feel the difference when a presenter is clearly the master of the script from beginning to end. It’s far from Read more ...
Veronica Lee
Rona Munro's history cycle may take some liberties with the facts, as the writer admits in the programme notes, but its broad narrative sweep has been talked about as a state-of-the-Scottish-nation trilogy. It's the first joint production of the National Theatre of Scotland and the National Theatre and the timing of its premiere at the Edinburgh International Festival couldn't be more pertinent – just a few weeks before Scotland votes on 18 September in the independence referendum. The plays, which cover a turbulent period of Scottish history in the 15th century during the reigns of three Read more ...
Christopher Lambton
On paper this was an interesting programme. The Edinburgh Festival traditionally opens with a major choral work, but while the international audience would probably be happy with endlessly recycled requiems and masses, festival directors have often felt obliged to venture into more challenging territory. So for last night’s opening concert the chorus had prominent roles in two separate works on either side of the interval: Scriabin’s Prometheus, The Poem of Fire, and Debussy’s Le Martyre de Saint Sébastien. While there is a superficial resemblance between the hazy tonal landscape occupied by Read more ...
Veronica Lee
Joseph Bullman's first series – about six London streets – won several awards, and deservedly so. Now he has turned his attention to Scotland in a three-parter starting in Edinburgh's Moray Place, and last night's opener was another beautifully judged mix of architectural history and social comment.Moray Place, Scotland's most expensive, and therefore poshest, street (and far removed from the area of Sunshine on Leith), is part of the Moray estate, designed by the 10th Earl of Moray. The Earl saw a chance to make a killing in early 19th-century Edinburgh, when the medieval Old Town – where Read more ...
Jasper Rees
What is an opening ceremony for? For the taste gendarmerie on Twitter, it’s a juicy chance to fall on the festivities like a pack of wolves and tear the thing to shreds. For homegrown celebrities now domiciled far from the host country, it’s a chance to reaffirm vows of patriotism in public. For everyone else, it’s a party attended by some ridiculously beautiful athletes, plus the codgers of the bowls team.Bombastic? Certainly. Bloated? For sure. Tacky? Hell yes. Any ceremony featuring John Barrowman and Susan Boyle is hardly calculated to score maximum points for artistic impression. Even Read more ...