L’incoronazione di Poppea (Glyndebourne), Der Rosenkavalier (English National Opera) Monteverdi’s last opera L’incoronazione di Poppea was the first opera I saw at Glyndebourne, in 1962. I saw it there again in 1984, once more ‘realised’ by Raymond Leppard, but in a version more complete and somewhat more austerely orchestrated than the first time. And now
The light pollution at Chequers can’t be that bad in semi-rural Bucks, so perhaps someone should suggest to our troubled PM that next time he has a weekend off he should take a look upwards to the night sky. It might help him to realise that the petty squabbles and ambitious pretensions of his Cabinet
‘Stupid old bat.’ That’s what my father always used to say when Mary Whitehouse appeared on the screen, and the older I grew the more I agreed with him. What right had this ghastly woman with her horn-rimmed specs and silly hats and Black Country accent to stand between me and ‘the torrents of filth’
John Hoyland dislikes being called ‘one of Britain’s leading abstract painters’. He thinks it’s lazy thinking, and over-reliance on labelling. ‘They don’t say: “Lucian Freud, leading figurative painter” — he’s just a painter. Or “Francis Bacon, leading melodramatist”.’ Mention of Bacon sends him off on a tangent, one of the digressions that make Hoyland’s conversation
This ought to be a hit. The Les Mis team are back in the West End with another French classic. The Lady of the Camellias, by Alexandre Dumas fils, is the play that inspired Verdi’s La Traviata and the Garbo film Camille. Retitled Marguerite the story has been parked in wartime Paris where the leading
Sex and the City 15, Nationwide I do know that not everyone gets Sex and the City. Bubbles, for example, does not get Sex and the City. ‘I don’t know what you see in this crap,’ he would say, whenever I watched it on television, and before going off to do something pointedly manly in
Leon Kossoff: Unique Prints Art Space Gallery, 84 St Peter’s St, London, N1, until 21 June Paintings of Stockport by Helen Clapcott Stockport Art Gallery, until 28 June Leon Kossoff (born 1926) is best known as a painter of people and buildings, rendered in thickly meshed paint surprisingly full of light. He trained at the
Royal Ballet: Double Bill Royal Opera House Theatre magic has a lot to do with the unpredictability of the performed event. Regardless of the alluring promise of an all-star cast or the doubts raised by daring artistic choices, there is no certain way to forecast what any live performance will be like. Indeed, it is
The Deep Blue Sea Vaudeville The Birthday Party Lyric Hammersmith Pygmalion Old Vic Osborne crushed Rattigan. Crudely stated, that’s what we’re told happened in 1956 when Osborne’s demotic new voice displaced Rattigan’s classier, cosier manner. Even now Rattigan’s reputation hasn’t fully recovered and The Deep Blue Sea, which premièred in 1952, is the first of
Indiana Jones and the Kingdom of the Crystal Skull 12A, Nationwide After a 19-year break, Indiana Jones, the world’s greatest adventurer and probably the world’s worst ever archaeologist — listen, even I know you can’t go around ripping open ancient mummies whenever you so fancy — is back. He is back because he has to
I used to have one of Alan Sugar’s old Amstrad computers; in fact I wrote two books on it. The great advantage it had over modern computers was its slowness; you could literally make a cup of tea while it saved a page of text, and prepare a three-course meal while it saved a chapter.
Tosca Royal Opera House Idomeneo Barbican Carmen Bernie Grant Arts Centre The latest revival of Tosca at the Royal Opera, with many changes in production by Stephen Barlow, shows signs of taking the work seriously, though they are contradicted by the corporate- and bar-friendly intervals, of a length to dissipate tension and momentum. Antonio Pappano’s
You can almost hear the whispering through the ether. A whole weekend devoted to Chopin? Whatever was Roger Wright, Radio Three’s controller, thinking of? The Polish-born composer was only 39 when he died of TB in 1849. And he only ever really wrote for the piano. Surely there’s not enough music to fill 24 hours,
Caramel PG, Key cities Caramel is a lovely and engaging film and just what we all need right now. You may well ask: how do I know what you need? Have I canvassed your friends? Your family? Of course. And what they all say is: yes, this is just the sort of film you need
King Lear Globe That Face Duke of York’s Beau Jest Hackney Empire Every time I see Lear I discover something old. It must be at least two centuries since somebody first noticed that one of the many factors that make this titanic play unplayable is that the great speeches are delivered by a bearded geriatric
Royal Ballet Triple Bill Royal Opera House There was a time when dancers were very often given the means to gain a deep understanding of what they were supposed to be interpreting on stage — the well-known story of Ninette de Valois taking her artists to see William Hogarth’s paintings while creating The Rake’s Progress
Roberto Alagna Barbican Simon Boccanegra Royal Opera House The Merry Widow Coliseum Roberto Alagna gave a recital of Verdi arias in the Barbican last week, his first appearance in the UK since his wounding experience at the hands of the hooligans who call themselves connoisseurs at La Scala Milan. It was a most enjoyable occasion,
As budgets fall and standards slip, it’s inevitable that TV is going to get worse and worse and that the job of the TV critic in trying to shame the bosses into arresting this decline will become more important than ever. But this doesn’t make me feel happy. It just — like so many things
Liliane Lijn: Stardust Riflemaker, 79 Beak Street, London W1, until 5 July Liliane Lijn has always made ‘far-out’ sculpture, innovative, adventurous and aesthetically exhilarating. Her imagination fires on three cylinders: light, movement and the use of new and untried materials — untried, that’s to say, in art, though already in use for industrial or scientific
In 1888, visitors to Earls Court were treated to the novel sight of an exhibition of avant-garde art from Italy. The show was mounted by the Milanese Vittore Grubicy de Dragon, the art-dealer son of an impoverished Hungarian baron. A follower of the Paris art scene and a convert to the optical theories of Ogden