Culture

Tristan und Isolde Royal Festival Hall Hänsel und Gretel second cast Royal Opera House There have been few treats for lovers of Wagner in London in the past few years, but handsome amends were made in a concert at the Royal Festival Hall, with Vladimir Jurowski conducting the London Philharmonic Orchestra and adequate soloists in an incandescent account of Act II of Tristan und Isolde. That was preceded by the Adagio from Mahler’s Tenth Symphony, an acutely expressive performance, mainly chamber-like in texture, apart from the apocalypse near the conclusion. But it was a downer, as, alone, it is bound to be. Wonderful to return after the interval and to be launched, with the greatest possible impulse, into the central act of Tristan.

Ronald Blythe examines William Blake’s influence on the work of the 19th-century artist Samuel Palmer Samuel Palmer was in his early twenties when he wrote in his notebook, ‘The Glories of Heaven might be tried — hymns sung among the hills of Paradise at eventide...’ As a subject for a painting he means. Just before this he discovered his paradisal hills at Shoreham on the Kentish coast. And that very same year, 1824, he had also discovered how to paint them, for John Linnell, his future father-in-law, had taken him to visit William Blake. This meeting was profound. Blake was near death and living with his wife in a grubby London back street. Palmer found him ‘lame in bed, of a scalded foot (or leg).

Time for another occasional series. And since it's Christmas, how better to honour the true spirit of the season than by recalling some classic TV advertisements from the past? Come to think of it, that's what Gordon Brown and his cronies would want you to do: nothing like a spot of stimulus spending is there? This being so, I think this classic - two minutes long! We had an attention span back then! - McEwan's Lager ad from 1988 rather sums up the way plenty of people are feeling at the moment, don't you?

Damian Thompson says we can learn a lot about Beethoven if we look beyond the symphonies Beethoven Unwrapped is the title of the year-long musical celebration marking the opening of Kings Place, the new ‘creative centre’ at King’s Cross. But does Beethoven, of all composers, need unwrapping? The answer is yes, more than ever, if the process allows us to examine his music without constantly genuflecting in front of the symphonies. The Kings Place festival includes only one live Beethoven symphony: the First, played by the Avison Ensemble next March. That’s fine by me.

The Reader 15, Nationwide (2 January) The Reader is based on the novel of the same name by Bernhard Schlink which, in turn, is one of those books that’s been read by about a zillion people in a billion countries proving that, sometimes, a great many people can be entirely wrong in all the languages you can think of. Only kidding. I haven’t actually read it. However, I did once try to read Paul Coelho’s The Alchemist, another of those books that’s been read by about a zillion people in a billion countries, and it was such twaddle it totally put me off books of this kind. Perhaps The Reader is a great book and perhaps I have made a big mistake but, judging by this film, I’m kind of thinking: nope, not missed anything here.

A major new exhibiting space is always welcome in London, and the multi-purpose venue at Kings Place, 90 York Way, N1, comes with the added attractions of restaurants and concert halls. It’s a conference centre as well as the home of the London Sinfonietta and the Orchestra of the Age of Enlightenment, and the new HQ of the Guardian and Observer newspapers. It also houses Pangolin London, a dedicated sculpture gallery currently showing works in silver by the likes of Antony Gormley, Ann Christopher and Lynne Chadwick (until 18 January), and Kings Place Gallery, where a show of Bert Irvin’s vibrant abstracts lights up the inner walkways and balconies of this vast building (till 6 February).

Patrick Appel, standing in for Andrew while the Boss Man takes a break, has the audacity to nominate Terry Teachout for one of Mr Sullivan's "Poseur Alert Nominee" awards. Yikes! What has the urbane Mr Teachout written to deserve such teasing? Why only this: "I know how it feels to see the design for the dust jacket of a book that I've written, but that's different: the cover is not the book. An opera, on the other hand, truly exists only in performance, and must be created anew each time it is produced: the score is not the show. As I saw how Hildegard had transformed my libretto into a three-dimensional object, a Biblical phrase popped into my mind: Thus the word was made as flesh.

You know you're getting old when the people who made the TV programmes you liked as a kid start dying. So, farewell, Oliver Postgate, creator of Ivor the Engine and, of course, the immortal Bagpuss. I suppose those of us born in the mid-1970s (post-Clangers then) were the last for whom Postgate's work was a central part of their childhood TV experience.I assume today's kids would be entraced by the subtle, wry joys of Bagpuss but I'm not sure I'd want to test that thesis. From the Telegraph's obituary: The worlds constructed by Postgate and his long-time collaborator Peter Firmin were the products of a kindlier age, informed by Postgate's own utopian longings and encapsulated in his mild, avuncular narration.

Saul Steinberg: Illuminations Dulwich Picture Gallery, until 15 February 2009 Cartoons & Coronets: The Genius of Osbert Lancaster The Wallace Collection, until 11 January 2009 Saul Steinberg (1914–99) was born in Romania and studied architecture in 1930s Milan. His first cartoons appeared in 1936 and he began to build a reputation, despite the threat of war. In 1941 he was interned briefly, then fled Italy to the Dominican Republic, while applying for American citizenship. His first cartoon for the New Yorker appeared in 1941, and by 1942 he was in the States. Registering for the draft, he worked in propaganda for the Office of Strategic Services (OSS) in North Africa and then back in Italy. In 1945 his first book of drawings was published and sold over 20,000 copies.