Culture

Is London a model city or a sink of iniquity? Defining things in terms of extremes is of course a typical dialectical strategy intended to stimulate discussion. London is a melting-pot, a vast stew of energies and lassitudes, of good and evil. In this exhibition we are offered a taste of how artists respond to its present-day reality: ten contemporary painters and one sculptor interpret London as she lives and breathes. Subtitled ‘A Provocative Exhibition’, this display has been put together by Mireille Galinou of the London Arts Café.

Humperdinck’s minor masterpiece Hansel and Gretel is one of those operas that disappears for a time and then comes in waves. I hope that Opera North’s splendid new semi-production of it heralds a fresh wave, because we’ve had a long period without it. It went very well in the grand spaces of Leeds Town Hall, where it has another couple of performances before moving to three other northern destinations. The greatest single cause for pleasure was having the orchestra of Opera North on stage, so that it could be heard to full advantage; I don’t imagine that any other orchestra in the country would have sounded finer.

I can’t remember a Christmas where I watched so little Christmas TV as this one, which is a shame in a way, because I do think that mammoth sessions in front of the box are the key to feeling truly Christmassy. Going to church helps, too, obviously, but it’s never quite enough. The only way you’re ever going to trick your mind into conjuring up an approximation of all those Christmases you think you remember from childhood where cheery robins perched on snowy gateposts, the turkey breasts were never dry and the presents were always as exciting as you’d hoped they’d be is by brainwashing yourself with constant exposure to Christmas specials and Christmas movies and Christmas adverts, all lying sweetly about how Christmas ought to be instead of how boring it is.

The good end-of-year news was that Home Truths on Radio Four (Saturdays) is to be taken off the air in the spring. Unfortunately, it seems likely to be replaced by something similar. The new show, says Mark Damazer, the network controller, ‘will continue to feature the sometimes extraordinary experiences of its listeners’. Damazer explained that the late John Peel’s ‘unique personality’ was bound up with Home Truths and now it was time to look for a different programme. I must say I hated it when Peel presented it and I don’t feel any differently now.

Oh joy, oh bliss, it is Nutcracker season again! Hordes of overdressed and overexcited children invade our theatres, much to the despair of those who know that the kids’ excitement and attention will fade as soon as they realise that neither the Mouse King nor the Sugar Plum Fairy can be incinerated by one of Lord Voldemort’s spells. Indeed, a Harry Potter-esque version of the unsinkable classic could be an appropriate addition to the long series of radical, humorous, gothic and psychoanalytical versions of the 1892 ballet that we have seen in the past years. Yet, London balletomanes will find no such thing, nor any other new Nutcracker in their stockings this year.

Verdi’s Falstaff is an opera which I have usually found it easier to admire than to love, but English Touring Opera’s production, which has been going round the country since October, is exceptionally endearing. I hope that they might keep it in their repertoire — so many of the best things this company has done have disappeared, while I’m sure that many people who have seen them once would be happy to go to a repeat performance a few years later — what happened to their wonderful Fidelio, for instance? Falstaff is probably the biggest challenge to date, demanding the utmost in precision from the performers, while needing never to lack spontaneity and tireless zest.

Take a pile of bilge, add a bucket of drivel, stir in a few dead babies’ heads and you’ve got Coram Boy. The Olivier’s big Christmas production is a version of a kids’ book about abducted orphans in the 18th century. It’s certainly lavish. A huge cast, acres of costumes, enough lights to land the Shuttle, and an orchestra on stage. What for? An orgy of confusion and tedium, a choppy text and a gang of flouncing show-offs striding about the stage delivering ‘Egad, sir’ dialogue and occasionally breaking into a burst of Handel. Coram Boy, beware, is a curriculum text.

More than a year since its re-emergence from oblivion, Frederick Ashton’s Sylvia keeps eliciting thunderous ovations. Not surprisingly, one might add. The restored three-acter is not just a shimmering tribute to Ashton’s genius; it is sheer fun, too. Indeed, ‘fun’ more than ‘artistic pleasure’ is what should be expected, for Sylvia is not one of those monoliths of ballet culture we normally attend in religious awe and contemplation. Originally created in 1876 in Paris, the work mirrored the crisis that underscored French choreography at that time. Little had survived of the golden epoch of the French Romantic ballet, and French theatre dance of the post Franco–Prussian war period suffered greatly from a sterile regurgitation of trite formulae.