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Between the ages of 15 and 17 I had a secret. Every Monday night I’d gulp down dinner before rushing out to the scrubby patch of ground just past the playing fields, where a car would be waiting. Hours later — long after the ceremonial nightly locking of the boarding house — I’d sneak back,
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Covid has been many things to the arts — most of them unprintable. A plague, a scourge, a disaster from which many institutions and artists won’t recover, it has also been a great equaliser. Suddenly there’s space to be heard, silence to be filled. In a digital world no one cares about the size of
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The timing couldn’t be better. Just as the gates clang shut on another national lockdown, trapping us all indefinitely with our nearest and dearest, the London Symphony Orchestra serves up an opera that’s pure domestic horror — a story about what happens when we lock all the doors, close the curtains tightly, and turn and
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It’s the breath I miss most. The moment when a shuffling group of men and women in scruffy concert blacks breathe in as one and become an ensemble. Now that our breath is diseased, shrunk from, masked, now that performances are digitally distanced and filtered, smoothed and flattened out on screens, there’s something dangerously poignant
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Ludwig von Beethoven belongs among those men whom not only Vienna and Germany, but Europe and our entire age revere. With Mozart and Haydn he makes up the unequalled triumvirate of more recent music. The ingenious depth, the constant originality, the ideal in his compositions that flows from a great soul assure him… of the
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It was the fourth time, or maybe the fifth, that I found myself reaching for the tissues that I began to feel suspicious. Somewhere between the poignant gaiety of A.E. Housman’s ‘…lads that will never be old’, Shakespeare’s tender valediction ‘Fear no more the heat o’ the sun’ and Strauss’s ‘Morgen!’, with its rapturous vision
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‘I don’t want to do my work. I want to go for a walk. I want to eat all the cakes… to shout at everybody!’ Which of us hasn’t felt like this at some point during the past ten weeks? The small child at the centre of Ravel’s L’enfant et les sortilèges speaks for us
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A few years ago I interviewed an eminent baroque conductor. Prickly and professorial, tired after a day of rehearsals, he batted question after question away until we landed on the subject of French baroque opera. No longer disinterested, now he was furious. He’d recently had a conversation with a major UK opera house, who had
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At some point during the 20th century death disappeared. The dying were discreetly removed from our communities and homes, taken to hospitals with short memories and wipe-clean walls. Mourning blacks faded before vanishing altogether; the elaborate funeral monuments of the 19th century shrugged off curlicues and cherubs and arranged themselves into unobtrusive, apologetic sobriety. Coffins
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In the autumn of 1632, a man called Kaspar Schisler returned home to the small Bavarian town of Oberammergau. He didn’t walk through the gates in daylight, but waited until night, sneaking in past the tower guards. A few days later he was dead from the plague that was swelling and blistering its way across
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Anyone familiar with Joe Hill-Gibbins’s work will brace instinctively when the curtain goes up on his new Figaro. He’s the young British director who smeared the Young Vic with jelly and custard (The Changeling) and transformed it into a giant mud pit (A Midsummer Night’s Dream), covered the Almeida in blood and more mud (The
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Who was the most influential figure in 20th-century classical music? Stravinsky? Pierre Boulez? What about Bernstein or Britten? John Cage or Karlheinz Stockhausen? Powerful public figures all. But there’s a case to be made for a very different kind of character — less king than kingmaker, a musical éminence grise.With a Who’s Who of pupils
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Freud knew something about fear. Not the sudden shock of terror, but the creeping, sickening, slow-burn horror of the uncanny. A haunted house might make us jump, but how much more pervasive is that fear when the house is our own home, the monsters our own family, our own self even? It’s when the familiar
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Premièred within two years of each other, Luchino Visconti’s film and Benjamin Britten’s opera Death in Venice both take Thomas Mann’s novella as their starting point. But from shared beginnings the two works diverge dramatically. The cloying visual beauty of the film, its pink-and-grey vision of Venice swaddled in Mahler strings, couldn’t be further from
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‘Laws bow down before the desire to rule…’ Centuries before ‘proroguing’ had entered British breakfast-table vocabulary there was Handel’s Agrippina, and centuries before that there was the woman herself. Sister of Caligula, wife of Claudius (who she may or may not have poisoned) and mother of Nero (by whom she was eventually executed), Agrippina was
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How do you take your Carmen? Sun-drenched exotic fantasy with a side order of castanets, or cool and gritty, sour with violence and politics? Jo Davies’s new production for Welsh National Opera seems unable to make up its mind. Sternly rejecting colour and fantasy, it then fails to commit to an alternative, leaving both its
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Opera’s line of corpses — bloodied, battered, dumped in a bag — is a long one. Now it can add one more to the list: the broken, abused body of Bess McNeill. The heroine of Lars Von Trier’s uncompromising 1996 film is a curious creation. Striving against the restrictions of her austere, Presbyterian community on
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It was as though Damien Hirst had confessed a secret passion for Victorian watercolours, or Lars von Trier had admitted his life’s ambition to direct a rom-com. When it was announced that John Eliot Gardiner — pioneer of the early music movement — would conduct West Side Story at the Edinburgh Festival the reactions were
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Think of the children in opera. Not knowing sopranos and mezzos, pigtailed and pinafored or tightly trousered-up to look child-like, but actual children. There are Mozart’s Three Boys, Menotti’s Amahl, possibly Debussy’s Yniold and Handel’s Oberto and, if you stretch a point, Marie’s little son in Wozzeck. But that’s about it. Until, that is, you
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Another turn around the block for David McVicar’s handsome 1830s Figaro at the Royal Opera — the sixth since the production’s 2006 premiere — scarcely raises an eyebrow, let alone a pulse. But a quick glance down the cast list of the current revival reveals some curiosities. First to catch the eye is Kangmin Justin
