Arts Reviews

The good, bad and ugly in arts and exhbitions

Thursday

Rupert Christiansen

Does Sadler’s Wells really need a lavish new building?

Arts Council England may be successfully clobbering the poor old genre of opera into the ground, but its sister art dance continues to be nurtured ever more generously, and the London scene is as ebulliently youthful and healthily various as it’s ever been. At the top end there’s the Royal Ballet, currently a match for any company in the world, and English National Ballet, performing to an impressive standard too. Sadler’s Wells thrives, with a rich programme embracing Matthew Bourne’s pantos and all sorts from Rambert and Akram Khan to hip hop and flamenco, alongside a succession of foreign visitors who fill the stage with mud or stand on their

Graeme Thomson

The art of the anti-love song

Tracey Thorn released an album in 2010 titled Love and Its Opposite. When it comes to songwriting, it’s the ‘opposite’ that tends to throw up the more compelling discourse. The anti-love song has been a staple in popular music since Elvis’s baby left him and he wandered off to ‘Heartbreak Hotel’. Presley is a useful weathervane: if asked to pick between the two, no sentient listener would choose the soppy slobbering of ‘(Let Me Be Your) Teddy Bear’ over the snarl and bite of ‘Hound Dog’. Pop is sunshine on the surface, but at heart it’s closer to Orwell’s Two Minutes Hate. As Tina Turner once pondered, quite loudly: ‘What’s

Damian Thompson Damian Thompson

Are these performances of the Bach cantatas the best on record?

Three projects shedding light on the sacred music of J.S. Bach are nearing completion. The first consists of an epic 25-year project to record all the composer’s vocal works – passions, masses, motets and more than 200-odd cantatas – in electrifying performances supplemented by lectures and workshops. At the helm is a Swiss choral conductor renowned for his improvisatory skills – and surely the only baroque specialist to have played Sidney Bechet on a chamber organ. The second project is a guide to Bach’s church cantatas tailored at ‘cultural Christians’; that is, music lovers intrigued but intimidated by their Lutheran theology, unsure how to approach this treasure trove of, at

James Delingpole James Delingpole

Is work really more fun than fun?

Wouldn’t it be marvellous if instead of going to work every day we could contract out the tedium to avatars of whose daytime activities we could remain blissfully unaware? This, in essence, is the premise of the dystopian drama Severance, but I’m not sure it’s a fantasy many of us actually nurture. Noël Coward once said: ‘Work is more fun than fun.’ And though I wouldn’t push it quite that far – it would be true only if you were a huntsman or a Master of Fox Hounds – I think most of us would be pretty bereft without the adrenaline buzz of deadlines, the thrill of office flirtations, the

Deborah Ross

Strangely moving: Bridget Jones – Mad About the Boy reviewed

Bridget Jones: Mad About the Boy is the fourth outing for our heroine as played by Renée Zellweger and I was not especially hopeful. Who can still be bothered? Particularly after that silly Thai jail business (second film) and then all that flailing about in the mud at a music festival (third). But this takes you right back to when you did care. The franchise (this time directed by Michael Morris) seems to have finally grown up a bit, and explores loss and grief with surprising depth. That said, it still knows exactly what it is, and what to deliver, and is in touch with its former self via nostalgic

Lloyd Evans Lloyd Evans

If you have two hours to spare, spend it anywhere but here: The Years reviewed

The Years is a monologue spoken by a handful of actresses, some young, some old enough to carry bus passes. They stand in black costumes on a white stage explaining to us the significance of memory, history and feelings. Then the story begins. The narrator is a precocious chatterbox born in France during the war who has no aim in life other than sensual gratification. She’s not a human being, just a cluster of nerves, like a taste bud, that registers nice or nasty, sweet or bitter. And that’s it. She has no morality. She doesn’t develop personally because her nature isn’t capable of emotional growth. Yet the audience is

Richard Bratby

Want to understand a conductor? Listen to their Haydn

Grade: B When a music-lover is tired of Haydn’s London symphonies, they’re tired of life. It’s not just the sheer creative verve of these 12 symphonies by a composer in his sixties. It’s the generosity of spirit. Beethoven demands a battle of wills; Mozart a near-impossible grace. But a conductor can run straight at a London symphony and Haydn will show us, with a smile, exactly who they are. Beecham is urbane, Bernstein camps it up; Abbado is trim and impeccably turned out. Eugen Jochum (a belated discovery) is just very, very German. Haydn’s still bigger than all of them. Paavo Jarvi has reached the second volume of his London

Nina Power

The art of war

On his deathbed, the Austrian writer Karl Kraus remarked of the Japanese attack on Manchuria: ‘None of this would have happened if people had only been more strict about the use of the comma.’ The implication being that by channelling rage into the ordering of small things, we might stay away from violence on a colossal scale. Unable to restrict ourselves to matters of punctuation, alas, humanity is often at war: with itself, and others, however hallucinatory. Two current exhibitions come at rage from very different starting points. War and the Mind demonstrates the devastating psychological impact of war on those who fight it and those who have no choice

Friday

Katy Balls Katy Balls

Katy Balls, Alexander Raubo, Damian Thompson, Daisy Dunn and Mark Mason

27 min listen

On this week’s Spectator Out Loud: Katy Balls analyses the threat Reform pose to the Conservatives (1:20); Alexander Raubo talks us through the MAGA social scene and the art collective Remilia (6:42); Damian Thompson reviews Vatican Spies: from the Second World War to Pope Francis, by Yvonnick Denoel (12:27); Daisy Dunns reviews the new podcast Intoxicating History from Henry Jeffreys and Tom Parker Bowles, as well as BBC Radio 4’s Moving Pictures (17:50); and, Mark Mason provides his notes on obituaries (22:46).  Produced and presented by Patrick Gibbons. 

Thursday

Richard Bratby

The thankless art of the librettist

Next week, after the première of Mark-Anthony Turnage’s new opera Festen, the cast and conductor will take their bow. All being well, there’ll be applause; and then a brief lull as the creative team takes the stage. There’s often a ripple of curiosity in the audience at this point, because it’s rare that we get to see just how many people it really takes to make an opera. Standing near the composer will be Lee Hall, the writer of Billy Elliot and The Pitmen Painters, and now part of the most maligned – and indispensable – profession in all of music. He’s the librettist. In short, Hall wrote the words,

Michael Hann

A cheaper, shinier, more processed Chris Stapleton: Brothers Osborne reviewed

If you were a frequent viewer of Top Gear in its Clarkson/Hammond/May era, there is a particular laugh you will be very familiar with: the combined hoot and exclamation that the three of them, and Clarkson especially, would engage in when driving a fast car around a bend. It was a sort of ‘WOOOOwraghhhahahaha’, designed to convey both sheer delight at being alive and a certain manly pride in being able to extract such a feeling from a motor vehicle. It was a performance. At the end of each song that the Cambridgeshire doom-metal band Uncle Acid & the Deadbeats played at the gorgeous Ally Pally theatre – a much

James Walton

Stately, sly and well-mannered: BBC1’s Miss Austen reviewed

It is a truth universally acknowledged that lazy journalists begin every piece about Jane Austen with the words ‘It is a truth universally acknowledged’, so I’ll fight the temptation. In any case, the Miss Austen at the centre of BBC1’s new Sunday-night drama isn’t Jane, but her beloved sister Cassandra, best known for destroying most of Jane’s letters. Given that this has rendered our knowledge of the woman’s biography tantalisingly sketchy, Cassandra has attracted her fair share of resentment from Janeites. But rather cunningly, Miss Austen both exonerates her and takes full advantage of the sketchiness: high-mindedly questioning our entitlement to snoop into Jane’s private life, while feeling free to

Deborah Ross

Extraordinary: The Seed of the Sacred Fig reviewed

The Seed of the Sacred Fig is by the Iranian filmmaker Mohammad Rasoulof and all you need to know is that it is extraordinary. What you don’t need to know, but may like to know, is that Rasoulof, who has already been imprisoned multiple times by the authorities, filmed it clandestinely while directing remotely from an undisclosed location and then had to flee Iran on foot. The journey was extremely complicated and dangerous and took 28 days. You could never accuse Rasoulof of taking filmmaking lightly. But that’s not the bottom line. The bottom line is: it’s enthralling cinema. The film follows a family in Tehran. Iman (Misagh Zare) is

Richard Bratby

Opera North’s Flying Dutchman scores a full house in cliché bingo

The overture to The Flying Dutchman opens at gale force. There’s nothing like it; Mendelssohn and Berlioz both painted orchestral seascapes but no one before Wagner had flung open the sluices and let the ocean roar into the opera house with quite such elemental power. Garry Walker and the orchestra of Opera North dived into it headfirst, while images of waves were projected on the curtain. If you believe that opera audiences can’t handle an overture without visual distraction (and most opera directors do appear to think this) it’s as good a solution as any. A strong start for a new production. Then the curtain rose and we were in

Rod Liddle Rod Liddle

FKA Twigs is the most interesting pop musician we have right now

Grade: A Hell, there’s a lot not to like, or even to be a little suspicious of, with this young woman. Her politics are, as you might have guessed, banal and stupid. She has been in a relationship with the ghastly Matty Healy of the 1975. But she has huge talent and is probably a more interesting musician than any other we have right now, if we’re just talking pop music. She exists just beyond the Kuiper Belt of digital, alternative rhythm and blues, where pop meets modern classical. The conventional description is ‘art pop’, but as that brings to mind 10cc I think we’d better move on. Her songs,

Lloyd Evans Lloyd Evans

Stylish facsimile of Carol Reed’s film: Oliver!, at the Gielgud Theatre, reviewed

Oliver! directed by Matthew Bourne is billed as a ‘fully reconceived’ version of Lionel Bart’s musical. Very little seems to have been reconceived. This stylish and dynamic show develops like an unblemished copy of Carol Reed’s film. Fair enough. Punters want comfort, not novelty when they go to see a 65-year-old musical. Billy Jenkins, as the Artful Dodger, captures every heart in the auditorium. But of course he does. It’s no slur on Jenkins to point out that the ‘Dodger’ is one of the greatest acting gigs in all musical theatre. Has it ever been done badly? The Oliver I saw, Raphael Korniets (one of three sharing the role), is

Daisy Dunn

Booze now has its own Rest is History-style podcast

Intoxicating History is the perfect title for drinks expert Henry Jeffreys and food critic Tom Parker Bowles’s new podcast. Its theme is alcohol, but its contents are predominantly historical, which is good news if, like me, you are quick to apply the word ‘bore’ to any man who talks about wine for more than eight minutes. The first episodes came out before Christmas but they have been gathering momentum since Dry January. Today’s drinking culture, which has spawned this bizarre annual group sacrifice, has an interesting pedigree. Europeans have apparently been on their guard against boozing Englishmen for nearly a millennium. The Portuguese were certainly left in no doubt as

Craig Raine

The problem of back-story in drama

Olga in Three Sisters, the opening speech: ‘Father died just a year ago, on this very day – the fifth of May, your name-day, Irina.’ Jeeves says somewhere in P.G. Wodehouse that people with monogrammed slippers are afraid of forgetting their names. Irina, the absent-minded sister, probably needed reminding it was her birthday. A useful side-effect is that the audience also knows exactly when and where we are. Tracy Letts’s August: Osage County begins with a frank information offload: Beverly Weston, the patriarch, conveniently explains to the new native-American hire, Johnna, the basic set-up: ‘My wife takes pills and I drink.’ This bald set-up is ‘concealed’ by digressions about Berryman,

Thursday

Robin Aitken

‘Innovation is not enough’: meet visionary English painter Roger Wagner

In the side chapel of the church of St Giles’, at the northern apex of the historic Oxford thoroughfare, hangs a remarkable painting. ‘Menorah’ (1993) depicts the (now demolished) Didcot power station with its six massive cooling towers and central chimney stack as the setting for the crucifixion; Christ and the two thieves are set against the minatory bulk of the huge industrial buildings while other figures, lamenting and covering their faces, occupy the foreground. It is haunting and profound, an appalling vision but also a beautifully realised one – the work of a master of his craft. For Wagner, art should never be ‘one person thick’. He believes in

Richard Bratby

Classical music has much to learn from Liverpool

They do things their own way in Liverpool; they always have. In 1997 the Royal Liverpool Philharmonic Orchestra launched a contemporary music group called Ensemble 10:10 (the name came from the post-concert time-slot of their early performances). For a decade now, they’ve also administered the Rushworth Prize, an annual competition for young composers based in the north-west. And while classical fads and crises have come and gone, the RLPO has held its friends close and tended its garden. The result? The kind of artistic self-assurance that lets you put your chief conductor in charge of a première by a novice composer, and then call in a Barenboim to guarantee a