Music and Opera

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 Kim — the first countertenor in the company’s 250-year history to play sexually rampant page Cherubino, traditionally a trouser role for a woman. Read on and you’ll see starry German baritone Christian Gerhaher making an unexpected mid-career role debut as Figaro, as well as a main-stage house debut for his Susanna — young American soprano

Glastonbury was almost ruined for me by Kylie Minogue. Very selfishly, she started her sunbaked set – in the Sunday afternoon slot reserved for pop legends – while Boy and I were packing up the tent ready to make a quick getaway later that evening. By the time we got to the Pyramid Stage, the crowds were so thick you could barely push your way through to a view of the video screens at the side, let alone the stage itself. ‘Please don’t let her have done my favourite song yet,’ I said to a chap in a shiny red jacket. (I decided to stand near him because he’d said

‘Invest in your hair,’ advises David Coverdale, a man with a shag of the stuff glossier than a supermodel’s and as big as a guardsman’s bearskin, even at the age of 67. (He won’t say that number. He insists his age is ‘three score and seven’.) ‘People say to me: “Do you colour your hair?” And I say: “Absolutely not.” ’ He pauses for half a beat. ‘ “I have a super hairdresser who does it for me.” Some guy came on Instagram, telling me: “Come on, David, it’s time to get rid of the wig.” It’s not something I bought from Frederick’s of Hollywood, you silly bastard! It’s a

The last time Bikini Kill played in London was in a room that now serves as the restaurant of a pub in Kentish Town. What a change 26 years can bring: on their return to the city last week, they filled the 5,000-capacity O2 Academy, Brixton, for two nights. That changed status, in truth, is not the result of the timelessness of their music — scrappy punk rock that at its most tuneful was pleasingly familiar and at its least tuneful approximated the sound of fingernails scraping down a blackboard at extreme volume. So why had 10,000 people bought tickets to see them in London? Some of them, doubtless, actually

If you’ve paid even passing attention to early reports of the Spice Girls comeback tour, you will be aware of problems with the sound, the car parking, the lax and/or overbearing security checks, the bad weather, bad tempers, bad karma, bad you name it… Some of it may even be true. But having observed the Spice Girls sashay through a maelstrom of fake news since long before the phrase was invented, I was not altogether surprised to discover that the show was far better performed and produced, and certainly a lot more fun, than the media mavens would have us believe. No one would describe the Ricoh Arena in Coventry

Grade: B Rock stars who utter something a little gamey, something a tad right-wingish, are usually coerced by the lefties into a cringing apology before you can say a-wop-bop-a-lu-bop. This is not a new thing — it happened to Eric Clapton after his ‘Enoch’s right’ outburst in 1976 (which very quickly spawned the Socialist Workers Party-led Rock Against Racism movement). The message has always been: get with the programme, right-wing scum, or we’ll hate you and your career will be over. Credit, then, to Morrissey for refusing to resile from his belief that England is ceasing to be the England he knew and loved and that there are too many

May was a cruel month for those middle-aged liberals who treasure their old alternative rock heroes. There was Morrissey, appearing on American TV wearing a For Britain badge. There was XTC’s Andy Partridge tweeting that ‘the holocaust is not holy writ, it isn’t a religion, it can be historically revised’. And there was Bobby Gillespie of Primal Scream — the idiot inter pares of rock stars who foment revolution from the gates of their kids’ private school — appearing on Newsnight to say Madonna was ‘a total prostitute’ for performing at the Eurovision Song Contest in Israel (has he said the same to his friend Nick Cave, who has played

At the Wigmore Hall last Friday, the Takacs String Quartet and Garrick Ohlsson played a piano quintet that was once revered as a masterpiece but then fell out of fashion and wasn’t heard for decades. It’s by Amy Beach, a name which always makes me smile because it looks so incongruous underneath her photograph. ‘Amy Beach’ sounds like an old hippie who sells ethnic tapestries and hogs the limelight at her women-only Seattle book club. But the photos show a Bostonian society hostess straight out of Henry James: unsmiling, with eyes peeled for a social climber who picks up the wrong knife at dinner. The 21st-century musical establishment portrays Beach

Being old is big business in live music nowadays, in a way it wasn’t even 25 years ago. When Take That were still a boy band in the early 1990s, as opposed to a man band, the idea that in middle age they would be one of the most successful live groups in Britain would have been laughable. Yet here they are, playing eight nights at the O2 Arena, making it a total of 34 shows they have played there since it opened, more than any other act. Just as fanciful would have been the idea that Pink Floyd’s drummer could put together a group featuring Gary Kemp of Spandau

The Times prides itself as being the newspaper of record, but today it made an uncharacteristic blunder in its obituary of American actress and singer Doris Day. In the obituary, it featured a reference to the actress’ role in the 1965 film How to Murder Your Wife, saying: ‘She starred in a couple of dreadful films, with titles such as How to Murder Your Wife.’ Unfortunately, it seems that something went awry in the Times’ research, as Day in fact never appeared in the American satire, which instead features Virna Lisi. Mr Steerpike notes that as well featuring in ‘a couple of dreadful films’, the late Mrs Day can now add

Grade: B– One of the things not to like about Vampire Weekend, other than their cloying preppiness, Ezra Koenig’s ingratiating voice, the bizarre cultural appropriation that never gets called out and the Upper West Side archness of the lyrics, is the fact they rarely put more than two decent songs on an album. That’s true right back to their very first: does anyone remember any song other than ‘Oxford Comma’ (their best by a mile) and ‘A-Punk’? This latest is a double album, so, faithfully sticking to the template, you get four decent songs. Much of it, actually, is pleasant in a slightly insipid Paul Simon kinda way. Very little