Music and Opera

It’s a long time, a very, very long time, since I bought a Coldplay album. Has any band of the past 20 years been so consistently irritating? Oasis were aggressively annoying, which isn’t the same thing. I quite liked the first Coldplay album, particularly ‘Trouble’, and A Rush of Blood to the Head was a fine record, full of the sense of an ambitious young band finding out what they were capable of. After that, though, they made the fatal Faustian decision to become the biggest band in the world. Although I have made it my business to hear subsequent albums, partly out of curiosity and partly to confirm my

To be honest I’m not certain that Michael Nyman, The Spectator‘s music critic in the late 60s, was one of the performers on this infamous (and in my opinion greatest) recording of Richard Strauss’s Also Sprach Zarathustra. But what is certain is that Nyman (alongside Brian Eno and Gavin Bryars) did become an enthusiastic member of the Portsmouth Sinfonia and had been a fan ever since he first witnessed one of their deliberately execrable concerts: ‘I sat through the first half… and I was so moved and entertained and excited by the music that I went up to Gavin [Bryars] in the interval and said, ‘Is there a spare instrument?

When I was first learning about classical music, 50 years ago, the scene was more streamlined than it is now. Beethoven was king, with Brahms and Mozart next in line, and Haydn slowly establishing himself. Mahler was the new kid on the block; Bruckner was largely unknown and mistrusted. If one wanted the full symphony orchestra experience in late romantic music, it was to Tchaikovsky that most promoters turned. Tchaikovsky cycles, Beethoven cycles, Haydn’s ‘London’ symphonies, Mozart’s last three symphonies were the way to guarantee a crowd, with general knowledge of all Beethoven’s music — string quartets, piano trios, Lieder — at an all-time high. Now Bach is king. In

If I live as long as my father, I’ll be checking out on 9 December 2017. Since every man in my family drops dead of a heart attack at a ridiculously young age, it’s not inconceivable. I mean, obviously the chances of me dying on precisely that day are tiny, but it’s my ballpark figure. This faces me with big questions. Given that I’m probably croaking soon anyway, should I try smack? (I mean, try it properly: the only time I was handed a heroin pipe, by a professor, I was far too scared to inhale.) Do I need to worry about my miserably empty pension pot? Is there a

‘Strip him of his knighthood!’ Or life peerage, or CBE, OBE — or whatever. The cry goes up with a kind of automaticity these days, and with increasing shrillness. As I write, elements in Fleet Street are hyperventilating about Gary Barlow’s OBE. Barlow and two other members of the band Take That are reported to have avoided paying tens of millions of pounds in tax by investing in the Icebreaker Management scheme, deemed by HMRC to be a vehicle for tax avoidance. Note ‘avoidance’. Steer clear of the word ‘evasion’ because there has been no suggestion of criminality: Mr Barlow and others in his band are threatened only with a hefty

Pop humpty-dumpty Michael Jackson has a new album out today. If that statement seems odd, you don’t know the half of it; five years after his death, Jackson is only on album number two. Compared to a trooper like Tupac – who still manages a couple of albums per year, despite having copped it in 1996 – his posthumous output is actually pretty sluggish. Record labels have always had a talent for cashing in on their dead charges. The zombie discs that result are generally made up of songs the ‘artist’ was too embarrassed to release when he recorded them. Michael Jackson’s new one, Xscape goes one further. It’s a

I enjoyed Fraser’s preview of the Eurovision Song Contest; I had not known that he was such a fan. You work with someone for years, oblivious to their dark secrets, their strange peccadilloes. It was typically brave of him to come out, in public. I watched the thing, again. I thought the entry from The Netherlands was the best song I have ever heard at a Eurovision Song Contest, and by some margin. But that may be because Europop makes me feel ill, and their song definitely wasn’t Europop. It’s the first time I’ve heard a pedal steel in this competition. That being said, the Dutch have form as purveyors

Seven million of us will be tuning in at 8pm tomorrow night for the Eurovision final, rising to nine million when the UK number is played. But what do we expect to see, and do we think it’s rigged? The Spectator’s Culture House Daily blog, in conjunction with YouGov, is able to give you an exclusive poll of 1,860 Brits, seeing what the nation thinks about world’s most-watched cultural event. Seventeen years of hurt has led Britain to think that we just can’t win this thing anymore. A pitiful 1 per cent of those polled think Molly’s Children of the Universe will take the crown tomorrow night, a low figure

The film critic Anne Billson wrote a typically pugnacious piece recently about the phrase ‘guilty pleasures’, which has spread like Japanese knotweed beyond its origins in pop music and taken root throughout popular culture. In film a guilty pleasure would be something like Four Weddings and a Funeral, which we’re not ‘supposed’ to like because it’s not La Règle du Jeu, but which we do like very much because it’s fab. My nomination in this category, and a possible reason my career as a film critic never quite reached the heights, would be Star Trek II: The Wrath of Khan. You might think that Citizen Kane or Vertigo is the

There are those to whom the word ‘volare’ means nothing. But for  us Eurovision enthusiasts, it’s all starting with the opening ceremony tonight. Two semi-finals this week, then the big one on Saturday. It’s transmitting live in China, New Zealand and Canada this year – making Eurovision the most-watched non-sporting television event on the planet. The annual, spectacular clash of nations, cultures and politics is also becoming a major betting event. A friend of mine in Sweden (where Eurovision is not seen as a massive gay pride festival) usually makes a killing getting it right. To do so requires pretty good knowledge of music, European politics, trends in trading relationships,

To curate a festival these days is to put oneself in the firing line. There is every chance that all one will earn is the charge of stirring up apathy. It is a risk; and there will be no knowing how it has gone until it is much too late to withdraw gracefully. In the recently concluded first edition of the London International A Cappella Choral Competition, held at St John’s Smith Square, it could have gone either way. What will stick in my mind is how the wind got behind it round about day three, so that by the end a packed house could go mad at a Spanish

It’s twenty years since the height of Britpop, but does anyone still care about it? YouGov has carried out some polling on the subject today. Although 35 per cent stated that they like or really like Britpop (compared to 20 per cent who dislike/really dislike), 44 per cent replied ‘don’t know’. There’s also a lot of indifference on whether music has been better or worse since. Nine per cent think better, 26 per cent worse, and 34 per cent stated they also don’t know. At the height of Britpop, Oasis painted themselves as a working class band, the lads, in contrast to the perceived effete and posh boys of Blur. Based on

It is coming to something when relatively young pop stars die not of drugs or misadventure but, essentially, of old age and decay. Frankie Knuckles, the house DJ and producer, breathed his last recently at the age of just 59, and several ageing ex-clubbers of my acquaintance told me that it was the end of an era. But it always seems to be the end of an era these days, and very rarely the beginning of one. We read that the New Musical Express, that inky irritant to generations of music lovers who bought it every week even if they disagreed with every word it printed, now sells about three

When Chicago DJ Frankie Knuckles died last week, a novelty number by a Brylcreemed Aussie pop punk group had just reached number one. It displaced Duke Dumont & Jax Jones’s I Got U and ended a three week-run of house singles at the top of the charts. I suspect the following statement may piss off dance nerds, but it’s fair to say that Knuckles had as much claim as anyone to having ‘invented’ house music thirty odd years ago. Essentially, he took the kitsch out of disco and turned it into a synthesiser-heavy global brand. Was it worth the effort, though? Frankie Knuckles and the other Chicago house pioneers made

Has anything ever been more luvvie than this?

W.H.Auden once wrote: ‘Real artists are not nice people. All their best feelings go into their work and life has the residue’ — which puts those who aspire to be artists in a bit of a quandary. Is it a measure of one’s success as a ‘real artist’ that one is not a nice person? Is it in fact possible to be a real artist and a nice person? And, if it is not, is it better to be a real artist or a nice person? Auden, who was speaking from first-hand experience, implies that it must be one or the other. By the time he wrote this, Auden was

So Lebedev’s London Live has launched. And I don’t know about you but I’m hooked. I’d totally forgotten what really bad TV looked like. It’s as if the chief execs at Channel 5 got together with Alan Partridge for a 21st-century rebrand. London’s new TV channel did get one nice review from the, oh, Lebedev-owned Independent – moving swiftly on. From what I’ve seen of London Live’s first full day, it’s as if a posh, ethnically very chic primary school won a Blue Peter competition where they got to dress up as adults for the day and run their very own TV channel – all by themselves! The top news story

‘The truth is,’ says Gordon Back, lowering his voice, ‘that if the violin finalists from the BBC Young Musician of the Year were to enter the Menuhin Competition, they wouldn’t make it to the first round.’ Not through the first round, note, but to the first round: they wouldn’t be good enough to compete. Back is artistic director of the Menuhin, held every two years in a different country. In effect, it’s a search for the next Yehudi Menuhin, who recorded the Elgar concerto with the composer at the age of 15. Some critics think Menuhin never quite fulfilled that astonishing early promise — but I wouldn’t dare suggest that