Having had no operatic performances at all in January, English National Opera is filling February with two hardy perennials, Jonathan Miller’s productions of The Mikado and Rigoletto. Odd, considering how successful they both are, as are so many of his productions, all of which must be thought of as old, that he is not asked
Right from the start of this retrospective exhibition, the complications set in. In Room 1 are four paintings from the 1981 series ‘Dear painter, paint for me’. One of them strikingly depicts a figure (presumably the artist?) seated on a black sofa placed out in the street and surrounded by black plastic rubbish bags. The
Last spring, in honour of the reopening of the refurbished York Art Gallery, the statue of local artist William Etty RA outside the entrance — striking a swagger pose to rival Reynolds’s outside the Royal Academy — got a wash and brush-up from the City Council. This spring, it welcomes the public to an ambitious
Until I had a daughter I used to think the problem with me and girls was me. But when you’re given the chance to observe the female of the species up close from birth onwards under home laboratory conditions, you soon lose any post-feminist illusions you might have about the blame for the war between
Over a year ago my six-year-old grandson Henry Flynn rushed home from his multi-ethnic south London school playground in Streatham with a solemn but urgent question for his father, an art historian, as it happens. So far as is known, incidentally, mainly Anglo-Saxon and Celtic blood flows in young Henry’s veins. ‘Am I a Muslim,
Christopher Lloyd died on 27 January. Not since the deaths of Gertrude Jekyll in 1932, William Robinson in 1935 and Vita Sackville-West in 1962 has so much homage been paid in the broadsheets to the memory of a gardener. In the nation at large, more people mourned the deaths of Percy Thrower and Geoff Hamilton,
Andrew Lambirth on Maggi Hambling’s forceful seascapes and Rose Wylie’s quirky art Let me at once state an interest: I have just written a book with Maggi Hambling about her life and works, currently available from all good booksellers. But long and intimate knowledge of an artist’s oeuvre should not disqualify the critic from writing
It’s been 44 years since Edward Albee’s Who’s Afraid of Virginia Woolf? made its debut on Broadway, but it still seems extraordinarily fresh. Why? The obvious answer is that the subject matter — the battle of the sexes — is timeless. Anyone in a heterosexual relationship will experience a shudder of recognition at certain points
‘Why can’t all our schools be like Eton?’ the heroic Claire Fox asked on Question Time (BBC1, Thursday) last week, and the question was so shocking that the pinkos, class warriors and terrorist-sympathisers who comprise the majority of your typical QT audience weren’t sure whether to clap or hiss. The point the Fox Goddess (what
I promise I’m going to come up with some hot musical recommendations this issue, but I must thank those Spectator readers who wrote about last month’s column in which I announced my intention to stop smoking. The letters — all from reformed smokers — were full of kindness, sympathy and practical suggestions, and they have
It seemed a curious place for one of the grimmest of Victorian institutions, tucked under manicured downs, surrounded by handsome villas with flowering gardens and cosy cottages. But when the Guildford Union Workhouse was built in 1905, it was positioned on the edge of the town in order not to offend the susceptibilities of the
Andrew Lambirth is entranced by the central purity of Dan Flavin’s installations Many artists are involved to a greater or lesser degree with the depiction of light, but Dan Flavin (1933–96) made it his exclusive subject, and in the process was responsible for the apotheosis of the humble fluorescent tube. As an artist, Flavin was
What was I thinking? A fortnight ago I berated the hammy, eggy, lardy, puddingy acting style of the RSC. Well, here’s a play where grandiosity, exaggeration and overemphasis are perfectly suited to the material. It’s the early days of the Roman Empire. Tiberius has retreated to the sun-kissed paradise of Capri in order to murder
The revival of Richard Eyre’s production of La Traviata at the Royal Opera didn’t go quite as planned, because Elena Kelessidi was ill, but I wonder whether that made much difference so far as the audience was concerned. We had instead Victoria Loukianetz from the Ukraine; she has previously sung Gilda at Covent Garden, and
My advance DVD from the BBC was marked ‘The Virgin Quenn’, which I thought was pleasing and evocative. Possibly the quenn was a mythical beast, condemned to live for only one generation due to its perpetual virginity. Or perhaps it was bawdy Tudor slang, used by Shakespeare: ‘Why, friend, a queen shall have a quenn,
The astonishing removal of Charles Kennedy for having been a heavy drinker confirmed my long-held belief that the Liberal Democrats are by far the nastiest and most ruthless bunch of all. It was frustrating to see gullible people regarding them as the nice party when I knew differently. Their dirty tricks in election campaigns are
I don’t really like Radio Three’s recent venture into blockbuster one-man blow-outs. It’s a bit sophomoric and anorakish, and the completism can reduce even the greatest composers to wallpaper. Bach is unquestionably one of the greatest. But during ‘Bach Christmas’ it often seemed as though one were switching on into the same piece extended on
Edwina Leapman (born 1934) is an abstract painter and colourist of beguiling subtlety. Her current show at Annely Juda Fine Art (until 25 February) is a mini-retrospective of 30 years’ work, and a celebration of 30 years of exhibiting with the same gallery. (This continuity is to be applauded in an age when artists swap
The Christian Church sought to banish the ancient gods, but their fascination proved too strong. Their reappearance in their many manifestations during the Renaissance transformed Western visual culture, reviving, nourishing and sustaining the nude and the erotic as legitimate subjects of art. How the antique gods and demigods descended to earth again, enlivening panels, canvases,
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