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Archive for the ‘Film’ Category

Opera

La Voix Humaine is a rarely staged 50-minute one-woman opera by Poulenc, one of only three he wrote, and Opera Up Close are to be congratulated on an accessible, high quality production at Kings Place starring Sarah Minns with the score played on piano by Richard Black. Captivating.

A French double-bill at the Royal College of Music proved to be a delight. Chabrier’s Une Education Manquee, about a couple who didn’t know what to do on their wedding night, and Poulenc’s rather surreal cross-dressing boob-expanding Les Mamelles de Tiresias worked brilliantly together and the singing and playing was divine.

I saw the rarely performed Leoncavallo opera Zaza in concert a couple of years ago, so I was looking forward to seeing it staged. Sadly, the staging and design were so incompetent and inconsiderate (sightlines and audibility) that I wished I was hearing it in concert again! The final straw was a downpour soon after the second half started, where the noise of the rain on the canvas roof virtually drowned out the singers – but that wasn’t Opera Holland Park’s fault.

The Arcola‘s enterprising Grimeborn (geddit?) opera festival staged a musical-opera hybrid called The Marriage of Kim K which was a great idea, very ambitious and had its moments, but didn’t entirely work. It alternated between the story of Kim Kardashian’s short marriage to Kris Humphries, Mozart’s opera The Marriage of Figaro and a British couple (him composer, her lawyer) on a couch fighting over the remote and switching between the two. It was this middle section which let it down by being rather dull and underperformed (and often out of tune). Gold star for trying, though, and hopefully we’ll see it again re-worked and improved.

Classical Music

I don’t think I’ve ever reacted so differently to two halves of the same concert as I did at Simon Keenlyside’s recital at Wigmore Hall. I adored the first half of Vaughn Williams, Finzi and Sibelius, but didn’t care for the more frivolous selections of Poulenc and Mahler in the second half, despite the obvious skills of the performers. A matter of taste, I guess.

The BBC Singers / Eric Whitacre concert at GSMD’s Milton Court was an absolute gem. An eclectic programme of ten pieces by living composers from five countries, including four world premieres and one UK premiere, with all composers present, with Whitacre’s first and latest compositions included. To cap it all, an encore of favourite Laura Mvula’s own arrangement of her song Sing to the Moon. Wonderful stuff.

Andrew Norman’s children’s opera A Trip to the Moon, based on the 1902 French silent movie of the same title, was paired with Sibelius 2nd Symphony in a terrific LSO Discovery concert in the Barbican Hall that saw the former involve local communities and both involve GSMD students, under Simon Rattle. Watching the white-shirted post-grad students sitting alongside the black-shirted LSO players provided a great sense of current musicians nurturing the next generation, which really moved me – and they sounded bloody great together too.

Soprano Sophie Bevan & tenor Allan Clayton gave a lovely recital of 28 Shakespeare songs by 20 different composers at Wigmore Hall, a very diverse and sometimes unpredictable selection. The acoustic was unkind to the soprano as it was to Simon Keenlyside’s baritone last week, which is a bit odd.

Contemporary Music

My first Prom this year was a late night celebration of Scott Walker‘s late 60’s solo albums, songs that have never been played live by anyone let alone Jarvis Cocker, John Grant, Suzanne Sundfor & Richard Hawley, with small choir and big orchestra! I didn’t think Cocker’s voice suited Walker’s songs, but the other three were terrific. I’m not a huge fan, but it was well worth the punt.

Film

Seeing Baby Driver broke a two-month film famine. It wasn’t the sort of film I usually go to – glorifying violence in a Tarantinoesque way – but it was exciting and brilliantly made, though let down by the implausibility of the ending.

Dunkirk is an extraordinary film about an extraordinary event. It was tense for the whole 100 minutes, but deeply moving too. Unmissable.

Dance

The Barbican gave over their Art Gallery for four weeks of performance art, well dance really, created by Trajal Harrall. There were lots of short works in different places, so I planned my visit to see as many as possible. Sadly, they weren’t as organised as me so I ended up having to go with the flow a bit, but that proved to be fun. I managed to sample about twelve pieces over a couple of hours and left feeling rather pleased with myself.

Art

A lot to catch up on…..

The Royal Academy’s Summer Exhibition was great this year, though I missed all those architectural models I’m so fond of. Still, the biggest selling exhibition of them all had a lot I would have bought if I bought art!

If I wasn’t a Friend, I probably wouldn’t have gone to the Sargent watercolours exhibition at Dulwich Picture Gallery, which would have left a gaping hole in my life because I loved it! Portraits, city scenes and landscapes, they were all wonderful.

A visit to Whitechapel Gallery en route to a concert proved disappointing as Benedict Drew’s The Trickle-Down Syndrome was slight, A Handful of Dust was a bit pointless and the ISelf Collection underwhelming!

White Cube Bermondsey is such a big gallery that trying to fill it with women surrealists was bound to lead to variable quality, but fortunately there was enough good stuff to make Dreamers Awake worthwhile.

You don’t expect to see Picasso in a private gallery, let alone 111 paintings, drawings, sculptures, tapestries & ceramics of Minotaurs and Matadors, all bar one from private collections! It wasn’t a selling exhibition and entrance was free, so I’m not sure how the Gagosian funds it, but I’m glad they do.

Gregory Crewdson‘s heavily staged and artificially lit photos are like stills from an indie movie or paintings by Edward Hopper, which appear to tell a story but tantalisingly don’t, quite. His Cathedral of the Pines exhibition at the Photographers Gallery puts nudes in white clapperboard houses in snowy landscapes. Weird but a little bit wonderful.

A lovely double-dip at the NPG en route to the theatre, starting with the excellent class of 2017 at the BP Portrait Award, followed by The Encounter, featuring drawings from the 15th to 17th centuries, mostly culled from private collections including fifteen, a third of them, from the Queen! Another treat.

Soul of a Nation: Art in the Age of Black Power at Tate Modern took me by surprise. Covering just 20 years of Black American art from the outset of the 1960’s civil rights movement, it contained some powerful, bold political statements alongside some terrific abstract pictures.

Though low lighting and overcrowding made Hokusai: Beyond the Great Wave at the British Museum a bit of a challenge, it was great to see his complete range of gorgeous, finely detailed work. I shall now pour through the catalogue to see them properly!

The month ended on a real art high with Alma-Tadema at Leighton House, an artist I’d never heard of whose very comprehensive retrospective was absolutely fabulous.

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Contemporary Music

Maria Friedman’s Bernstein / Sondheim cabaret at Brasserie Zedel, with her terrific pianist Jason Carr, was lovely. In addition to a great selection of songs, there were some great anecdotes. It was a new venue for me, which might well become a regular one.

The collaboration of favourite Malian Kora player Toumani Diabate and some Flamenco group I’ve never heard of was another of those punts at the Barbican Hall that paid back in abundance. They had no way of communicating with each other, no common language, but the skill was extraordinary and the sound uplifting and joyful.

Opera

Thomas Ades’ new opera Exterminating Angel at Covent Garden was musically challenging (as most modern operas are) but I got into it after a while. The orchestration was extraordinary and the ensemble of singers absolutely premier league. It’s based on a surrealist film by Louis Bunuel and it was, well, surreal, including live sheep on stage, who had done their business before it even started!

Ravi Shankar’s unfinished opera Sukanya, based on a section of the epic tale Mahabharata, got its world premiere on a short UK tour which I caught at the Royal Festival Hall. A real east meets west affair with the London Philharmonic & opera singers and Indian musicians & dancers, I rather liked it. It was the second of three occasions in six days that I saw the projection work of 59 Productions. It was lovely to be in a minority, with a largely Asian audience you never see at opera, though some of their behaviour was challenging!

Classical Music

The English Concert’s Ariodante at the Barbican Hall had lost two of its singers before the event, including personal favourite and star turn Joyce DiDonato. Despite this, it was a treat and Alice Coote rose to the challenge of replacing DiDonato in the title role.

On a visit to Iceland, I had the opportunity to attend a concert at their spectacular new(ish) Reykjavik concert hall Harpa, in which the Icelandic Symphony Orchestra played Brahms Violin Concerto, with Alina Ibragimova, and Shostakovich 5th Symphony, and jolly good it was too. The BA fiasco at Terminal 5, however, meant I returned too late for the LSO / Haitink concert of Bruckner’s Te Deum & 9th Symphony.

I like the originality, populism, informality and showmanship of Eric Whiteacre and his concert with the RPO was another good example of this. Mostly choral, with the terrific City of London Choir, they filled the RAH with sound (though sadly not the seats).

Dance

Northern Ballet‘s Casanova packed in a bit too much story for a dance piece to handle, but it looked gorgeous and I warmed to the film-style score. You could tell it was the choreographer’s first full length ballet, and the composer’s, and the scenario writer’s…..but an original dance theatre piece nonetheless, and another enjoyable visit to Sadler’s Wells Theatre.

Film

I was in the mood for escapist fun, and I thought Mindhorn was a hoot, with a fine British cast, an original story and some great views of the Isle of Man!

Woody Harrelson’s Lost in London is the first ever ‘live’ film and it’s a rather impressive achievement, though I didn’t see it live. It’s also impressive that he was prepared to tell a 15-year-old true story that doesn’t exactly make him look good!

Art

The annual Deutshe Borse Photography Prize at the Photographers Gallery breaks new ground again with brilliant B&W portraits, a story of death in photographs and items, stunning silver gelatine B&W landscapes and a room of both film and slide shows. Downstairs, there are fantastic 50’s / 60’s street life B&W photos by Roger Mayne and a five-screen slideshow of the British at play. What a treat!

A wonderful, contrasting pair of exhibitions at the NPG. Howard Hodgkin Absent Friends was great once you stopped thinking of it as a portrait exhibition. They are abstractions based on his own feelings and memories of the subjects so they mean nothing to anyone else, but they are colourful and often beautiful. The pairing of photographs, mostly self-portraits, by contemporary artist Gillian Wearing and early 20th century French artist Claude Cahun was inspired. Though the latter’s B&W pictures were small and a strain on the eyes, the former’s were big and often spooky. Wearing’s family album and future portrait speculations were stunning.

I visited and much admired the controversial Eric Gill The Body exhibition at Ditchling Museum of Art & Craft. I’m not sure allegations of paedophilia since his death should mean we avoid the art he made in life, however distasteful his actions might have been. It was my first visit to this lovely little museum and the lovely Sussex Downs village in which it sits.

After abandoning one visit because of the weather, I eventually made it to For the Birds as part of Brighton Festival. It’s a highly original night-time walk through sound and light installations in the woods on Sussex Downs, all of which are about birds. A bit exhausting at the end of a long day, but worth the effort.

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Contemporary Music

Camille O’Sullivan really is a one-off. I adore the edginess, anarchy, unpredictability and eccentricity, but above all her unique interpretation of songs; she inhabits them. The Union Chapel was the perfect venue for her and I was captivated.

I was a bit nervous that Show of Hands’ could pull off the challenge of having their 25th Anniversary concert in the vast Royal Albert Hall given that the only other time I’ve seen them was at the tiny candlelit Sam Wannamaker Playhouse, but somehow they turned it into an intimate folk club (with raffle and birthday announcements!). The duo expanded to a trio and then an ensemble of up to eleven with a 26-piece choir, but it all worked brilliantly.

The Unthanks latest ‘Diversions’ project involves the songs and poems of Molly Drake, mother of singer-songwriter Nick Drake and actress Gabrielle Drake, whose recorded voice reads the poems. They are nice songs but 90 minutes of them was maybe a bit too much, though there was enough to enjoy to make the evening at Cambridge Corn Exchange worthwhile, with a Nick Drake song as an encore a terrific bonus.

Classical Music

I’m not familiar with Dvorak’s Requiem so it was good to hear it in the Barbican Hall, and the BBC SO & SC made a great job of it, with three excellent well-matched soloists. I’m a bit puzzled why it isn’t done more often as it’s as good as many others that are.

Global Voices at the Royal Festival Hall was a bit of a punt that turned into a major treat. In the first half, the National Youth Choir of Great Britain did a musical world tour with innovative pieces from or influenced by Italian, Indian, Latvian, Chinese, Swedish, Aboriginal and British music. In the second they were joined by seven other guest youth choirs from the US, Hong Kong, Indonesia, South Africa, Latvia and Israel to form a 350-piece choir accompanied by the Southbank Sinfonia and two excellent young British soloists for Jonathan Dove’s superb oratorio There Was a Child, written to celebrate the life of the son of two musicians who died aged 19. I can’t begin to describe how inspirational, captivating and uplifting it all was.

The big classical event of the month was Sounds Unbound 2017 : Barbican Classical Weekender which was so good, it got its own blog https://garethjames.wordpress.com/2017/05/01/sound-unbound-2017-barbican-clasical-weekender

Dance

I enjoyed the New Adventures 30th anniversary mixed bill at Sadler’s Wells, but it came as a bit of a shock after all those large-scale shows. It was a good reminder of where it all started though, and a charming and funny show.

Film

It’s been a lean period, but I did catch Their Finest which I loved. A fascinating true story with a cast of British actors that reads like a Who’s-Who. Gemma Arterton continues to impress on screen as well as stage – even playing Welsh!

Art

I really enjoyed the Vanessa Bell exhibition at Dulwich Picture Gallery. I didn’t really know a lot about her, hadn’t seen much of her work before and I was very impressed. I do love going to Dulwich, where the exhibitions are always the right size, with brunch in the café to follow!

The David Hockney exhibition at Tate Britain blew me away. Spanning sixty years, with everything from paintings to photo collages to iPad drawings, it was a huge exhibition and a huge treat. From there, via the brilliant new Cerith Wyn Evans light installation in the Duveen Gallery, downstairs to Queer British Art, an odd exhibition in that not everything seemed connected to its theme, but there were some great individual works, including more of the Sussex Modernists I’d seen three and five days before in Dulwich and at Two Temple Place.

The American Dream, the British Museum’s review of Pop Art through prints, was very comprehensive and fascinating. It included the usual suspects like Andy Warhol but had a lot more I’d never heard of. The puzzle was, though, what is it doing in the British Museum?

The Eduardo Paolozzi retrospective at the Whitechapel Gallery was just as comprehensive, and much more diverse than I was expecting. I wouldn’t call myself a fan, but it was good to see the entire career of an important British artist like this.

The Barbican Art Gallery’s exhibitions are often surprising and fascinating and The Japanese House was one of those. It examines domestic architecture in Japan since the Second World War and they’ve recreated ten units of an actual house on the ground floor! Downstairs in the Curve Gallery, Richard MossIncoming projects giant images of refugees and their camps taken with long-distance thermographic cameras normally used in warfare to create something oddly voyeuristic but deeply moving.

Tate Modern has a giant Wolfgang Tillmans photography exhibition. As usual, Tillmans mounts his photographs, sometimes with narrative, to create room installations. It’s a bit hit-and-miss in my view, but worth a mooch.

The annual Wildlife Photography Exhibition at the Natural History Museum now seems to start as soon as the last one finishes; we were even wondering if we were going to one we’d already seen! There’s something new each year – a category or theme perhaps – and it’s always hugely impressive.

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Music

I’m not sure how to categorise Just Call Me God at Union Chapel. It categorised itself as ‘Music Theatre’, but I think I’d prefer Play with Music. John Malkovich played a generic dictator at the end of his reign when troops with an embedded journalist arrive at his underground concert hall. There is music throughout, most played on the chapel’s organ (hidden, so I never knew it existed) but some electronica. It was a bit of a one-off which I rather liked.

Art

At the Royal Academy of Art, America After the Fall: Painting in the 1930s and Revolution: Russian Art 1917-32 proved to be a contrasting but brilliant pairing, being so close in time but worlds apart in other respects. I loved them both.

The Syngenta Photography Award Exhibition, Grow / Conserve, at Somerset House featured many diverse pictures on various environmental themes. It was really well curated and mostly fascinating. It’s a pity it’s had little publicity.

Lockwood Kipling: Arts & Crafts in the Punjab and London at the V&A was a fascinating insight into the life of Rudyard’s dad who taught and curated arts and crafts at a time when the A&C movement was at its height. Fascinating.

I managed to see the painting Flaming June at Leighton House Museum, where it was brought together with four other late Leighton paintings, before it returned to Puerto Rico. It was also a treat to be in the Arab Hall again, one of my favourite rooms in one of my favourite London houses.

Hopping across town to another favourite London building, Two Temple Place, for Sussex Modernism: Retreat & Rebellion, a fascinating collection of art by people who had made homes, friends and connections in the county, like a Who’s Who of early 20th century British art and design. Great to see the carvings and stained glass again too.

Film

Viceroy’s House seemed the perfect choice for the day before I departed for India and I did enjoy it, though maybe not as much as I was expecting to. I loved the fact that it was made by the British Indian granddaughter of someone displaced by the partition.

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Contemporary Music

Richard Thompson’s solo acoustic concert at Cadogan Hall was a real treat – one guitar, no time-wasting and a selection of songs from his entire career. He responded to an audience request for Fergus Lang, his song about Trump’s (mis)adventures in Scotland before he put himself forward as a candidate and updated it, though as he said it needs updating daily! There was excellent support from Emily Barker; one to watch.

This was the first time I’d attended the Transatlantic Sessions at the Royal Festival Hall, the ultimate folk & roots supergroup with a core of players and guest singers, but it won’t be the last. The sound wasn’t great (sixteen players / singers in the mix) though it got better and from half-way through the first half it took off with lots of real highs.

Classical Music

Jonas Kaufmann‘s recital at the Barbican Hall was my first live experience of this much lauded tenor and he didn’t disappoint. I thought it was a well selected programme of Schumann, Duparc and Britten sung in German, French & Italian. Gorgeous.

Opera

Royal Academy Opera’s Orpheus & Enefers at Hackney Empire was enormous fun, but also of the highest quality, with the stage and pit bursting with talent, brilliant design and a conductor who was visibly having the time of his life in the perfect venue. Welsh soprano Alys Roberts as Eurydice is a real find; a future star if ever I saw one.

Adriana Lecouvreur was the best thing I’ve seen at the Royal Opera for some time. It’s astonishing that this was only the 15th performance of this underrated Pucciniesque 115-year-old opera. The design was sumptuous and handsome and in period and the four leading roles were stunningly sung. American tenor Brian Jagde was new to me and he was sensational. Angela Georgiou was excellent, but I do wish she didn’t milk her bows so much!

My February visit to WNO in Cardiff was a Puccini sandwich with Vin Herbe filling. First up was a revival of their lovely La Boheme which was even better second time round, largely because of faultless casting. This was followed by Le Vin Herbe, the UK stage premiere of Swiss Frank Martin’s take on Tristan & Isolde. He wrote it to reclaim the folk tale from the Nazi hijacking of Wagner’s opera. It was sung storytelling with the chorus centre stage, an unusual piece but it captivated me. The second Puccini was their 39-year-old production of Madam Butterfly. The design might look a bit dated, but everything else was fresh, with beautiful singing and playing. A terrific trio.

Film

I loved 20th Century Women, a quirky, very un-Hollywood film set in a Bohemian home in California. Annette Benning and her screen son were superb.

Hidden Figures had the usual dose of American sentimentality, but it seems timely to be reminded that segregation in the US was still there just fifty years ago, and the film does it very well indeed.

Fences was the least cinematic film I’ve seen in ages, feeling much like watching one of those NT Live screenings, but the direction and performances were stunning and August Wilson’s story was as intense and gripping as it was on stage.

Moonlight was my 7th Oscar Best Picture nominee. A beautifully crafted film; a compelling watch. Of course, like the other five, I didn’t think for one minute that it would beat La La Land, so the following morning I was both surprised and delighted that it did.

Art

The Paul Nash exhibition at Tate Britain was thoroughly comprehensive and mostly gorgeous. He lost me a bit with the still life’s and early ventures into surrealism, but on the whole a real treat.

Sculptor Richard Wilson is a real favourite. His Annely Juda exhibition was taxing on the brain, but worth the trip, with more David Hockney prints of his iPad drawings downstairs a real bonus.

The Gavin Turk retrospective at his chum Damien Hirst’s Newport Street Gallery had its moments but you end up concluding he’s more of a minor than major contemporary British artist. I thought the ‘homages’ to Warhol and Pollock were lazy art and the final room of rubbish, well rubbish.

The late Zaha Hadid‘s exhibition at the Serpentine Sackler Gallery was a very pleasant surprise. A very beautiful selection of art meets architecture digital works which are technically accomplished but also very pleasing on the eye.

Anselm Kiefer‘s Walhalla exhibition at White Cube Bermondsey was vast, extraordinary and on the last weekend so popular you had to queue for a few minutes (I’ve never seen so many people in a private gallery). Mixed media and immersive art at its best; he shot up in my estimation.

The small Frank Brangwyn exhibition at the William Morris Gallery explored his Japanese influences and his relationship with a Japanese artist who made gorgeous woodcuts from some of his works. It really whetted my appetite for my visit to Brangwyn Hall in Swansea later in the same week.

Small too was the Australian Impressionists exhibition at the National Gallery, with only 41 pictures by 4 artists, some of which I’d seen the year before last in Melbourne and Sydney, but the quality more than made up for the quantity. Gorgeous.

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Contemporary Music

I’d never heard of Joe Henry until his field recordings of railroad songs with Billy Bragg last year, and I only heard that record a few days before their lovely concert at Union Chapel, which took a side-trip to include some timely protest songs, and a surreal ending when they were joined on stage by Chas & Dave!

Opera & Dance

I wasn’t keen on the music of Lygeti’s Le Grand Macabre when I saw a staged production at ENO eight years ago, but with the superior LSO, on stage, under Simon Rattle, the LSC in the auditorium aisles (flouting fire regulations!) and a fine line-up of soloists and instrumentalists popping up all over the place in the audience it was rather thrilling. I got the humour which I missed last time, though I’m not sure I got Peter Sellers’ Chernobyl staging (which the composer took against when this version was first staged in Salzburg 19 years ago). I still don’t understand it, but now I’m not sure I’m supposed to!

Les Enfants Terrible, a ballet-opera by Philip Glass, was only partly successful for me. I liked the music, played by three pianos, and the design was good (apart from an unscheduled break when a screen refused to move!) but I’m not sure Javier de Frutos’ choreography with multiple dancers for the two principal roles really worked; it was a bit too fussy.

Film

January is always a busy month in the cinema as all the Oscar contenders are released, and so it was……

Passengers was a bit far-fetched, but quality SciFi nonetheless. Worth seeing for Michael Sheen as an android barman!

A Monster Calls is a highly original and deeply moving story of a young boy coping with his mother’s death from cancer. Young Lewis MacDougall was extraordinary.

Manchester by the Sea took me by surprise. It has a very un-Hollywood authenticity and emotionality; it feels very much like a European film. Sad but beautiful.

La La Land had so much hype it was never likely to live up to it and so it was. Though I enjoyed it, the score, singing and dancing all weren’t good enough to make it an Oscar winner, though it probably will as it’s Hollywood’s love affair with Hollywood.

I adored Lion, so heart-warming and beautifully acted. Based on the true story of a lost Indian boy adopted by a Tasmanian couple, it ended beautifully and movingly with film of the meeting of the real people on which it was based.

Jackie was a big disappointment, despite a fine performance by Natalie Portman. A film about a very interesting woman and a very interesting period turned out to be ever so dull.

I’m not sure it was a good idea to make T2 Trainspotting; I found it a bit disappointing. It was a film of its time and maybe it should have been left that way.

I greatly admired Denial, the very gripping story of the defamation case brought by holocaust denier David Irving against an American academic. It unfolded like a thriller and had a superb British cast.

Art

Dulwich Picture Gallery discovered another old master, this time 17th century Dutch landscape artist Adriaen van de Velde. His pictures might be landscapes, but they have lots of people and animals in them, and there are beaches, sea and boats too. Sadly, there were only 23 finished paintings, less than half the show.

William Kentridge‘s six installations at Whitechapel Gallery were fascinating and playful. I’d seen individual works by him before, but this combination of machines, video, music and tapestry really showed off his inventiveness.

Malian photographer Malick Sidibe‘s exhibition of B&W photographs at Somerset House was a revelation, such an evocative representation of Malian society since the 60’s, and the accompanying soundtrack of Malian music was the icing on the cake.

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The Rest of 2016

I spent a third of the last third of the year out of the country, so my monthly round-up’s for this period have merged into one mega-round-up of the two-thirds of the four months I was here!

Opera

Opera Rara’s concert performance of Rossini’s rare Semiramide, the last Bel Canto opera, at the Proms was a real highlight. It’s a long work, four hours with interval, in truth too long, but it contains some of Rossini’s best music (and I’m not even a fan!). The OAE, Opera Rara Chorus and a world class set of soloists under Sir Mark Elder gave it their all, with ovations during let alone at the end. Brilliant.

I was out of the country when I would have made my usual trip to Cardiff for WNO’s autumn season, so I went to Southampton to catch their UK premiere of Andre Tchaikowsky’s The Merchant of Venice when I got home and I was very glad I did. It’s a fine adaptation of Shakespeare’s play, with a particularly dramatic court scene, and it was beautifully sung and played, with a terrific performance by American Lester Lynch as Shylock.

I’m not sure I’ve ever been to something that sounded so beautiful but looked so ugly. Handel’s Oreste, a pasticcio opera (a compilation of tunes from elsewhere, in Handel’s case his own works) which the Royal Opera staged at Wilton’s Music Hall. The singing and playing of the Jette Parker Young Artists and Southbank Sinfonia were stunning, but the production was awful. One of those occasions when it’s best to shut your eyes.

Classical Music

Another delightful lunchtime Prom at Cadogan Hall, this time counter-tenor Iestyn Davies and soprano Carolyn Sampson, both of whom are terrific soloists, but together make a heavenly sound. I was less keen on the six Mendelssohn songs than the six Quilter’s and even more so the glorious six Purcell pieces. It was a joyful, uplifting hour.

Juditha triumphans is a rare opera / oratorio by Vivaldi that was brilliantly performed at the Barbican by the Venice Baroque Orchestra and a superb quintet of female singers including Magdalena Kozena as Juditha. It took a while to take off, but it then soared, and the second half was simply stunning.

Visiting the LSO Steve Reich at 80 concert at the Barbican was a bit of a punt which really paid off. The three pieces added up to a feast of modernist choral / orchestral fusions. The composer was present and received an extraordinary ovation from a surprisingly full house.

Berlioz Requiem is on a huge scale, so the Royal Albert Hall was the perfect venue, and it was Remembrance Sunday, so the perfect day too. The BBC Symphony Orchestra, with ten timpanists and an enormous brass section of 50 or 60, occasionally drowned out all three choirs (!) but it was otherwise a thrilling ride.

Joyce DiDonato‘s latest recital with the wonderful baroque ensemble Il Pomo d’Oro was a bit if a disappointment. It had some extraordinary musical high spots, but the selection could have been better and she didn’t really need the production (lights, projections, haze, costumes, face painting and a dancer!). It didn’t help that the stage lights sometimes shone into the eyes of large chunks of the audience, including me, blinding them and sending me home with a headache.

At the Royal Academy of Music their Symphony Orchestra was conducted by Sir Mark Elder in a lunchtime concert of Shostakovich’s 5th Symphony and it was thrilling. Sir Mark did another of his fascinating introductory talks, this time illustrated with musical extracts.

The BBC Singers gave a lovely curtain-raising concert of unaccompanied seasonal music by British composers at St Giles Cripplegate, half from the 20th century and half from the 21st, before the BBC SO‘s equally seasonal pairing of Rimsky-Korsakov’s Christmas Eve Suite and Neil Brand’s A Christmas Carol for orchestra, choir and actors in the Barbican Hall. This was a big populist treat.

I’ve heard a lot of new classical music since I last heard John Adams‘ epic oratorio El Nino, so it was good to renew my acquaintance and discover how much I still admire it. 270 performers on the Barbican stage provide a very powerful experience – the LSO, LSC, a youth choir and six excellent American soloists who all know the work. Thrilling.

Canadian bass-baritone Gerald Finley, accompanied by Sir Antonio Pappano on piano no less, gave a superb but sparsely attended recital at the Barbican Hall. It was an eclectic, multi-lingual and highly original selection, beautifully sung. More fool those who stayed away from this absolute treat.

The standards of amateur choirs in the UK are extraordinary, and the London Welsh Chorale are no exception. Their lovely Christmas concert at St. Sepulchre-without-Newgate included extracts from Handel’s Messiah, Vivaldi’s Gloria plus songs and carols. The soprano and mezzo soloists were superb too.

Dance

Rambert’s ballet set to Haydn’s oratorio The Creation at Sadler’s Wells was one of the best dance evenings of recent years. If you shut your eyes, this would be a world class concert with three fine soloists, the BBC Singers and the Rambert Orchestra. With a gothic cathedral backdrop, the dance added a visual dimension which wasn’t literal but was beautifully impressionistic and complimentary.

English National Ballet had the inspired idea to ask Akram Khan to breathe new life into Giselle and at Sadler’s Wells boy did he do that. It’s an extraordinarily powerful, mesmerising and thrilling combination of music, design and movement. From set, costumes and lighting to an exciting adapted score and the most stunning choreography, this is one of the best dance shows I’ve ever seen.

Michael Keegan-Dolan’s Swan Lake the following week, also at Sadler’s Wells, wasn’t such a success, and steered even further away from its inspiration. It revolved around a 36-year old single man whose mother was desperate to marry off, but there were lots of references to depression and madness. I’m afraid I didn’t find the narrative very clear, its relationship to the ballet is a mystery to me and it’s more physical theatre than dance. It had its moments, but it was not for me I’m afraid.

Back at Sadler’s Wells again for The National Ballet of China‘s Peony Pavilion, a real east-meets-west affair. Ancient Chinese tale, classical ballet with elements of Chinese dance, classical music with added Chinese opera. Lovely imagery and movement. I loved it.

New Adventures’ Red Shoes at Sadler’s Wells might be the best thing they’ve done since the male Swan Lake. With a lush Bernard Herman mash-up score, great production values and Matthew Bourne’s superb choreography, it’s a great big populist treat.

Contemporary Music

Camille O’Sullivan brought an edginess to the songs of Jacques Brel which I wasn’t comfortable with at first but then she alternated them with beautifully sung ballads and I became captivated. She inhabited the songs, creating characters for each one. Her encore tributes to Bowie & Cohen were inspired.

There were a few niggles with Nick Lowe‘s Christmas concert at the Adelphi Theatre – it started early (!), the sound mix wasn’t great and he gave over 30 minutes of his set to his backing band Los Straightjackets (who perform in suits, ties & Mexican wrestler masks!) but (What’s so funny ’bout) Peace Love & Understanding has never sounded more timely and the closing acoustic Alison was simply beautiful. He’s still growing old gracefully.

Film

I loved Ron Howard’s recreation of the Beatles touring years in Eight Days a Week, plus the remastered Shea Stadium concert which followed. What was astonishing about this was that they were completely in tune with all that crowd noise and no monitors or earphones!

Bridget Jones Baby was my sort of escapist film – warm, fluffy and funny – and it was good to see Rene Zellweger and Colin Frith on fine form as the now much older characters.

I, Daniel Blake made me angry and made me cry. Thank goodness we’ve got Ken Loach to show up our shameful treatment of the disabled. Fine campaigning cinema.

I loved Nocturnal Beasts, a thriller that’s as close to the master, Hitchcock, as I’ve ever seen. I was gripped for the whole two hours.

Fantastic Beasts lived up to its hype. Though it is obviously related to Harry Potter, it’s its own thing which I suspect will have quite a series of its own. Starting in NYC, I reckon it will be a world tour of locations for future productions.

Kiwi film The Hunt for the Wilderpeople is a very funny, heart-warming affair with a stunning performance by a young teenager, Julian Dennison, matched by a fine one from Sam Neill.

I loved A United Kingdom, based on the true story of Botswana’s Seretse Khama, leader from mid-60s independence to 1980. It’s the true story of a country that has been a beacon of democracy in a continent of corruption.

The Pass must be one of the most successful stage-to-screen transfers ever. I was in the front row at the Royal Court upstairs, but it seemed even tenser on screen. Good that three of the four actors made the transfer too.

One of my occasional Sunday afternoon double-bills saw Arrival back-to-back with Sully. The former was my sort of SciFi, with the emphasis on the Sci, and it gripped me throughout. I’m also fond of true stories & the latter delivered that very well.

I liked (Star Wars) Rogue One, but it was a bit slow and dark (light-wise) to start with, then maybe too action-packed from then. I’m not sure I will do 3D again too; it’s beginning to feel too low definition and overly blurry for a man who wears glasses.

Art

Sally Troughton‘s installations in the Pump House Gallery at Battersea Park didn’t really do much for me, but Samara Scott‘s installations in the Mirror Pools of its Pleasure Garden Fountains certainly did. A combination of dyed water and submerged fabrics created lovely reflective effects.

There was so much to see in the V&A’s You Say You Want a Revolution? Records and Rebels 1966-1970. It was an astonishing five years and the exhibition covers music, art, design, fashion, politics, literature…..you name it. I shall have to go again to take it all in.

Wifredo Lam is a Cuban artist I’ve never heard of, getting a full-blown retrospective at Tate Modern. There was too much of his late, very derivative abstract paintings, but it was still overall a surprising and worthwhile show.

South Africa: the art of a nation was a small but excellent exhibition covering thousands of years from early rock art to contemporary paintings and other works. Most of the old stuff was from the British Museum’s own collection, so in that sense it was one of those ‘excuses for a paying exhibition’ but the way they were put together and curated and the addition of modern art made it worthwhile.

The Picasso Portraits exhibition at the NPG was a lot better than I was expecting, largely because of the number of early works, which I prefer to the more abstract late Picasso. Seeing these does make you wonder why he departed from realism, for which he had so much talent.

Abstract Expressionism at the Royal Academy was also better than expected, largely because of the range of work and the inclusion of artists I didn’t really know. I do struggle with people like Pollock and Rothko though, and can’t help thinking they may be taking the piss!

The Taylor Wessing Photographic Portrait Prize exhibition, back at the NPG, seemed smaller than usual, but just as high quality. I do love these collections of diverse subjects and styles.

Back at the Royal Academy, Intrigue: James Ensor by Luc Tuymans was a very interesting exhibition of the work of an underrated Belgian master (with an obsession with masks and skeletons!) curated by a contemporary Belgian artist. I’ve seen samples of his work in my travels, but it was good to see it all together, and I liked the curatorial idea too.

At Tate Modern, a double-bill starting with a Rauschenberg retrospective. I’ve been underwhelmed by bits of his work I’ve come across in my travels, but this comprehensive and eclectic show was fascinating (though I’m still not entirely sold on his work!). The second part was Radical Eye, a selection from Elton John’s collection of modernist photography (with more Man Ray’s that have probably ever been shown together). It’s an extraordinary collection and it was a privilege to see it.

Star Wars Identities at the O2 exceeded my expectations, largely because of the idea of discovering your own Star Wars identity by choosing a character and mentor and answering questions on behaviour and values and making choices at eight ‘stations’ en route which were recorded on your wristband, in addition to film clips, models, costumes etc. The behavioural, career and values stuff was well researched and the whole experience oozed quality.

I didn’t think many of the exhibits in Vulgar: Fashion Redefined at the Barbican were vulgar at all! It was an exhibition made up entirely of costumes, so it was never going to be my thing, but it passed a pre-concert hour interestingly enough.

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