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Posts Tagged ‘BBC Proms’

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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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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Contemporary Music

There was a lot to love about Weimar Cabaret at Cadogan Hall.  The period and the place produced an extraordinarily eclectic collection of original music which gathered together has an eccentric, manic quality. The Australian Chamber Orchestra played brilliantly, in dark suits and trilbies, and Barry Humphries provided insightful and funny commentaries, and sang a song or two with cabaret star Meow Meow, who sang a lot on her own and with a lady violinist from the orchestra. I will never forget her Serenata Erotica! A unique evening.

John Wilson has a large, loyal and attentive following and last year’s brilliant Bernstein Prom propelled us to book for this year’s Gershwin Prom. I was expecting some, if not all of it, to be from Broadway, but it was all Hollywood, and a third of the songs were Ira Gershwin’s lyrics without the then late George Gershwin’s music. The first half disappointed; with little light and shade it was relentlessly showbiz and the sound mix wasn’t great, with strings buried beneath brass. It picked up significantly in the second half though, with better sound, some slower numbers and the ballet from An American in Paris as a closer. Overall, though, a bit too Friday Night is Music Night for me, and a rather expensive one too.

Opera

I’ve never seen anything in the Arcola‘s annual Grimeborn opera festival before but after their brilliant Tosca, very powerful at close quarters, I won’t make that mistake again. In fact, I’ve already booked for another two! The singing was superb and the whole score heroically played on one grand piano, and all for the price of a cinema ticket. Eat your heart out, ENO & RO.

My journey to and from the Arcola Theatre for my second Grimeborn production was more than twice as long as Rimsky-Korsakov’s rarely staged 40-minute opera Mozart and Salieri. Composed eighty years before Peter Shaffer’s play Amadeus on the same subject, also derived from Pushkin’s play. It was a bit slight for me, though it was well staged and performed. I’ve only seen a few of his fifteen operas and this was more of a collector’s item than anything else.

Grimeborn reached its pinnacle with Opera Alegria’s Mozart Double – an opera he wrote when he was twelve, Bastien & Bastienne (not his first!), which may or may not have been performed at the time, and one from his late career when he was thirty, a satire on opera itself The Impresario. You can hear clearly how he matured, though both operas are good. As they both have dialogue they are technically operettas or singspiel and the settings in this production are contemporary, the libretto updated. The performances were brilliant and it was the most fun I’ve had in 35 years of opera-going.

Cape Town Opera‘s Mandela Trilogy at the Royal Festival Hall was a hit-and-miss affair. It told Madeba’s story in three parts – youth to University, the politicised years centred in Sophiatown and his trial & imprisonment through to his freedom speech on release. I liked the prologue and Parts 1 & 3 by Peter Louis van Dijjk, but though I liked the idea of the Part 2 jazz musical by Mike Campbell, I wasn’t convinced by the contrast its inclusion created. It was semi-staged but from our top price front stalls seats we couldn’t see the singers, which rather marred the experience.

Classical Music

The off-site Prom at the Sam Wanamaker Playhouse was an absolute treat and a triumph. Eleven piece ensemble Arcangelo led by Jonathan Cohen played Shakespeare-inspired music from the late 17th century by candlelight with three brilliant soloists, Katherine Watson, Samuel Bowden & Callum Thorpe, who animated the arias by interacting and moving around the space. Wonderful.

A gorgeous lunchtime Prom at Cadogan Hall paired viol ensemble Fretwork with vocal ensemble Stile Antico for a programme of 17th century Shakespeare settings (plus a few others) with two brilliant contemporary ones by Huw Watkins and Nico Muhly. A real tonic.

The third Shakespeare themed Prom showcased music for stage and screen, with the first half music by Walton, Finzi, Sullivan and Joby Talbot written for screen and ballet versions of Richard III, Love’s Labour’s Lost, The Tempest, As You Like It and The Winter’s Tale and the second half music for the stage – Bernstein’s West Side Story based on Romeo and Juliet, Cole Porter’s Kiss Me Kate based on The Taming of the Shrew and The Boys from Syracuse, a version of The Comedy of Errors by Rogers, Hart and Abbott. I really liked it, more than the Gershwin Prom (with better sound), and conductor Keith Lockhart engaged with the audience unlike most conductors.

European cities usually have a cultural black hole in August, but I managed to find a performance of the rare Cherubini Requiem in C Minor at the Liege Opera House during a short overnight visit. Though I’d never heard it before, it seemed a bit lacklustre – WNO on an off night (we don’t know how lucky we are) – but it was good to hear it, and the theatre was lovely.

Film

Matt Damon didn’t have many lines to learn for Jason Bourne which was all action, exhaustingly so, with an extraordinary car chase at the end that I honestly don’t know how they pulled off. Great fun.

I eventually caught up with the female Ghostbusters remake, which was good fun and technically accomplished, though hardly ground-breaking.

Art

The Liverpool Biennial Festival of Contemporary Art was absolute shite. It was devoid of any beauty, lacking in ingenuity and it all seemed derivative and dated. Fortunately, Tate Liverpool had three good exhibitions – Francis Bacon: Invisible Rooms, Maria Lassnig & Ella Kruglyanskya, the latter two artists completely new to me. These, together with the permanent collections at Tate and the Walker and the Peter Blake designed Mersey Ferry, Everybody Razzle Dazzle, redeemed the weekend. I won’t get fooled again!

Icelandic performance artist Ragnar Kjartansson‘s ‘exhibition’ at the Barbican was about as off-the-wall as it gets. The only live part was ten troubadours lounging, strumming and singing – for the whole 8 opening hours! There were records of previous projects, mostly on video, including a 9-screen installation recording a 1-hour concert where each player was in a different room of a house (including the bath!), brass players cruising whilst they played in Venice for six hours every day for six months, a crooner singing the same three words for 30 minutes, band The National singing their song A Lot of Sorrow continuously for six hours, 144 paintings of the same subject in the same place where they both spent six months and four 5-yearly videos of his mother spitting in his face. I rather liked it all!

I managed to catch the exhibition of Francis Townes‘ late 18th century watercolours of Italy on its last day at the British Museum. They were beautiful, though a touch faded and mostly behind glass. He was apparently never accepted by the art establishment, despite his undoubted talent.

The Travel Photographer of the Year exhibition has moved south-east and indoors to Greenwich University and, despite the journey, is better for it. It was the usual high standard but it made me feel less inadequate as, since last year, I’ve done a short photography course, had some coaching and went on some photographic safaris, so next year I think I might enter!

The Georgia O’Keeffe exhibition at Tate Modern exceeded its expectations bigtime. A hugely comprehensive retrospective which also allowed you to learn about her life through photographs and room descriptions. I’ve always loved her work, now I’m virtually obsessed. I’ll be back!

The exhibition I went to the Photographers’ Gallery to see, as instructed by Time Out (!) – Made You Look: Dandyism and Black Masculinity – disappointed, but upstairs there were two floors of Terence Donovan’s wonderful, iconic, mostly black and white 60’s and 70’s photographs in Speed of Light. An unexpected treat.

Colour & Vision at the Natural History Museum sought to explain the evolution of vision in the animal world. It started well, with fascinating fossils in particular, but then threw in the kitchen sink and became overpowering and confusing. Shame.

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Contemporary Music

I was looking for something to take a visiting friend to. I looked at the Globe website and saw someone called Becca Stevens was playing. I’d never heard of her but I looked at some clips on u-tube and booked. Little did I realise that I was going to become a big fan. Her concert by candle-light in the Sam Wanamaker Playhouse was a lovely combination of folk pop and jazz. She has a beautiful voice and a terrific band and her love of her work and this venue was infectious. A real treat!

Sadly the following night’s Gospel Prom wasn’t a treat. It showcased lots of different British gospel styles but, with one exception, they were all pop-rock-gospel, way too loud and lacking in any subtlety or even genuine feeling. It was hosted by former Destiny Child Michelle Williams, which seemed very appropriate given the content.

I’ve seen guitarist Antonio Forcione many times, mostly in Edinburgh, but his Kings Place concert was the first solo one for a long time. His style is percussive and his talent virtuosic and he never disappoints, though I did miss some of the colour percussion and other instruments can and have added. Support Will McNicol was technically accomplished, but perhaps lacking in the flair and personality of Forcione. A nice evening.

KlangHaus: On Air was part rock concert, part art installation, a promenade performance in the roof space / plant rooms of the Royal Festival Hall, exiting onto the roof. It was put together by band The Neutrinos. The music ranged from neo-punk to gentle ballads. It was unique and extraordinary.

Part of the problem with the Bowie Prom was that most of the audience just didn’t know what to expect. They wanted a celebration, but they got an avant-garde neo-classical evening with a sometimes off-the-wall selection of songs and quirky arrangements. It was interesting but it disappointed nonetheless.

Opera

I haven’t seen that many productions of Il Travatore and haven’t seen it for some time. This Royal Opera production is unquestionably the best musically, with a fine quartet of leads, three new to Covent Garden, and the wonderful RO Orchestra and Chorus. As for the ‘concept’, I’ll just say tank, gypsy caravan and an army taking a selfie with their captured prisoner and you’ll no doubt get my view.

Classical Music

My first proper Prom was a lovely programme of rare Faure, Shylock, Stravinsky’s Pulcinella and Poulenc’s Sabat mater. I like all three composers but the works were new to me. Beautifully played / sung by the BBC SO and BBC Singers, this is just what the Proms are for.

My second proper Prom was an unusual combination of two choral pieces (one a world premiere, with composer Anthony Payne in attendance), a violin concerto (with an auspicious Proms debut by Taiwanese-Australian Ray Chen, playing the same violin the world premiere was played on in 1868!) and a symphonic poem based on Shakespeare’s Tempest – but it all worked brilliantly well under the great Andrew Davies.

My third proper Prom was Mahler’s 3rd Symphony, not one of my favourite symphonies, or even one of my favourite Mahler symphonies, but a fascinatingly structured, monumental work which the LSO did full justice to. The rapturous welcome and standing ovation given to 87-year-old conductor Bernard Haitink was very moving; the Proms audience is the best!

Dance

Natalia Osipova appears to be ‘doing a Sylvie Guillem’ with her first venture into contemporary dance at Sadler’s Wells in a collaboration with three top flight choreographers. The first piece, with two male dancers, was mesmerising, but the second and third, with her (life) partner Sergei Polunin, disappointed – the second was more movement than dance and the third more physical theatre. Overall, it didn’t really show off her talents and I felt she was showing off and being a bit of a diva. Failing to pick up two of the four bouquets thrown on stage at the end was a bit revealing!

Film

I enjoyed Absolutely Fabulous: The Movie, but it was another one that didn’t really live up to the hype, and the huge number of cameos seemed a bit desperate. Probably worth waiting for the inevitable TV screening (it is BBC Films) rather than the trip to the cinema.

Romantic comedies are one of my guilty pleasures and Maggie’s Plan is a nice quirky one with some outstanding performances which feels like a homage to Woody Allen rather than a plagiarism of him.

Watching Star Trek Beyond in 3D, I realised how much technology is now swamping storytelling and characterisation. I found myself being wowed but not excited enough and not moved at all. Maybe 3D compounds this – at some points it was moving so fast I lost track of who was who and where each place was in relation to others.

The BFG was the most charming film I’ve seen since Paddington. Mark Rylance was perfect casting, the young girl playing Sophie was delightful and Penelope Wilton as The Queen. What more could you ask for? Rafe Spall as HMQ’s footman, of course!

Art

David Hockney’s Portraits (82 of them, plus 1 Still Life!) at the Royal Academy of Art works well as an installation, scanning the three rooms to get the effect, but as individual works you get bored very quickly, because each one has either blue background and green floor or vice versa, the subjects are all seated in the same chair and some subjects have been painted more than once! Downstairs, favourite sculptor Richard Wilson has done a great job on this year’s Summer Exhibition, which had a very different feel and was very playful.

Shakespeare in Ten Acts at the British Library is a superb celebration of the 400th anniversary of his death. It includes a mass of fascinating written material plus video interviews and performance extracts. It was worth going just to see footage of Peter Brook’s now legendary A Midsummer Night’s Dream and Improbable’s The Enchanted Isle for the Met.

Imran Qureshi’s modern miniatures in the Barbican Curve Gallery were a delightful surprise. With paint on the walls and floors and low lighting, it’s a fascinating and rather beautiful installation.

I liked both the portraits and landscapes in Adam Katz Serpentine Gallery exhibition, but there were only 20 of them. Fortunately the brilliant Summer Pavilion (and four Summer Houses inspired by the eighteenth century Queen Caroline Pavilion near them, a new innovation this year) made the visit very worthwhile.

I’ve always liked William Eggleston’s urban landscape photos, but had never seen the portraits in the NPG William Eggleston Portraits exhibition. They were original and striking and I liked them.

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Contemporary Music

It’s a long time since I last saw Ben Folds. His concerts used to be a bit random and frequently irritated me. I certainly never expected to see him at the Royal Opera House, but that’s where he played with New York sextet yMusic (violin, viola, cello, clarinet, flute and trumpet / horn) and drummer Sam Smith and boy was it a treat. Though there were some songs from the back catalogue, rearranged for this configuration, it was mostly new stuff and I now can’t wait for the album to follow. It was a serious but good-humoured affair and the vocal contribution of the audience, conducted by Folds, was stunning. A treat.

Classical Music

My second Prom of British music wasn’t as good as the first, as it turned out to be a bit of a ragbag selection. It was bookended by Walton with Vaughan Williams, Elgar and a piece by Grace Williams, a 20th century Welsh composer I’d never heard of, in-between. It wasn’t the individual pieces, which were each good in their own way, it was that they didn’t seem to belong together. Perhaps my continual thinking about the journey home during a tube strike was distracting me.

I was attracted to Prom 32 by works by Gershwin and Copeland and the fact it was choral, though I’d never heard of Eric Whitacre, the American conductor and composer of four of the seven works. It turned out to be a huge treat – Whitacre’s works were inventive and captivating, there was a refreshing informality with introductions to each piece and a touch of showmanship for good measure. I think I became an instant fan.

We followed it (after the picnic, obviously) with another Prom featuring the Orchestre Revolutionnaire et Romantique under John Eliot Gardiner playing two classic symphonies, Beethoven’s 5th and Berlioz’ Symphonie Fantastique, and though they were well played (despite the rather rasping brass) it didn’t rise to the afternoon’s heights.

The Bournemouth Symphony Orchestra is as good as most of the London orchestras, as they proved convincingly in their lovely Prom programme of three works written in the last year of the Second World War by Britten, Korngold & Prokofiev under their dynamic young Ukrainian conductor Kirill Karabits. The Sea Interludes and Prokofiev’s 5th weren’t new to me and both were beautifully played, but the Korngold violin concerto was and Nicola Benedetti played it (and an encore) brilliantly.

Film

My problem with Dear White People is that I couldn’t get past my distaste of the conservative, traditional middle-class American college system to get to the satire on racism. It was OK, but only OK.

Art

The Alfred Wallis exhibition at new Old Street gallery Modern Art, on loan from Cambridge’s Kettle’s Yard, was fascinating. His naïve childlike paintings, mostly of ships and boats, were painted from memory on salvaged card and paper. They weren’t technically accomplished, but there was something compelling about them.

The London Metropolitan Archives are new to me, but once I’d found them (!) the exhibition of Victorian London in Photographs was fascinating. They included street scenes, street sellers, theatrical figures and albums from schools and asylums.

A trio of photographic exhibitions three days after completing a photography course may not have been my best idea as it plunged me back into feelings of photographic inadequacy. The first was Revelations at the Science Museum, examining the influence on early scientific photography on modern & contemporary art. Though the photos were almost all fascinating, I’m not sure it did what it said on the can. At the Natural History Museum, my reaction to the Wildlife Photography Prize Exhibition was different with the extra knowledge I’d gained since I saw it last. I now seemed to be more aware of, and therefore thinking about, the technology that enabled the photos as much as, if not more than, the creativity of the photographer. Still, they were still amazing. The same happened at the Royal Geographic Society’s annual Travel Photography Prize exhibition, but I was still wowed and still in awe of the results.

Duane Hanson’s uber-realistic sculptures of people at the Serpentine Sackler Gallery were rather spooky. I mistook more than one for real people and a real person for a sculpture; fortunately I didn’t stare too long or photograph him. Back in the Serpentine Gallery itself, I popped in to see an exhibition of paintings, mostly dark portraits with occasional flashes of colour, by contemporary British artist Lynette Yiadom-Boakye and loved them – an unexpected bonus in an art afternoon, which also provided an opportunity to see the extraordinarily colourful 2015 Serpentine Pavilion from the inside.

Utopia, at The Roundhouse, was their most ambitious summer installation yet. Taking its lead from Thomas More’s 16th century book, it took us through sweat-shops, bookshops and wastelands, questioning the price and value of consumerism. Brilliant, thought-provoking stuff.

Up in Edinburgh it was lean pickings for art this year, though I chose to wait for two exhibitions heading to London, but what I saw I liked. The annual International Photography exhibition was up to its usual standard with a hugely improved colour catalogue for a knock-down price. At the Scottish NPG there was an interesting exhibition of photos by Lee Miller documenting the friendship of her and her husband Roland Penrose with Picasso (which provided an opportunity to see the newly renovated gallery in all its glory). At the new Ingleby Gallery there was a fascinating exhibition of pictures, posters and sculptures by Charles Avery, someone new to me, whilst at Dovecot Studios, another new space, two treats – Kwang Young Chun‘s obsessive but enthralling work made of tiny folded paper parcels and Bernat Klein‘s tapestries with the artwork for them.

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Opera

The Royal College of Music put on Britten in their Britten Theatre and did him proud with a delightful production of his comic masterpiece Albert Herring. It succeeded in every department – staging & design, playing & singing – and it was lovely to see Janis Kelly guesting at her old college where she’s now teaching.

Classical Music

The LSO‘s end of season concert at the Barbican was also a tantalising taster of things to come when Simon Rattle takes over in 2017. The first half was a lovely opera for children by Jonathan Dove based on the Minotaur myth with literally hundreds of community performers and the LSO and GSMD SO together. In the second half, the combined orchestras raised the roof with Walton’s 1st symphony. Exciting stuff, and wonderful to see the students side-by-side with the pros from one of the world’s great orchestras, which I sense it about to become even greater under Rattle.

The first Prom of 2015 was a cracker, with the Proms debut(!) of Vaughan Williams huge choral piece Sancta Civitas coupled with Elgar’s 1st Symphony and a bit of Debussy to kick off. Sir Mark Elder marshalled his Halle Orchestra and four choirs brilliantly. The Royal Albert Hall was packed to the rafters.

Dance

INALA, at Sadler’s Wells, the collaboration between choreographer Mark Baldwin, composer Ella Spira and South Africa’s Ladysmith Black Mambazo was simply extraordinary, a brilliant fusion of dance and music, Africa and Europe, beautiful and breath-taking. It had no narrative, yet it somehow managed to convey the essence of Africa. Gorgeous.

Film

Seeing Brian Wilson in concert in recent years has been so wonderful, a true survivor and genius returning to make the glorious music he began so long ago and the bio-drama Love + Mercy about his ‘lost years’ is an outstanding film. It’s a fascinating story of survival told beautifully and delicately. Not to be missed.

Art

The Carsten Holler ‘exhibition’ at the Hayward Gallery was a bit of a disappointment. The twin entrances – long pitch black tunnels which twisted and turned – were scary and disorientating, but very clever. From then it was really rather tame, though I didn’t take the aerial ride (which seemed very slow) or the slide down and out!

The Joseph Cornell: Wanderlust exhibition at the Royal Academy was fascinating. His box collages are eccentric and a bit obsessive but always interesting and intriguing. Downstairs was the best Summer Exhibition in years, thanks in part to the curation of Michael Craig-Martin, who’d painted three rooms (well, not personally!) in bright colours before hanging the works, and the courtyard sculpture and brightly painted stairs within.

At the NPG, the BP Portrait Award exhibition contained some brilliant pictures; the standard seems to get higher every year. An excellent institution. Elsewhere in the building, Audrey Hepburn: Portraits of an Icon added some glamour. Is there a more classically beautiful woman?

I’m not a huge fan of Barbara Hepworth‘s abstract sculptures, but I very much enjoyed her retrospective at Tate Britain, partly because it included excellent early figurative work and partly because you learned a lot about the woman herself.

The Barbican Curve Gallery was back on form with an installation where you walked on salt following a light, with a soundtrack, through the gallery! Intriguing.

A day trip to Margate for Grayson Perry’s Provincial Punk exhibition at Turner Contemporary was well worth it. He’s the most interesting living British artist and his eclectic collection of pots (more than I’ve ever seen in one place) and tapestries was fascinating. It was supplemented by early films, paintings, drawings and other items. A treat.

Soundscapes at the National Gallery was a great idea and by and large a good experience, though at £1.33 per picture, perhaps not the best value in town! The paintings chosen weren’t predictable and the music which the six composers had written for each painting were diverse and fitting, but the atmosphere was occasionally destroyed by gallery attendants talking (I had to bollock one!).

The art month ended on the top floor of the Brewer Street car park in Soho for Carsten Nicolai’s light and colour installations. The best of them, unicolour, was an extraordinary projection of infinite coloured light changing frequently and mesmerising the viewer. Brilliant.

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Contemporary Music

In Laura Muvla‘s late night Prom she performed the whole of her one and only album, Sing to the Moon, with an orchestra and choir. Some of the arrangements were a bit overcooked, smothering the lovely songs a bit, but overall it was a success as the writing and singing shone through. The sound was great and the audience even more quiet and attentive than most classical Proms. Now we need a new album, Laura.

Anything Goes at Cadogan Hall was anything but another one of those song compilation shows. First it was Cole Porter and the 50th anniversary of his passing. Second, it was musical theatre royalty with Maria Friedman, Clive Rowe, Jenna Russell & Graham Bickley all at the top of their game, with obvious chemistry, mutual respect and friendship. It was great to see the Royal Academy of Music MTC Chorus given a chance to work with such musical theatre icons and with a band as good as the Royal Philharmonic Concert Orchestra under Richard Balcome. You rarely hear musical theatre songs played this well, and the winds and brass were positively glorious.

Opera

A return to Opera Holland Park after a few years to see an early 20th century  relative rarity by Francesco Cilea, Adriana Lecouvreur. My enjoyment of the first half was badly hampered by a full-on view of the conductor and not a lot else – a relatively expensive restricted view front row seat that wasn’t sold as restricted view! The highlight of the evening was the fantastic orchestra under said conductor, Manlio Benzi. There was some good (rather than great) singing and the updated production just about pulled it off. Sadly, OHP seems to be turning into a London version of those country house operas – rising prices, conspicuous corporate hospitality, dressing up…..if they introduce long picnic intervals, the transformation will be complete!

Classical Music

I don’t often go to piano recitals, then when I do I ask myself why?! A visit to Oxfordshire included one by John Lill at Christ Church Cathedral and I thoroughly enjoyed it. In a great programme of Mozart, Schumann, Brahms and Beethoven, the Schumann and Beethoven shone and the venue was a real bonus.

My first proper Prom of 2014 was an all-English affair, with three works from Vaughan Williams and a real rarity from someone I’ve never heard of – William Alwyn. Alwyn’s 1st Symphony isn’t brilliant, but it’s good enough and not worthy of such neglect (like the rest of his work). By contrast, The Lark Ascending is by all accounts the most popular classical work and here it was beautifully played by Janine Jansen. The gung-ho Wasps Overture and rarer Job ballet suite made up an excellent programme conducted by the BBC SO’s new chief conductor Sakari Oramo, whose enthusiasm and joy were infectious.

The next Prom was named Lest We Forget and it was a melancholy but very beautiful affair, featuring four composers, one German, who fought in the First World War, three never coming back. Two were completely new to me (the German, Rudi Stephan, was getting his Proms debut and Australian Brit Frederick Kelly is rarely performed). George Butterworth‘s song cycle A Shropshire Lad was sung beautifully by Roderick Williams and the BBC Scottish SO under Andrew Manze played all four pieces wonderfully. Vaughan Williams Pastoral Symphony (with tenor Allan Clayton, instead of the more usual soprano) has never sounded better. The loss of three talented composers was very sad, but it was a lovely tribute.

My final Prom for 2014 saw Andrew Davies back where he belongs and he chose a terrific programme of Strauss (R), Elgar & Berlioz to show off his great new band, the Melbourne Symphony Orchestra, who got a great welcome from the Proms audience. Music by German  British & French composers spanning 89 years, an Australian orchestra & a Norwegian cellist & a British conductor and an audience of real music lovers – that’s what I like about the Proms.

Cabaret

Celia Imrie’s show Laughing Matters at St James Studio was a quirky and sometimes surreal affair. Songs accompanied by a pianist and drummer (I wish I knew who wrote them), monologues and anecdotes and two male assistants! It ended with a panto-style sing-along complete with song sheet, with the cast dressed as sailors and the audience in sailor hats emblazoned with ‘R.M.S. Celia’! She can’t really sing, the show had a certain amateurishness about it, but her charm won you over and made you smile – a lot.

Film

I was lured to The Inbetweeners 2 by rave reviews (4* in The Times!) and even though it was fun, it was like watching a triple episode of the TV series with big screen technicolour projectile vomiting. A peculiarly British take on gross-out teen comedy.

Positive reviews also lured me to Guardians of the Galaxy (another 4* in The Times), but it was no time at all before I was bored with the banal story and just watched the 3D effects, but they became relentlessly repetitive too. There were some nice tongue-in-cheek touches, but I’m now wondering why I stayed.

I refused to pay Sonia Freidman’s obscene prices for Skylight in the West End but I eventually succumbed to the ‘encore’ of the live cinema transmission. Carey Mulligan proves to be an exceptional stage actor and Bill Nighy has lost none of his charisma. The 19-year-old play seemed bang up-to-date and the interval interview with Hare was a bonus. I’d have loved to see Bob Crowley’s brilliant set live, but hey it came over as a great production and I thoroughly enjoyed my first NT Live experience, even though it wasn’t the NT and it wasn’t live!

Art

I think I’m going to have to stop going to the Saatchi Gallery as, yet again, only a small fraction of what was on show appealed. This time it was Abstract America Today upstairs and Pangaea: New Art from Africa & Latin America downstairs. When the best room has walls covered with giant insects, you know you’re in trouble.

I’m not a fan of fashion and if I’d had to pay I probably wouldn’t have gone, but The Fashion World of Jean Paul Gaultier at the Barbican was great fun and extremely well curated with a nice tongue-in-cheek touch (some of the dummies had holographic talking heads!). Whatever you think of his clothes, you have to accept that he has a colossal imagination.

No less than three exhibitions for an afternoon at the Royal Academy. The Summer Exhibition never changes but it’s an important institution and it’s always worth a visit. The highlights this year were the model of Thomas Hetherwick’s garden bridge (I can’t wait to see it built) and a couple of hilarious Glenn Baxter cartoons. Upstairs, Radical Geometry is an exhibition of 20th Century South American art which you’d never know was South American if it wasn’t billed as such. It’s well executed but they are very derivative abstract, geometric works. Interesting, but…..Round the back, Dennis Hopper: The Lost Album is a very personal record of six years in the sixties which would never be seen if the photographer wasn’t a famous film actor / director. Interesting, but…..

In just six years the Travel Photography Awards exhibition at the Royal Geographic Society has become so popular that my usual amble through it has become a scrum, partly because I left it until the final day I suspect. It was hard to get close enough to what seemed like a less impressive collection this year. Down the road at the V &A Disobedient Objects is an original, fascinating and wide-ranging look at items associated with protest, including banners, posters and even vehicles. Well done, V&A!

The British Library Comics Unmasked exhibition was a frustrating affair – low lighting combined with small print labels, but above all lots of nerds stooped over the exhibits reading every word of every cartoon and monopolising them. Again I was probably hampered by catching it on its last day, but it could have been curated so much better. The Enduring War exhibition, part of the WWI commemorations, was a lovely unexpected bonus which I enjoyed more!

The Photographers Gallery continues to be an essential regular visit and this time it was a fascinating exhibition tracing colour in Russian photography over 120 years. It proved to be a social and political history as well as a photographic history. At the entrance, they currently have a video wall which shows how a couple of Germans mined Facebook for images then put them on a spoof dating site with categorisations based on the images. It includes the victims comments, TV coverage and the legal threats they received. Clever, fascinating but spooky! I shall brush over the other exhibition – still life photos (and installations including them) of decaying fruit from Ridley Road market!

The first few rooms of the Malecvich exhibition at Tate Modern are spectacular – bright, colourful, original paintings of people and landscapes with a geometric spin. Then he goes all dull and abstract before returning to his earlier style. Frankly, it would be a better exhibition if it was ‘The early and late works of…’ and reduced from 12 rooms to 6!

There was some great stuff to see around town this month; two WWI tributes – the moving sea of poppies at the Tower of London, spectra – the lights illuminating the sky from Victoria Embankment Gardens – and this year’s Serpentine Pavilion, like a spaceship which has landed. Up in Gateshead, Daniel Buren created glorious colourful spaces in Baltic by covering the windows and skylights with coloured panels and placing large mirrors on the gallery floor. A real regional treat.

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