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Posts Tagged ‘Serpentine Gallery’

Opera

My winter pairing at WNO at the WMC in Cardiff was Verdi’s La Forza del Destino, a hugely underrated opera, and Puccini’s regularly revived Tosca. The former was an excellent new production and the latter a 26-year-old one which has stood the test of time. Both were beautifully sung and conductor Carlo Rizzi has real feel for the Italian repertoire, so the orchestra sounded gorgeous.

Jake Heggie & Terrence McNally’s opera Dead Man Walking has taken eighteen years to make it to the UK and even then only semi-staged by the BBC SO. Why on earth haven’t ENO or the Royal Opera staged this modern masterpiece? Anyway, at the Barbican Hall it was an absolute triumph with a sensational cast led by Joyce DiDonato, Michael Mayes, Maria Zifchak and Measha Brueggergosman and students from GSMD in smaller roles. I left emotionally drained but privileged to have attended something so special.

Classical Music

The LSO and LSC gave one of the best performances of Mahler II I’ve ever heard at the Barbican Hall. It’s a big work that’s often more suited to bigger venues like the Royal Albert Hall, but here it was uplifting and thrilling.

Attending an LSO rehearsal in the Barbican Hall proved fascinating. Most movements were played right through before revisiting sections at the request of the conductor, soloist or players. Elgar’s 1st Symphony sounded so good I almost returned for the concert, and the rehearsal introduced me to new pieces by Janacek and Bartok.

Another of those delightful Royal Academy of Music lunchtime concerts saw their Symphony Orchestra virtually on fire under the baton of Jac van Steen in a beautiful Sibelius programme. I so love these lunchtime RAM treats.

The Royal College of Music Symphony Orchestra’s programme of more obscure Stravinsky pieces from the first ten years of his exile was more enticing on paper than it turned out in performance, though the eight visiting singers from Moscow’s Tchaikovsky Conservatoire were excellent, and their enthusiasm infectious.

Film

Phantom Thread looked gorgeous and the performances were outstanding, but I couldn’t engage with the rather flimsy and inconsequential story at all, I’m afraid.

I adored Lady Bird, a delightful coming of age film told through the relationship of a mother and daughter. It feels like an Inde film but its nominated for BAFTA’s and Oscars.

I try and see all the Oscar and BAFTA nominated films and only one or two normally disappoint. This year, in addition to Phantom Thread, it was The Shape of Water. There was a lot to enjoy, but it seemed a bit slight and overlong. A case of too much hype, I suspect.

Finding Your Feet is my sort of film, a quintessentially British cocktail of humour & romance within a well observed account of growing old. Laughter and tears. Loved it.

I, Tonya is the most extraordinary true story made into a brilliant film which is ultimately sympathetic to its subject in the same way Molly’s Game was sympathetic to its subject. Two great contemporary true stories in one year.

Art

A disappointing afternoon of art started with Peter Doig at the Michael Werner Gallery, where so many seemed sketches or unfinished works, and much smaller than his usual giant canvases. At the Serpentine Gallery, Wade Guyon’s digital paintings did nothing for me while up the road at the Serpentine Sackler Gallery, Rose Wylie’s child-like pictures did a bit more, but not a lot. On to the National Gallery, where I fared much better with Monochrome, an exhibition of black & white, grey and one colour art throughout history, ending with Olafur Eliasson’s yellow room. Fascinating.

Whilst visiting Cardiff, I popped in to the National Museum of Wales to see Swaps: Photographs from the David Hurn Collection. This Welsh photographer did just that – swapped photos with other photographers he met, including global figures like Cartier Bresson, which he has now given to the museum – a brilliant idea and a fascinating collection. Another exhibition called Bacon to Doig showed 30 items on loan from a major private collection of modern art; a real quality selection it was too. Finally, in a room containing a decorative organ they have removed the art and someone plays and sings a piece by Icelandic artist Ragnar Kjartansson called The Sky in the Room continuously – beautiful!

The Royal Academy’s exhibition Charles I: King & Collector doesn’t really contain my sort of art, but I admired much of the artistry, the significance of the collection and was hugely impressed by the extraordinary achievement of getting all of these pictures from all over the world into one exhibition.

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Opera

My second visit to Grimeborn 2017 at the Arcola Theatre was for Lully’s 17th Century opera Armide. It was the first night, so it was a touch ragged at the edges, the production was a bit static (lots of posing) and it was hard to follow the story, but there was much to enjoy in the singing and playing.

Classical Music

Handel’s oratorio Israel in Egypt, in its full three part version, got a terrific first performance at the Proms by the Orchestra & Choir of the Age of Enlightenment under William Christie. I love the way it builds, I love the fact that 27 of the 39 parts are choruses and I loved the fact that the soloists came out of the choir.

An English music Prom featuring the National Orchestra & Chorus of Wales proved to be an eclectic delight. Two pieces I’d never heard by favourite composers – Britten & Purcell – with the most delicate and uplifting rendition of Elgar’s Enigma Variations and the world premiere of Brian Elias’ Cello Concerto, with the composer in attendance. Brilliant.

A new innovation at the Proms this year was ‘Beyond the Score‘, where the first half was a profile of the composer and background to the work, with actors, visuals and musical extracts, followed by the complete symphony, in this case Dvorak’s 9th, From the New World. Though I thought the first half was a bit long, it was insightful and I very much enjoyed the experience and felt I heard more in the piece as a result. Mark Elder and the Halle were on fine form.

The 120-year-old Cincinnati Symphony Orchestra made their belated Proms debut with a programme of Bernstein, Copeland and Tchaikovsky. I thought they were more at home with the American repertoire that the Russian, which they proved conclusively with a stunning encore of Bernstein’s Candide Overture, better than I’ve ever heard it played before. The Proms audience made them very welcome indeed.

Contemporary Music

The late night  Stax Prom, celebrating 50 years of the label, exceeded expectations big-time. I wasn’t a huge fan in the day, but came to Stax later and visited the studios in Memphis in 2004. Two of the original house band and three of the original singers were supplemented by some of the best British soul voices, led by Sir Tom Jones. Jools Holland’s R&B Orchestra were great (though the sound could have been a bit better) and it was full of highlights, with a terrific atmosphere in the Royal Albert Hall.

Film

I was introduced to the folk art of Maud Lewis when I went to the Art Gallery in Halifax Nova Scotia last September, so the bio-pic Maudie perhaps meant more to me as a result. True to her life story and beautifully filmed, I adored it, and Sally Hawkins was sensational as Maud.

Atomic Blonde was thrilling but too violent for me, with much of it improbably prolonged violence. Gold stars to the stunt men and women, though.

I was bored very early on in the over-hyped A Ghost Story, and presenting the ghosts as people covered in sheets with slits for eyes just seemed preposterous.

Thankfully, The Big Sick exceeded its hype and caught me by surprise as to how moving it was. Unlike the typical laddish Judd Apatow film; very grown up.

I’m very fond of independent British films, and God’s Own Country is one of the best in recent years, beautifully filmed and it really shows off Yorkshire!

Art

I’m not a fashion man, but you have to admire the classic design and extraordinary craftsmanship of Balenciaga at the V&A. Up the road at the Serpentine GalleryGrayson Perry’s exhibition was just the right size to give the pieces room to breathe and to avoid overwhelming the viewer, and the gallery managed the flow of punters brilliantly. The art, of course, was as fascinating as he always is.

A wonderful day of art started at St. James’s Piccadilly with the sculptures of Emily Young in the gardens. All heads, but different types and different stone, they were lovely. At the Royal Academy, I managed to get us into the Friends preview of Matisse in the Studio which was a little gem, showcasing pictures with the items from his studio in them. They have been loaned from so many different places it really is a once-in-a-lifetime show. Downstairs in the RA the one-room wonder that was Second Nature: The Art of Charles Tunnicliffe, some of the most gorgeous illustrations I’ve ever seen. After lunch a return to Picasso: Minotaurs & Matadors at the Gagosian which was well worth a second viewing, then off to Tate Modern for Giacometti, which was way more diverse and way more fascinating than I was expecting. Now that’s what I call an art feast!

+ / – Human was this year’s Roundhouse summer installation, seven round white drones which moved above your head, coming teasingly close but rarely close enough to touch, with at atmospheric soundtrack. Fascinating and fun.

The Pink Floyd Exhibition: Their Mortal Remains at the V&A was interesting and well put together (apart from the fact it was a bit crowded and you sometimes lost the automated audio guide as you moved) but I gave up on them too soon, as they became somewhat overblown and pompous, so I’m not enough of a fan to rave about it.

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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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Contemporary Music

I often take a punt with the Proms and this year it was the Urban Classic Prom, attracted by new favourite Laura Mvula. I was more at home with the soul of Mvula, Maverick Sabre & Jacob Banks than the hip hop / rap of Fazer, Wretch 32 and Lady Leshurr (what names!), but the combination was compelling, the atmosphere was extraordinary and the respect of the ‘urban’ crowd for the BBC SO was wonderful to behold. I could have done without the intros, but hey that’s a small quibble. Put together by conductor /arranger Jules Buckley, this was a brave experiment that worked big-time, moving the Proms on again and finding yet another new audience.

I’ve seen Martha Wainwright a few times before, but her Union Chapel concert was at another level altogether. Her voice soared, packed full of passion and sincerity, with just acoustic guitar for accompaniment. Her sound seems even more unique than ever, but she’s also clearly very happy and for the first time her infectious eccentric charm cast a spell (with self-deprecating humour and faux bitchiness about brother Rufus). Her 3-year-old son almost stole the show when he accompanied his dad on stage; this could have been indulgent, but it came over as more charm, making you think how much fun it would be to have Sunday lunch at the Wainwrights. Great support from Luke Sital-Singh (who used to be an usher there!) and a terrific evening overall.

Classical Music

The Proms rarely disappoint, but this year my third (and last) did. In the first half, Holst’s ‘Hindu’ symphonic poem Indra was paired with the world premiere of Nishat Khan‘s sitar concerto. The former seemed slight and uninspiring and the latter just didn’t work – the sitar and orchestra appeared to be in competition rather than harmony; their styles didn’t compliment and the sitar sometimes fought to be heard. In the second half, Vaughan Williams’ London Symphony lacked sparkle, not helped by audience additions, notably a mobile phone ringing (and being answered!) just at the point where the harp is playing solo, drowning it out and destroying the atmosphere.

Film

If Alpha Papa was a feature-length episode of a TV series, I’d have been happy. I’m not sure it justifies it’s cinema release though. It’s often funny and the character of Alan Partridge has, somewhat surprisingly, evolved and endured, but it’s not really good enough for such a high profile release.

Art

A trio of exhibitions at Tate Britain, led by a major Lowry retrospective. There is a limit to the number of Lowry pictures one can take before they appear very formulaic; towards the end it began to feel like chimneys, terraces and stick people assembled in different configurations, and the people became more like caricatures. Though he is unique in portraying early 20th century British industrial life, and I admired and liked much of the paintings on show, it is a case of more-is-less. Mind you, after you’ve taken a look at the Gary Hume & Patrick Caulfield exhibitions, your admiration of Lowry shoots up! Caulfield is the better of the two, but neither excite.

The annual Travel Photography exhibition at the RGS was up to its usual standard. It comes to something when you think you take good photos but you’re in awe of the talent of a 10-year-old Indonesian boy! Across the road and in the park, the Serpentine Gallery is hosting another of those take-it-or-leave it shows (Sturtevant), but Sou Fujimoto’s 2013 Pavilion outside is lovely. A bus ride to Piccadilly and there we were in superstar architect Richard Rogers very personal Royal Academy show. Lots of those building models I so adore (especially the ones of the unbuilt) with lots of philosophical ramblings to go with them.

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Well, the highlight of the month was undoubtedly my trip to the rehearsal of the Olympic Games Opening Ceremony. We didn’t get the whole lot (sadly not the winged bicyclists, but thankfully not the never-ending entrance of the teams!) but we got most of it and it was truly spectacular. My front row seat may not have been the best, but I was privileged to be there and it was an experience I will never forget. You know the rest, but here are some photos!

Another unexpected treat was getting tickets to one of Eddie Izzard‘s work-in-progess shows in the cabaret space at Soho Theatre. A late Monday night (after dinner and drinks) was a challenge, but it was fun. He really is a one-off.

Opera-wise, it was Cape Town Opera‘s visit with Porgy & Bess, which proved itself to be more of an opera than a musical in this excellent production. Moving it to a South African township worked, though the highlights were all vocal – the soloists and chorus were thrilling.

I’m not sure I know how to categorise Desdemona, a collaboration between poet Toni Morrison, director Peter Sellers and favourite Malian singer Rokia Traore, but given it was Rokia that largely drew me to it and was the best thing about it, I’ve decided it’s music. Her songs were lovely, but the narrative that accompanied it was never-ending and somewhat pretentious. It would have made a great concert!

I never made it to Bryn Terfel’s festival in his back yard in North Wales (though we had tickets for the last one, which was cancelled!) so well done Southbank Centre for bringing Bryn Fest to me! The evening of songs from the Golden Age of Broadway featured a quartet of favourites – Julian Ovenden, Clive Rowe, Hannah Waddingham and Emma Williams – as well as the man himself, and it was full of highlights. You rarely hear these songs with a full orchestra and that was a huge bonus. It was lovely to see Bryn & Clive’s take on Brush Up Your Shakespeare. I expected Clive to be word-perfect given he’s currently playing it in Chichester, but Bryn was too – no mean feat with all those Shakespeare references.

Though I had a ticket, I missed the opera evening because I had a better offer (a freebie return to the wonderful Sweeney Todd!) and I caught only half of pianist Huw Warren‘s free foyer concert, which featured a trumpeter and a jazz version of a Welsh hymn, but was glad I caught what I caught. The Wales Choir of the World event was another treat, featuring choirs from 11 countries on 5 continents. The highlights were the South African choir, the Cory Band and the massed choir & brass band rendition of the world premiere of a Karl Jenkins The Hero’s Journey. As I left the RFH, a large audience on the riverside were being taught to sing in Welsh for Bryn’s Big Sing which was a fitting end to this mini-festival.

Four Proms this month, starting with the much criticised populist opening night. Well, I enjoyed it; what’s wrong with a bit of populist patriotism?! More Bryn (the 5th time in 17 days!) in Delius’ lovely Sea Drift, a quartet of premiere league soloists for Elgar’s full Coronation Ode and orchestral pieces from Tippett and Elgar again – oh and a Mark Anthony Turnage world premiere, just in case you were feeling a bit too nostalgic! Six days later, Handel’s oratorio Judas Maccabaeus was given a rare but enjoyable outing by the Orchestra and Chorus of the Age of Enlightenment with another quartet of fine soloists. This was followed three days later by a concert version of Berlioz The Trojans – long but lovely! Again, some great solo turns from Bryan Hymel, Eva-Maria Westbroek and Anna Caterina Antonacci, this time with the superb orchestra and chorus of the ROH under Antonio Pappano. So to the night of the opening of the Olympics where an early start for Beethoven’s 9th meant we (and conductor Daniel Barenboim, who later carried in the Olympic flag!) wouldn’t miss Danny Boyle’s spectacular on TV. Barenboim’s West-East Divan Orchestra, made up of young Palestinian and Israeli musicians, was right for the occasion but also played brilliantly and the National Youth Choir of Great Britain, also right for the occasion, were stunning. What a prologue for the evening that followed!

It was time to catch up with some art this month and I started at the De Morgan Centre where the work of ceramicist William and his painter wife Evelyn is showcased in a small but superb collection; eye-poppingly beautiful (if you’re into Arts & Crafts and / or the pre-Raphaelites) .  Picasso & Modern British Art at Tate Britain was a brilliantly curated show putting Picasso alongside those he influenced, including Wyndham Lewis, Ben Nicholson, Henry Moore, Francis Bacon, Graham Sutherland & David Hockney. I was less enamoured by Migrations – Journeys into British Art at the same place, more because of the quality of the work than the idea of the exhibition, which was a good one.

My annual trip to the Serpentine Gallery to see their Pavilion (an excellent, largely below ground, collaboration between Ai Wei Wei and Herzog & De Meuron, the team that did the Beijing birds nest Olympic stadium) was extended to see Yoko Ono‘s show which was more interesting, and a lot less pretentiously avant-garde, than I was expecting.

Finally, during a weekend in Bath, I popped into their newly renovated Holburne Art Museum for a lovely small portrait sculpture exhibition and stayed for What Are You Like (based on the Victorian parlour game, where people draw their favourite things) and their permanent collection. This is now one of the best regional art galleries; well worth a visit.

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I missed the first Folkestone Triennial, but I was determined not to miss the second, so off I went on the High Speed Train on a (too) sunny day. There are 19 new art works scattered all over the town and it’s a lot of walking between them; even more if you want to take in the 8 permanent works remaining from the last triennial. Better directions / maps would have helped me see more, but as it is I managed to see two-thirds of both in my four-hour walk, though that included snatches of film works rather than complete films. At its best it was brilliant – A K Dolven’s bell on the beach, Hala Elkoussy’s archive & reading room exploring Egypt’s colonial past, Mikolaj Bendix Skyum Larsen’s three-screen film about illegal immigration (his name is an art work of its own!), Zinab Sedira’s multi-screen installation, Hew Locke’s model ships hanging from a church ceiling, Cornelia Parker’s bronze mermaid on the rocks and Paloma Varga Weisz’ sculpture on the tracks of a disused railway station. Amongst the permanent works, Richard Wilson’s beach huts made from an old crazy golf course is a masterpiece. This is a great idea and a fun day out –see you in three years, Folkestone, when I will allow more time!

Fired with enthusiasm for art at the seaside, the next day I went to Margate to visit the new Turner Contemporary gallery. From the outside, the architecture didn’t inspire me, but it’s a better on the inside. For a building so big, the display space is small. The works in the opening exhibition were excellent, but I’m afraid it was like having a starter but no main course. There was another exhibition there, which helped justify the 5-6 hour round trip, at the ‘pop up’ Pie Factory Gallery in the old town. It explores the British saucy seaside postcards that were judged obscene (or not) in the 50’s. Some were prosecuted in one town but deemed OK in another and the law was clearly an ass. The exhibition works on two levels – the postcards are retro funny in a carry on sort of way, and the historical perspective is fascinating. Great fun.

Having turned up before the exhibition opened in July, I went back to Whitechapel Gallery to see Thomas Struth’s photographs. They are realist pictures of people in museums, industrial installations, city streets etc., most on a big scale, but they are printed onto Perspex, which gives them a hyper-naturalistic yet surreal quality; very original.

Most things in the Saatchi Gallery’s New Sculpture exhibition are on a big scale, with many sculptors getting a whole room to themselves (and some using it for just one sculpture). It has some good pieces but little is original and some very derivative (notably the lifelike figures of two men which owes absolutely everything to Ron Muek). One day this fabulous space will house something truly extraordinary. How about a Richard Wilson retrospective?

The Royal Academy’s Summer Exhibition is the best for a long time, though I’m not entirely sure why. I think it must be the way it’s curated, as each room is hung by a different RA member (though they’ve done this before). The architectural models fascinated again, but there were lots of lovely paintings and prints too. It may also be particularly good because there’s only one video and no film! Upstairs the small exhibition of 20th Century Hungarian Photography proved that these guys were way ahead of their time, producing insightful and artful shots when many were locked in staged and posed perfection. Quite why Hungary produced so many I really don’t know; maybe they influenced one another. Great to see them all together for once.

I wasn’t impressed by this year’s Serpentine Summer Pavilion. It’s a huge double-walled rectangular black box with a garden inside and tables and chairs around it. Fortunately, inside the gallery there’s an excellent installation called The Mirror of Judgement by the wonderfully named Michelangelo Pistoletto, who has created a 4-room labyrinth of chest high corrugated cardboard with different mirrors and religious references in each room. Very original and fun to walk through.

The Roundhouse’s second summer installation is as good as the first, David Byrne’s Playing the Building. This time local designer Ron Arad has hung a 360 degree curtain made up of 7 tons of translucent silicon tubing which would be 50 km long if linear. A variety of films are projected continuously onto it and though better seen from the inside, its good to spend some time outside too. I stayed much longer then planned and saw a diverse range of about eight original films, including animation, realism and digital abstractions. A real visual treat.

During a theatrical outing to Chichester I popped into their newly extended Pallant Gallery where there were five small exhibitions in addition to their permanent collection. The prime reason for visiting now was to see the Frida Kahlo & Diego Riviera exhibition. It’s not that big – just c.20 paintings and c.10 other works – but there are some gems amongst them, particularly from Riviera. Two of the other exhibitions were related; from the same Gelman collections, they have a small collection of Guillermo Kahlo’s (Frida Kahlo’s father) photos and more photos from Kahlo / Riviera friends Manuel & Lola Alvarez Bravo. Butlin’s should use Anna Fox’s highly flattering photos of their Bognor Regis camp in their publicity – they made me smile. Punk rocker Nick Blinko’s somewhat obsessive pen drawings were also fascinating. The permanent collection is heavy on rarely seen 20th century Brits like Graham Sutherland, Peter Blake and the Nicholson’s which makes it well worth a look. The good people of Chichester are lucky to have somewhere like this which much bigger cities would envy.

…..and so to Edinburgh, which didn’t look good on paper, but turned out better in reality. Our artfest started at the Scottish National Gallery of Modern Art One with Tony Cragg. I liked his sculpture much more than I thought I was going to. The craftsmanship is extraordinary (particularly the plywood) and all those curves make you imagine all sorts of shapes as you move around them. In SNGMA Two, Hiroshi Sugimoto‘s photographic work includes some extraordinary B&W lightening pictures. They’re paired with his photos of original Fox Talbot negatives which had a historical interest and a certain ethereal quality, but didn’t really live up to expectations.

At St Mary’s Cathedral they have a modern-day Bayeux in the Battle of Prestonpans Tapestry which commemorates the Jacobite uprising led by Bonnie Prince Charlie in 1745. An artist took six months to draw the panels and then 200 volunteers too another six months to complete it. Though it’s impressive, one does have to ask the question ‘why?’.

David Mach has taken over all five floors the Edinburgh City Art Centre (including moving his studio to the third!) where he is showing collages of scenes from the bible and sculptures of Jesus and Satan. It’s an ambitious and fascinating exhibition to coincide with the 400th anniversary of the King James bible. Across the road at the Fruitmarket Gallery, Ingrid Calame‘s obsessive ‘tracings’ left me completely cold. It seemed such a lot of effort for such pointless and unrewarding work. The gallery redeems itself somewhat by its involvement in Martin Creed‘s ‘installation’ which is in fact replacing the Scotsman Steps with new multi-coloured marble ones. A lovely permanent practical work of art.

I didn’t really fancy the Elizabeth Blackadder exhibition at the National Gallery of Scotland, but something compelled me to give it a go and it turned out to be a delightful experience. I was impressed by the range of subjects and styles and her use of colour. The short videos gave you an insight into the woman; charming & unassuming – I suspect you’d never believe she was an artist if you met her.

At the Open Eye Gallery I wished I was rich as I’d have bought quite a few of the John Byrne paintings and prints on show. I’ve wanted to see more of his work since being bowled over by the picture of his ex-wife Tilda Swinton at the Scottish National Portrait Gallery. He’s a writer and director as well as an artist and his cartoonish style is playful and theatrical.

Visiting the Phoebe Anna Traquair murals at St. Mary’s Cathedral Song School was a real treat. This Arts & Crafts / Pre-Raphaelite genius is much neglected and this may well be her masterpiece. With one overall theme and much detail it covers all four walls of this rectangular building and it’s breathtaking.

Now that the National Museum of Scotland‘s renovations are complete, they are showing a recent bequest of modern glass, a lovely eclectic collection given a nice light space in the new section. Whilst there, I hunted out the Phoebe Anna Traquair items – a painted piano, enamel items and some drawings. You have to go to three different locations on four floors, but that also meant coming across some Charles Rennie Mackintosh, William De Morgan, Tiffany, Lalique and small Art Deco and Art Nouveau collections.

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