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Posts Tagged ‘Tate Modern’

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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Opera

Handel’s Radamisto at GSMD had some lovely singing and playing, I liked the design and also the idea of framing it with an audience of leaders in conflict as a nod to its premiere before a royal squabble, but it was played too much for laughs, particularly the comic book King.

A summer visit to WNO at the WMC in Cardiff for Strauss R’s Der Rosenkavalier and Strauss J’s Die Fledermaus proved a treat. I love the former and it was the best production of it I’ve seen, with the orchestra under its new MD sounding great and a full house of terrific performances. I’m not really an operetta man, but it was hard to resist the fun of the latter, again well played and sung, with the cameo non-singing role of the gaoler brilliantly played by Welsh actor, Stella’s Steve Spiers.

There was some lovely singing in Charlie Parker’s Yardbird at Hackney Empire, but the subject didn’t really suit the opera form. Though it’s a story full of tragedy and emotion, the opera had none; I think a jazz musical would have served it better. Good to see work like this, a visit by Philadelphia Opera, on at Hackney though.

Contemporary Music

Smiles of a Summer Night was an evening of Sondheim songs from eight soloists, a twelve strong chorus and full orchestra at Cadogan Hall and the musical standards were sky high. It wouldn’t have been my selection of songs, but that might be a good thing as there are rarely heard items as well as well worn ones. Alex Parker, the musical director, has given us a superb concert version of A Little Night Music and a terrific production of compilation show Putting it Together, and this is yet another fine achievement.

Art

Into the Unknown: A Journey Through Science Fiction at the Barbican Centre is a very broad selection of paintings & drawings, story-boards, props & models, games, films, books, comics & magazines in three locations and the foyers. It has even taken over the Pit Theatre for three months with a giant installation. Fascinating, but too dense for just one visit.

I loved Chris Ofili’s new tapestry at the National Gallery, placed onto B&W walls decorated by him, in an exhibition called Weaving Magic that included preparatory sketches and drawings. Lovely.

I’m used to bright, colourful, uplifting paintings from Per Kirkby, so the exhibition of older 80’s dull and dark work at the Michael Werner Gallery was a big disappointment, I’m afraid. Shame.

Fahrelnissa Zeid was another artist unknown to me, and her retrospective at Tate Modern showed both her art and her life were fascinating, going from portraits to two different forms of abstraction and back to portraits, with a side-trip to sculpture along the way, and from Turkey & Iraq to Germany, France & Britain and finally Jordan. Intriguing.

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Contemporary Music

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

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

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

Classical Music

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

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

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

Dance

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

Film

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

Art

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

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

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

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

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

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

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

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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

Rufus Wainwright returned to form with an eclectic concert as part of the new Festival of Voice at the WMC in Cardiff. In addition to a fine selection of his own songs, we had an aria from his opera, a sonnet from his recent collection and a whole host of show tunes from his Judy Garland tribute, with stunning accompaniment from a cabaret pianist. His own vocals and piano playing were faultless and the sound and audience silence were a rare treat. Support Ala.Ni sang beautifully, with just guitar accompaniment, though I was less enamoured with her retro songs, which were a bit samey. She charmed the audience, though, with her infectious enthusiasm and excitement and complimented Rufus.

I very much like Elbow and booked for three concerts in Guy Garvey’s Meltdown, though one was cancelled when Robert Plant had to hot foot it to LA to defend Stairway to Heaven against copyright infringement some forty years on! Mr Garvey himself was a bit low on solo material so his own concert was short but sweet and very good-natured and warm-hearted. There was excellent support from the delightfully melancholic Jesca Hoop. Laura Marling, the second Meltdown concert at the Royal Festival Hall, was a bit of a disappointment. It was so slick, clinical and soulless, a bit monotonous and lacking in any excitement or emotion. At 75 mins with no encore for £40, I also felt more than a bit cheated – 50p per minute! Another good support act in Marika Hardwick, though.

The Orchestra of Syrian Musicians, many refugees, were invited to Europe by Damon Albarn and world music champions Africa Express. At their Royal Festival Hall concert, they played Syrian music with guests from five African countries, the US and the UK, including Albarn and Paul Weller. It was welcoming, uplifting, positive, inspirational and heart-warming – the day after the referendum result!

Opera

Welsh National Opera’s 70th Birthday pairing of their first ever staged opera, the classic verismo double-bill Cav & Pag, and a brand new one, In Parenthesis, at WMC in Cardiff was inspired. I have never seen a better Cav or Pag, a great production that were beautifully played and sung. Iain Bell’s new opera followed the National Theatre Wales in commemorating the Battle of Mametz Wood (part of the Battle of the Somme) where many Welsh soldiers met their end; it was an impressive new work. Both showcased WNO’s not-so-secret ingredient – its superb orchestra and chorus – as well as featuring some fine soloists.

Opera Holland Park provided a rare opportunity to see Iris, a full evening opera by the man best known for the Cav half of Cav & Pag. It’s an odd story set in Japan, before Puccini wrote Madam Butterfly, made odder by a third act that seems to be bolted on for dubious reasons, but it’s lush romantic music with particularly good choruses and here it was played and sung beautifully.

Classical Music

At the Royal Academy of Music, the hugely talented Symphony Orchestra gave a lunchtime concert featuring unlikely Scandinavian bedfellows Sibelius & Neilson which proved to be a real treat. Melancholy + Thrills under the encouraging baton of Sir Mark Elder, who continues to defy convention and provide informative introductions. Lovely.

The Royal College of Music Symphony Orchestra gave a short but beautiful early evening concert of English Orchestral masterworks by Vaughan Williams, Gurney & Britten. I am in awe of the talent of these college players. Even the conductor of the VW piece was a student.

Art

Newport Street Gallery, Damien Hirst’s new initiative, opens with a Jeff Koons show. I’m not mad keen on the mounted hoovers or his porno pictures, but the more playful stuff such as giant steel balloon animals and piles of play doe make me smile. It’s a lovely bright airy space and free and I’m looking forward to returning regularly.

Performing for the Camera at Tate Modern was interesting in telling the story of how photography is used to record performance, but as an art exhibition it was rather dull. It was very hard work looking at walls and walls of mostly B&W, mostly small framed photographs.

Dulwich Picture Gallery provided another opportunity to discover an unknown artist (well, to me) Winifred Knights. Though there were only c.20 paintings, and c.5 major mature works (and a lot of studies for…) what was on show was a significant quantity of her limited output and all very beautiful.

A members preview of the Tate Modern extension turned into an art feast, but not because of what was in the extension (largely dull, the space for collections is c.30% of the total space, but the building’s nice!). Indian artist Bhupen Khakhar’s retrospective was wonderful – quirky, original and colourful – and I surprised myself by loving about a dozen of Mona Hatoum’s large sculptural / installation pieces. It was also good to see Ai Wei Wei’s tree in situ on the bridge, though I was puzzled by two mounted police riding around it!

Sunken Cities: Egypt’s lost worlds at the British Museum was as good as an archaeological exhibition can get. In addition to the items recovered from the Med, there were terrific pieces from the museums in Alexandria and Cairo. Wonderful.

Painting with Light at Tate Britain showed the impact of the invention of photography on art and was rather fascinating, with some particularly good pre-Raphaelites on show. Upstairs Conceptual Art in Britain 1964-1979 just proved it was a movement better forgotten! Meanwhile in the Duveen Galleries Pablo Bronstein has built replicas of both Tate Britain facades and painted geometric patterns on the floor where dancers perform period works in contemporary clothes. Outside in, old and new. Very clever.

The Deutsche Borse Photography Foundation Prize shortlist exhibition at The Photographers Gallery was the best for a long while, and for once they got the winner right! The four projects covered the Arab Spring uprising, European immigration, space & surveillance and car restoration!

Ethics of Dust is an extraordinary installation in Parliament’s Westminster Hall. The artist cleaned the east wall during the hall’s renovations by capturing hundreds of years of dust in a thin latex cast which has now been hung in the hall. Extraordinary.

Film

Nice Guys was a fun caper movie, but it was way too violent for the genre and my taste and overall a bit beyond preposterous.

I very much liked Money Monster, a real thrilling ride with some great performances, a snipe at financial sector ethics but a bit of a depressing ending.

Love & Friendship was an odd affair. I liked it, but again not as much as the hype. A tongue-in-cheek interpretation of a surprisingly racy Jane Austin novella!

Much of the sentiment in Michael Moore’s documentary Where to Invade Next could be applied to the UK as well as the US. As we’ve blindly followed their model, we have lost our way. I thought it made some good points very well.

I loved Adult Life Skills, a lovely independent British film that was again way better than its critical reception with another extraordinary child performance.

I don’t know how much of Elvis & Nixon is true (it’s based on a photo!) but it made for a quirky and funny film which I enjoyed more than I thought I would.

Other!

The Greenwich & Docklands International Festival specialises in outdoor events and everything is free if you stand, and very cheap to sit. My first visit this year was to the Queens House at the National Maritime Museum in Greenwich for a spectacular called The House that included dance, projections and fireworks – and the wonderful Sharon D Clarke. I’m not sure I quite got the narrative, but I certainly enjoyed the spectacle! Six days later in Bethnal Green, Polish theatre company Theatr Biuro Podrozy performed Silence which I think was about refugees, but the narrative was even less clear than The House. Still, it kept my attention, though it was beyond melancholic so I ended the evening feeling rather sad. I first saw this company in Edinburgh 23 years ago and it was one of those shows that you’re still talking about, well, 23 years later.

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Classical Music

My excitement at the arrival of Simon Rattle as chief conductor of the LSO in 2017 was further fuelled by their semi-staged Pelleas & Melisandre at the Barbican. I’m not sure Peter Sellers staging added that much, but I liked the fact that it took part within the orchestra (apparently as Debussy wanted) and the unique score sounded glorious, with a fine set of soloists as well as the LSO on top form.

The first of the Shakespeare 400 concerts at LSO St. Luke’s featured counter-tenor Iestyn Davies and lutenist Elizabeth Kenny with a superb selection of songs from a large selection of plays. It was delightful, but was eclipsed by the second concert featuring The BBC Singers under Dave Hill with a programme of unaccompanied settings from the 20th and 21st centuries, including lovely songs by a Finnish composer I’d never heard of (Jaakko Mantyjarvi) and a superb world premiere by Cecilia McDowall. Anyone who thinks modern classical music is tuneless should listen to Radio 3 at 1pm on 28th April when it’s broadcast

The Simon Bolivar Orchestra of Venezuela really are a phenomenon and the pairing of Stravinsky’s Petrushka and The Rite of Spring really showed off their talents in their first Royal Festival Hall concert. I was disappointed that they dropped The Firebird at the last minute, so the encore of its final movement – one of the most uplifting pieces of music ever written – was a welcome surprise. The second concert featured Messiaen’s epic Turangalia-symphonie, which I thought I liked, but after hearing it again I’m not sure! I was fascinated by it and admire the skills required to play it, but enjoy? The Ondes Martenot (a quirky primitive electronic instrument that could have been invented by the BBC Radiophonic Workshop) was too loud (well, at least from where I was sitting) but the piano was played brilliantly by a young Chinese lady in a silver glitter mini-dress and matching shoes with unfeasibly high heels!

It was good to hear Berlioz‘ epic Romeo & Juliet symphony again and good to see conductor Andrew Davies back with the BBC SO. The chorus sounded great and amongst the soloists David Soar, well, soared! If this had been the LSO the Barbican Hall would have been packed, but for the BBC SO it wasn’t – a bit of a puzzle, that.

Contemporary Music

I have to confess to knowing next to nothing about Broadway legend Audra Macdonald, but her reputation drew me to her very rare London concert at Leicester Square Theatre and I was impressed. Sometimes the classical training gets in the way of the interpretation of show songs and the sound could have been better (when she sang Summertime unaccompanied it was glorious) but impressed nonetheless. I must have been the only new fan in the house, such was the adulation.

Dance

Akram Kahn’s Until the Lions was a spellbinding 60 minute dance interpretation of a part of the epic Mahabharata. I couldn’t make head nor tail of the narrative, but that didn’t stop me being mesmerised by the venue (Roundhouse), design, lighting, music and movement in perfect unison. Thrilling.

Art

I regretted going to the National Gallery’s Goya: The Portraits almost as soon as I walked into the first room. The gallery’s Sainsbury Wing Galleries and amongst the worst in London and when you pack them to the rafters, as they did for this, it’s difficult to enjoy, even see, the pictures (which makes an exhibition rather pointless!).

No regrets about Giacometti: Pure Presence at the NPG whose portraits (rather than the sculptures we’re used to seeing) were a revelation and you could see everything!

The Amazing World of M C Esher at Dulwich Picture Gallery was a real treat. Some of those images from student flat walls were there, but so much more – including, somewhat unexpectedly, portraits and landscapes. A brilliant meeting of technical skill and an extraordinary imagination.

Peter Blake’s portraits at the Waddington Custot Gallery was a revelation. Best known for collages like the Sgt. Pepper cover, I’d realised he had portraiture skills when I saw his exhibition of Under Milk Wood characters in Cardiff. From real people like Helen Mirren to generic wrestlers and tattoo subjects, it was very impressive.

Gods Own Junkyard at Lights of Soho was an exhibition of neon art in a bar where you had to peer over drinkers to see the work – which made it rather surreal. A ‘pop in’ show.

The NPG’s annual Taylor Wessing Photographic Portrait Award exhibition goes from strength to strength with an eclectic collection of known subjects and strangers. It seemed smaller this year, but was still well worth visiting.

The Alexander Calder Performing Sculptures exhibition at Tate Modern went downhill from the first two rooms of wire works of people and animals, though it did pick up in Room 9 with his first mobiles. The abstract stuff doesn’t do much for me I’m afraid, and one of the problems was that the moving ones weren’t, for obvious conservation reasons, and only a few had video footage of how they would if they did.

Film

A busy month, with most of the Oscar and BAFTA nominated films being released.

The Danish Girl is a beautiful, sensitive film with outstanding performances. Eddie Redmayne follows his extraordinary characterisation of Stephen Hawking with an equally stunning one as the first man ever to change sex. Another Oscar?

I was glad I caught up with Suffragette. It was a touch earnest and perhaps a bit unfair in an ‘all men are bad’ way, but an important slice of modern history and great performances.

I was less taken with Grandma, a somewhat slight film about teenage abortion I should have waited to see on TV. Lily Tomalin was good, though.

The Big Short is informative but funny, and it makes you very angry. It’s an inventive explanation of the 2008 financial collapse and it’s must see cinema, amongst the best films I’ve seen in recent years.

Connections with Bolivia led me to Our Brand Is Crisis, a film about American political strategists employed by Bolivian presidential candidates. It turned out to be good rather than great, but worth a visit. Immediately following The Big Short may have dampened its impact.

I liked Room much more than I thought I was going to. I was expecting to be depressed, but it was a sensitive, intelligent and ultimately hopeful film, and the actor playing the 5-year old boy born in captivity was extraordinary.

The Oscar / Bafta nominated picture binge continued with Spotlight, a terrific film about the catholic church paedophile cover up, in a very conventional production that reminded me of All the President’s Men. Like The Big Short, it made me very angry. Great to see Hollywood telling true stories like these.

The Revenant is a brilliantly made film, but more than a touch implausible, way too gory (for me) and overlong at over 2.5 hours. The star is the American landscape and the baddie is a Brit, obviously.

 

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