Germany
theartsdesk
Third in our summer book extracts series is the theatre designer Tobias Hoheisel, whose designs for Glyndebourne Opera's Janáček productions remain iconic, and more recently designed English National Opera's Boris Godunov.Born in Frankfurt, Hoheisel trained in design in Berlin and was strongly influenced by the theatre of Peter Stein/Karl-Ernst Herrmann, Luc Bondy, Robert Wilson and Ariane Mnouchkine. Patrice Chereau’s Ring cycle in Bayreuth and the world-class Berlin orchestras inculcated in him a love of opera and music.Hoheisel produced landmark Janáček stagings for Glyndebourne in Katya Read more ...
josh.spero
By complete coincidence, this afternoon I tuned in to Air Force, Howard Hawks's 1943 propaganda picture: chiselled young airmen fill a B-17 "flying fortress", dropping their payloads over Japan, both a news service and wish fulfilment for domestic audiences. Their sharp, sweaty features glow in the firelight. Their commanders are tough but fair. Their bombs fall crisply, in a noble cause. This is not that film.
In Bombing of Germany, you saw how well Hawks rewrote history. Surviving members of B-17 crews talked about Operation Thunderclap, the all-out air assault on Dresden, Leipzig and Read more ...
David Nice
Swimming in the soup of the lesser late Romantics can be hard work. You get to admire the pretty variegated fish as you flounder, waiting to be buoyed up by a bigger idea. Then one comes along and nudges away so insistently that you nearly drown. Both extremes had to be borne in the first half of last night's Prom, with Ingo Metzmacher steering a supple course between the lazy devil of a Schreker operatic interlude and the placid blue sea of Korngold's Violin Concerto. The one interesting question that kept me afloat in viscous waters was: could he turn master oarsman and steer the superior, Read more ...
igor.toronyilalic
"Stockhausen's festive overture from 1977 opens the programme," declared the Proms website cheerily. Come again? Festive? Stockhausen? From my limited but largely enthusiastic knowledge of the music of Karlheinz Stockhausen - much of which is about as festive as Auschwitz - I assumed that this must either be a big misunderstanding or a lively, perhaps German, joke. It was both. There can have been few composers more ballistically, brilliantly obnoxious than loopy old Karlheinz Stockhausen. Most famously, he declared the attack on the Twin Towers "the greatest work of art Read more ...
alexandra.coghlan
If the bust of Sir Henry Wood that watches over the stage of the Royal Albert Hall had come to life, Commendatore-like, during last night’s concert, I can’t help feel that he would have been smiling. Beethoven nights – once a popular Proms fixture – have lately fallen off the calendar, but alongside various nods to tradition have this year returned. Following Jiří Bělohlávek and Paul Lewis’s recent concerto-fest, Paavo Järvi and the Deutsche Kammerphilharmonie Bremen last night presented a second all-Beethoven programme. Between the heart-racing tempos and exuberant playfulness, any Read more ...
Veronica Lee
This, Heinrich von Kleist’s last play, was completed not long before he committed suicide, aged 34, in 1811, when the map of Europe - and indeed that of his native Prussia - was changing with indecent frequency. It is loosely (very loosely) based on the real Prince of Homburg and events at the Battle of Fehrbellin in 1675, and with its leitmotif of honour, duty and loyalty to the Fatherland, it is no wonder that the play was appropriated (with suitable adjustments) by the National Socialists in the 1930s (it was a favourite of Hitler's apparently) and then fell out of favour in German Read more ...
james.woodall
The longest and most densely historical play by Georg Büchner (1813-37) is a potential monster. In German, Dantons Tod can run to four hours or more. There's little action and much speechifying. In plays by his equally wordy, history-obsessed predecessor, Friedrich von Schiller, there are at least fights, battles, a lot of love - and some sex. The latter admittedly crashes its way, somewhat psychotically, into Büchner's last and unfinished Woyzeck, one of the strangest yet most influential dramas of the 19th-century European repertoire; and the fairytale comedy Leonce und Lena aside, rarely Read more ...
theartsdesk
There is no consensus about what site-specific theatre actually constitutes. Does it grow organically out of the space in which the theatre piece is performed, and can therefore be staged nowhere else? Or is it no more than any theatre piece which happens away from the constricting formality of the thrust stage or the proscenium arch?Please feel free to debate that at leisure in the comments section below. It suffices to say that, whichever way you slice it, site-specific work has sprouted in the oddest places over the years. Audiences have found themselves summoned to caravans and sent into Read more ...
igor.toronyilalic
Helmut Lachenmann is a sort of George Bush of contemporary classical composition, a bogeyman, a warrior, an ideologue. In my time his name has always been served up with an exclamation mark - "you like Lachenmann!?" - partly because his politics have always reveled in anti-social extremes, partly because his musical tools were always either abstraction, noise, difficulty or perversity (musica negativa, as Henze once put it), his enemy, having a good time. The results are as intimidating to the ears (and performers) as his medieval face (picture, left) is to the soul. And in 50 years of Read more ...
David Nice
Only those who think the burnt-out question of Wagner and the Nazis can still be brought to bear on his operas could be disappointed by Richard Jones's life-enhancing new production. Not a swastika in sight, not a hint of anti-semitic caricature for the fallguy who was never intended for it in the first place, only affirmation of the opera's central message that great art can bring order and understanding to society.It launches with a masterstroke: a dropcloth collage portraying German-speaking genius from Bach and Mozart to Pina Bausch and Michael Haneke, embracing all creeds and persuasions Read more ...
james.woodall
What kind of play is Frank Wedekind's Lulu? The answer is a very odd one, with a fractured writing history. Wedekind subtitled his original five-act exploration of raw femininity, in 1894, "A Monster Tragedy", then divided it into two: Earth Spirit and Pandora's Box. As becomes clear in Headlong Theatre's fresh, winning version of the whole thing, it really is two plays - the first about sexual adventure and rebellion, the second about commerce and corruption; yet staging it over one evening is quite logical, even if its brutal ending is peculiar and resolves nothing (no spoiler here - oh all Read more ...
stephen.walsh
By far the most uncomfortable – perhaps the only uncomfortable - thing about Richard Strauss’s last opera is the date of its first performance. In October 1942 the battle of El Alamein was raging and the British were bombing German cities while the Munich opera audience were entertained by a rambling disquisition on the respective merits of poetry and music as art forms, set in an eighteenth-century French château. What modern director could resist this provocation? Stephen Medcalf positively draws attention to it in his new staging for Grange Park Opera by transplanting it bodily to – wait Read more ...