Germany
alexandra.coghlan
Ian Bostridge is one of those artists – Andreas Scholl is another – whose technique is so suited to the recording studio, his recordings so ubiquitously loved and lived-with, that the opportunity to see him perform live has become one of conflict. Suffering from the same malaise as successful pop artists, concert performances inevitably become processed by over-exposed ears as acts of mimicry; studied verisimilitude to a recorded original jostles for validity alongside live creative re-imagining.Last night’s performance of Schubert’s late songs – the programme released on CD by Bostridge Read more ...
sheila.johnston
Werner Herzog is your go-to guy if you want a film about extraordinary madness. The German director's legendary partnership with Klaus Kinski yielded such wild and wonderful monuments to insanity as Aguirre, the Wrath of God and Fitzcarraldo. Theirs would be the natural team for this tale of a cop run amok, but, Kinski having departed to that great padded cell in the sky, Herzog hooks up instead with Nicolas Cage. The result is a slickly amusing, facetious study in dementia that declares its weirdness loud and proud without straying anywhere close to the edge of its comfort zone.Cage plays Read more ...
sheila.johnston
Rainer Werner Fassbinder lived fast, died young and left an awful-looking corpse, in 1982, at the age of 37. But not before writing, directing and producing dozens of movies, as well as plays, television series and the odd radio drama or book. Nonetheless, somehow, in between the endless chain of great subversive melodramas that made his name internationally in the mid-1970s, the director found time for this delirious, two-part conspiracy thriller. Rarely seen, long unavailable, it's a visionary acid trip through a not-far-off dystopia, a revelation for fans both of sci-fi/ fantasy and of Read more ...
Ismene Brown
Chamber music is a highly motivational experience - here is a group of instruments of quite different qualities parading, fighting, ganging up, inviting each other’s new ideas, dialoguing, and all this variety heightening the build-up to the moment when all instruments proclaim unanimity in a grand finish, or (even better) huddle up in mutual creative conspiracy and conjure a mysterious little spell that makes the outsider long to be part of it. All of which was present last night in both the performance and the music of Robert Schumann’s third Piano Trio, played by the Tetzlaff siblings, Read more ...
james.woodall
First, the name. There’s no family link between the 57-year-old German composer and Hitler’s Doctor Death. This Goebbels cuts an impressive figure. Solidly built, with thick white hair and slightly cherubic features, and speaking fluent English, he’s above all accessible and unpretentious. Today, in Germany especially, but also abroad - in the States and Britain, where his renown is growing - the name Heiner Goebbels evokes not hatred but magical stage ambiences, lyrical and parodic song, strange music and hypnotic dance: new wonders from a new Germany.In our conversation, which takes place Read more ...
paul.mcgee
One of the recurring themes in BBC4's recent documentary, Krautrock: The Rebirth Of Germany, was the importance placed by so many of its participants upon transcending Germany's then-recent past. Move on several decades, and you now have a country with a rich, varied and unique musical culture that not only has a global reach and influence, but which can also afford the luxury of being able to look back at itself and even have a little fun at its own expense.The Berlin Sounds evening at this year's Ether festival highlighted all this and more, bringing together both veteran and modern Read more ...
joe.muggs
“I'm moving to Berlin.” In artistic circles and especially those that include electronic musicians, over the past few years such a threat has become so commonplace as to be cliché. It's not without reason, though. For one, despite gentrification, Berlin has endless space (and empty industrial artistic “spaces”) and its cost of living is about a two-hundredth that of London. And just as importantly, it is more soaked in electronic music than anywhere else on the planet.From the Weimar Republic, through West Berlin's defiant isolation, the city thrived on decadent nightlife; electronic Read more ...
Ismene Brown
A house of contact, a place to make contact - this bare, evocative title sits on one of Pina Bausch’s most appealing works, and also its most elastic. Brought this week to the Barbican posthumously, staged by her company on two amateur casts, Kontakthof didn’t look 32 years old, it looked both timeless and as fresh as fledglings cracking out of their egg shells.In 1978 when this surreal and exact spinner of magical webs created the piece, the Berlin Wall was as impregnable as it had been for a generation and meetings carried less casual insignificance than today. Kontakthof then was danced by Read more ...
Ismene Brown
This week the world-renowned Tanztheater Wuppertal Pina Bausch arrives in London - for the first time, without its towering creator. Last summer the German choreographer died at the age of 68. The company intends to continue, despite the dodgy track record for troupes formed around one singular giant vision to survive long without that magnet at the core. Bausch (1940-2009) was shy in person and had no need to publicise her work, but at Christmas 2001 I met her in her base in Wuppertal, and she looked back in detail over the surprising sources in her life for her innovative style of dance- Read more ...
sheila.johnston
Before Shutter Island - long, long before - there was The Cabinet of Dr Caligari. First released in 1920, Robert Wiene's hallucinogenic film descends, like that of Martin Scorsese who cites it as a major influence, into the creepy shadowlands between sanity and madness. This spring Caligari goes on national tour (details below) spruced up with a musical accompaniment by Minima, a four-strong rock group which specialises in supplying the sound for silents. The group consists of drums (Mick Frangou), bass (Andy Taylor), cello (Greg Hall) and guitar (Alex Hogg). Here, Hogg talks about Minima's Read more ...
igor.toronyilalic
It's hard to miss German composer Wolfgang Rihm. He has an enormous head. There it is, bulging from his giant frame, a big, friendly grin slapped onto it while he wanders around the Barbican on his celebratory day, none of it going to waste. Listen to his prolifically combustible music, the million and one ideas hurtling about with the energy of a school playground and the intensity of a burning sun, and you soon realise that all that cranial space is probably quite necessary.
But for composition you need more than just head space for musical ideas to smash into one another. You need form. Read more ...
David Nice
There was I, up to that point, very grateful to be hearing so fresh an approach to a heavyweight, admiring the way the crack Bavarian players sang and danced in every line that so often stays numb until the mechanics of horror let rip, but wondering what the many younger listeners in the audience might be taking from the masterclass. They would sense the shape and urgency of Shostakovich's symphonic argument, but would they feel what the likes of Rostropovich and Svetlanov always told us about the infinite suffering of the late Stalin years, followed by the ambiguous transcendence of 1953, Read more ...