18th century
Graham Fuller
Stanley Kubrick’s Barry Lyndon (1975), which has been re-released, is one of the most stately costume dramas films ever made. It is also a monument to tedium, a tale told so deliberately, ponderously, and humorlessly that it raises the question, as do Kubrick’s Paths of Glory, 2001: A Space Odyssey, Full Metal Jacket, and Eyes Wide Shut, of whether their maker was a genuine master or is a sacred cow. In his adaptation of William Thackeray’s 1844 The Luck of Barry Lyndon especially, Kubrick’s meticulously achieved “realism” (which avoids the squalour of the poor), lugubrious grandeur, Read more ...
alexandra.coghlan
Happy returns of various kinds last night at the Wigmore Hall, where hall regulars the Brook Street Band (violins Rachel Harris and Farran Scott, cellist Tatty Theo and harpsichordist Carolyn Gibley) took to the stage along with a number of musical friends for a 20th birthday celebration concert. An all-Handel programme paid tribute to the composer whose London address gives the group its name, expanding outwards from the opening intimacy of trio sonatas and suites to finish with soprano and baritone cantata Apollo e Dafne.The Trio Sonata from Saul offered an overture of sorts, previewing all Read more ...
alexandra.coghlan
Once confined to the concert hall, it’s a rare oratorio these days that doesn’t duck under the fence and sneak into the opera house. Bach’s Passions and most of Handel’s religious works have already made the transition, but this season it’s the turn of Haydn’s Creation. Rejecting the classic staged route, Garsington Opera have invited Mark Baldwin to choreograph it for his Rambert dancers. Add a trio of superb solo singers, Garsington’s own chorus and orchestra and artist Pablo Bronstein as designer, and you have an extraordinary hybrid conception.But any opera-goers expecting an oratorio Read more ...
David Nice
To reach Sarastro's temple of wisdom, you have to climb a series of exquisitely manicured terraces to a tiny cloister in one of the world's great gardens. Iford Arts have been inviting high-quality small opera companies to perform and produce their own operas since 2005. Charles Court Opera, paragon of G&S and boutique panto, was the right team to ask to provide a Magic Flute tailored for a cast of nine and an audience of 80.The peripherals matter here, not least because you can enjoy a picnic in peace and quiet before the show, unencumbered by evening dress ("smart casual" is the Read more ...
Marina Vaizey
The huge and gorgeous Titian, The Vendramin Family, c.1540-c.1560, displays a frieze of males of all ages, three or four generations – and an adorable lap dog held close by the youngest boy – in marvellously sumptuous costume. The painting is surrounded with portraits by an ardent admirer of Titian's, Anthony van Dyck, our interest in the Titian deepened by the fact that Van Dyck once owned it. It is but one of the stars of this fascinating sampling of the collecting habits of artists themselves.These consummate portrait painters are separated by nearly a century but we are told that Van Dyck Read more ...
David Nice
Natural disaster, in the shape of a metaphorical sea-monster ravaging classical Crete, might make a director's imagination work overtime on Mozart's first, jagged masterpiece. Alas, only unnatural disasters have been inflicted upon us in productions at Glyndebourne, ENO and the Royal Opera, with singers going some way to make amends. Now, at last, the green and pleasant valley of the Wormsley Estate has given birth to a clear and sober staging by Tim Albery that gives both the human beauties and the inhuman surrounding phenomena of the score their due. A near-perfect cast that can sing and Read more ...
Gavin Dixon
Mozart operas on period instruments – it’s hardly a new idea, but it’s still the exception rather than the rule. The 18th–century sound has a lot to offer in Don Giovanni, as Ian Page and his Classical Opera Company demonstrated this evening. Clear string tone and vibrant woodwind colours were the order of the day. There was plenty of drama too, with Page expertly pacing the narrative and drawing an impressive and often robust tone from his modest forces. He also assembled a fine cast, no superstars here but rather a well-balanced and well-integrated ensemble. The result was a compelling Read more ...
Richard Bratby
Memo to self: never read the director’s programme essay. Jacob Dorrell, director of the University of Birmingham’s summer production of Britten’s The Beggar’s Opera at the Barber Institute, explains: “I wanted to bring to the Barber stage a community of people one would never expect to appear in an opera: today’s working-class community.” Dorrell is a young director, early in his career, so let’s leave aside the fact that his vision of “today’s working-class community” – a world of jeggings, leopard print, trackie bottoms and midriff-baring maternity wear – seems to come out of Coronation Read more ...
Marina Vaizey
The accelerating glorification, in the West at least, of the handmade is a fascinating phenomenon, perhaps a subliminal fight back against overwhelming industrialisation and the age of the robots. And perhaps nowhere is the admiration and commercial possibility accruing to the handmade artefact more evident than in British companies who can label themselves as By Royal Appointment. Four such enterprises, ranging from a two-man band in a country manor to a full-scale factory, are the subject of this series, with the silver and goldsmithing of The House of Benny, Steinway pianos and John Lobb Read more ...
alexandra.coghlan
Jane Austen’s early novel-in-letters Lady Susan has more in common with Vanity Fair or even Les Liaisons Dangereuses than it does with the author’s mature works. Austen’s familiar wit is there, certainly, but sharpened from embroidery needle to dagger. Her eye for social foibles and failings is similarly keen, but lacking the tempering generosity of her later novels. This is satire that cuts deep, and who better to wield the blade than director Whit Stillman, whose Metropolitan and The Last Days of Disco have shown him such an idiosyncratic observer of the human condition?Austen’s story Read more ...
David Nice
What Auden called "the sexy airs of summer" arrived early in Göttingen this year. Frog action in the Botanical Gardens of the town's pioneering University may have been less clamorous than when I first came here in late rather than early May (the annual International Handel Festival usually begins whenever the Ascension Day holiday happens to be, so it's a moveable celebration). Otherwise everything in this green-girt and on this occasion sun-drenched dream town chimed well with the sensuous pastoral elements of two out of the three big Handel dramas of the first long weekend.The oratorio Read more ...
David Nice
Sunlit golden mean or slightly hazy middle-of-the-road? Conductor-director Iván Fischer's fully costumed and imagined concert of The Magic Flute - or perhaps it would better have been titled Die ZauberFlute given its intelligent mix of sung German and English dialogue taken by six excellent young British-based actors - was always going to be hard pressed to match the recent, hyper-communicative English National Opera/Complicite revival.In fact, its concept shaped up rather well in comparison. But whereas ENO had at least two world-class singers in the Tamino of Allan Clayton and Lucy Crowe's Read more ...