1920s
Sebastian Scotney
Blues singer Bessie Smith (1894-1937) had much more than an astonishingly powerful voice. It may already be almost a hundred years since she made her most significant recordings – she is from an era before amplification – and yet her unfailing capacity to hold the listener’s attention, to tell stories that sound deeply rooted in her own personal experience still hits home every time.In this time when grieving is all around us, we can sometimes lose any sense of what is real and what is dreamt, and the immediacy of a song like “Graveyard Dream Blues” in which Bessie Smith imagines she is Read more ...
Graham Fuller
Stuttgart-born auteur and film theoretician Paul Leni, whose illusionistic production designs and direction of Waxworks (1924) helped define German Expressionist cinema, was 44 and approaching master status when he died of sepsis on 2 September 1929. Following its limited Christmas Day 1928 release, Leni’s final film The Last Warning, which was his fourth for Carl Laemmle’s Universal, had been released in January as both a silent and as a part-talkie, but it never won the critical acclaim of his seminal Hollywood horror classics The Cat and the Canary (1927) and The Man Who Laughs (1928 Read more ...
Boyd Tonkin
The LPO, and its soon-to-depart chief conductor Vladimir Jurowski, began its 2020 Vision season back in February. It set out to mix and match the music of three centuries and show how it echoes in contemporary works. Well, little of that turned out quite as planned: this final concert at the Royal Festival Hall was meant to premiere Sir James MacMillan’s new Christmas Oratorio, now scheduled for the Concertgebouw in Amsterdam on 16 January. That outsourced event feels like a saddening symbol of Britain’s interlinked catastrophes this year. Still, in spite of 2020’s never-ending series of Read more ...
Joseph Walsh
They say "never meet your heroes". That may be true, but it forms the premise of a new TV drama concerning two of the world’s most famous children’s authors – Beatrix Potter and Roald Dahl – who encounter each other at opposite ends of their life. Dahl has made headlines in recent weeks with his estate apologising for his antisemitic views, most famously, "there is a trait in the Jewish character that does provoke animosity”. The family have quietly expressed regret on their website. Like it or not, it casts a shadow over David Kerr’s drama which sees Dahl as a young boy (Harry Tayler) Read more ...
Joseph Walsh
There was always bound to be a hint of melancholy watching George Wolfe’s Ma Rainey’s Black Bottom. Try as you might to focus on the film, you can never quite shake the fact that you’re watching the final performance of Chadwick Boseman, whose life was cut tragically short this year from bowel cancer. This adaptation of Wilson’s play is the second in a ten-part cycle that chronicles the Black experience throughout the course of the 20th century. It’s produced by Denzel Washington, who himself starred in Fences, another Wilson play, back in 2016. This chapter focuses on the life of Ma Read more ...
David Nice
Colette’s sharply fantastical libretto for Ravel’s second one-act opera imagines wrongs exercised upon objects and animals by a naughty child revisited by the victims upon the perpetrator. In a giddying venture which may be the most imaginative use yet of circumscribed lockdown days, director and founder of the new Virtual Opera Project Rachael Hewer turns Colette into Carroll, and instead parades a sequence of illogical tableaux set in this time of Coronavirus. That they work so brilliantly is due to artist Pearl Bates's visual sorcery and the further design work of Leanne Vandenbussche as Read more ...
Richard Bratby
“This year was supposed to be so very different” said Stephen Maddock, Chief Executive of the City of Birmingham Symphony Orchestra when he spoke to theartsdesk earlier this year. Talk about an understatement. The CBSO has hardly been alone in having cherished plans wrecked. But in the orchestra’s centenary year, the sudden cancellation of a programme of celebrations that had taken the best part of a decade to plan felt like a particularly cruel blow. And having finally pieced together a skeletal replacement season (the CBSO’s main venue, Symphony Hall, was able to re-open its doors only Read more ...
Boyd Tonkin
We don’t often see sultry come-to-bed moves in the Wigmore Hall, that chaste Parthenon of refined musical taste. But when Jess Dandy stretched out languidly on stage while offering to show Nicky Spence “how the gypsies sleep”, the temperature shot up even in an empty auditorium. In Janáček’s The Diary of One Who Disappeared, wildness and passion war with inhibition and conformity. The piece channels the mingled fascination for, and fear of, an untamed Roma culture that runs through so much Central European art, its music not least. What kind of work is this vocal narrative, premiered a Read more ...
Rachel Halliburton
The Prohibition-era setting of The Great Gatsby brings an appropriately illicit feel to this bold decision to stage an immersive theatre event in the age of Covid. Where, in 1922, champagne was the essential liquid to get any evening going, here it’s hand sanitiser fluid, before you’re led – hopefully wearing a suitably decadent facemask – to a socially-distanced place in the speakeasy where the action will unfold. In a bold opening, the script swoops straight from the novel’s beginning to its end, so that the narrator, Nick Carraway, flags up Gatsby’s death before we meet him Read more ...
Liz Thomson
Those Wainwrights, they never cease to surprise. Get out your soft shoes and prepare to shuffle, for the “six-string diarist” has set his guitar aside and put on his metaphorical tux to croon with a band on more than a dozen timeless classics. Songs (to coin a phrase) that your mother would know.It appears the genesis for I’d Rather Lead a Band was the participants’ shared work on the music for Boardwalk Empire, set in 1920s Atlantic City. The songs – which, says Wainwright, “reflect on my whole life, really” – were chosen by Nighthawks bandleader Vince Giordano, with producers and music Read more ...
Richard Bratby
Viennese operetta is like that other great Central European treat, goulash. It comes in many forms. In Vienna it’s coffeehouse comfort food; in Slovenia they add bacon for a smoky tang. And in the marketplaces of Transylvania it comes in bubbling iron cauldrons, practically fluorescent with paprika. But it’s all goulash. You know it when you taste it, and all that matters is that it tastes good. And when it’s really good, it tastes even better when warmed through and dished up second time around.Which is by way of saying that I can’t honestly get too worried about the authenticity or Read more ...
Marina Vaizey
Tut in colour, and he is! The new painstaking technique of colourising vintage black and white photographs and film was touchingly exploited in this documentary for BBC Four to narrate the most thrilling and best-known archaeological discovery ever made, that of the tomb of the boy king Tutankhamun in Egypt’s Valley of the Kings in 1922.The news went worldwide, a 5,000-year-old burial bringing some sunshine to a world traumatised by World War One and the Spanish flu. The newly-coloured images made the narrative of this awesome discovery feel stunningly immediate. The charming Oxford Read more ...