19th century
David Nice
Covent Garden’s masked balls circling around the New Year feature not the seasonal bourgeois Viennese couple and a bat-winged conspirator but a king, his best friend’s wife and – excessively so in this production – the grim reaper. Big voices are what’s needed if it’s Verdi rather than Johann Strauss II, and if we can’t have Jonas Kaufmann, who’s committed his energies to a lesser protagonist, Giordano’s Andrea Chénier, this coming January, then much-trumpeted Maltese tenor Joseph Calleja will have to do. Sadly conductor Daniel Oren is no substitute for Antonio Pappano, also Chénier-bound, Read more ...
David Nice
Eternal love is in the air, not seasonal fluff, at the Royal Opera this December. Later in the month Verdi’s most ecstatic duet, in Un ballo in maschera, will find his Riccardo and Amelia briefly playing Tristan and Isolde, very much in the shadow of not so much the greatest as the strangest love story ever told. Director Christof Loy underlines that strangeness and Wagner’s open questions at every point, never more heart-flippingly than when a big, middle-aged man lies full out on the floor singing “Let Tristan die” and his lover, on her knees behind him, leans over and declares tenderly but Read more ...
David Nice
Not so much a national hero, more a national disgrace. That seems to be the current consensus on Peer Gynt as Norway moves forward from having canonized the wild-card wanderer of Ibsen's early epic. It’s now 200 years since Norway gained a constitution, and 114 since Peer first shone in the country's National Theatre, that elegant emblem of the Norwegian language. Where does this uniquely prosperous country stand today, spiritually speaking, and can Ibsen’s myth, creating as potent a figure as Oedipus, Hamlet, Don Juan or Faust, offer any answers?Alexander Mørk-Eidem took the question as the Read more ...
David Nice
If Brahms’s First Symphony has long been dubbed “Beethoven’s Tenth”, then the 23-year-old Rachmaninov’s First merits the label of “Tchaikovsky’s Seventh” (a genuine candidate for that title, incidentally, turns out to be a poor reconstruction from Tchaikovsky’s sketches by one Bogatryryev). Yet unlike the other near-contemporary works in last night’s programme, Szymanowski’s Concert Overture and Scriabin’s Piano Concerto, it has a disturbing individuality, a heavy heart that is truly worn “inside out”, as Vladimir Jurowski’s season-long Rachmaninov festival with his London Philharmonic Read more ...
Sebastian Scotney
Even the most reluctant of completists should find the prospect of the Beethoven works for cello and piano undaunting. In their totality, these pieces consist of just five sonatas and three sets of variations, which fit neatly on to just two CDs, or occupy two recital programmes. The works are also very important in the early development of the solo cello repertoire. Beethoven biographer Jan Swafford describes the “confident, ebullient, fresh and youthful” sonatas of Op 5 as a genre which the composer, at the time, had “virtually to himself".French cellist Jean-Guihen Queyras and Russian-born Read more ...
fisun.guner
Baudelaire called him a “pictorial Balzac” and said he was the most important man “in the whole of modern art”, while Degas was only a little less effusive, claiming him as one of the three greatest draughtsman of the 19th century, alongside Ingres and Delacroix.Honoré Daumier has always been held in the highest esteem by fellow artists, both in his own time and today, with contemporary artists such as Peter Doig and Paula Rego keen admirers. But beside his technical skills, Daumier was also among the most socially alert and politically engaged artists of the 19th century. A socialist and Read more ...
David Nice
Most pianists never truly master one of Brahms’s two piano concertos, those colossal symphonies for soloist and orchestra, let alone both. To present the two in one concert, then, seems foolhardy – and apparently was when András Schiff went for the marathon at the Edinburgh Festival during the Brian McMaster era. No-one expected anything but true majesty, though, when Elisabeth Leonskaja asked to do the same. The Scottish Chamber Orchestra duly obliged, taking up her suggestion of Okko Kamu, a Finnish master I haven’t seen for decades, as conductor. The result was almost off the Richter scale Read more ...
Florence Hallett
Walking into this exhibition is a bit like walking into a great forest. The dark green walls are hung all around with paintings of trees; we look up through branches that spiral dizzyingly skyward, while the upwards sweep of vast trunks seem relentlessly, tangibly full of life. Some of these paintings verge on abstraction, the forms of tree trunks simplified and reduced to an arrangement of planes, with spatial recession represented entirely through colour. In others, a flurry of brushstrokes captures the energy of the forest, the wind in the leaves, the light breaking through to the velvety Read more ...
David Nice
One queen is much like another in so-called “historical” Italian early to mid 19th-century opera. Elizabeth of England, Christina of Sweden, take your pick, they all fall for a tenor courtier who loves Another (the seconda donna, soprano or mezzo). With Donizetti, the musical drama is almost as disposable as the plot until a stonking number or two rolls up. Jacopo Foroni, more or less unknown until Wexford resurrected him a year ago, has a few more felicitous orchestral touches but nothing as memorable as Donizetti's best. Cristina, regina di Svezia served at Wexford, and last night in Read more ...
David Nice
Dvořák’s rustic operetta sits, swinging its legs rather diffidently, historically somewhere between the neverland Bohemia of Smetana’s The Bartered Bride and the lacerating reality of village life in Janáček'’s Jenůfa. The Cunning Peasant’s charms lie in its string of sophisticated songs and dances, more through-composed than Smetana’s, and in the abundance of not over-taxing roles, as well as chorus numbers, it offers to students.That the Guildhall School embraces these so cheerfully has much to do with the way that fine, underrated conductor Dominic Wheeler effortlessly drives the tractor, Read more ...
David Nice
ENO may not always have matched the Royal Opera in the Great Puccini Voices stakes. But it's served up many of the classiest Mimìs, with Valerie Masterson, Mary Plazas and Elizabeth Llewellyn as top seamstresses. Californian former beauty queen Angel Blue, an acclaimed Musetta in the previous revival, now joins them. Unlike Llewellyn, still awaiting the international recognition she deserves, Blue is also among the favoured roster of young sopranos who, after an interregnum where we wondered where all the best black opera singers had gone - whether the spell of Leontyne Price and Jessye Read more ...
Marina Vaizey
Can you sense a person's life through a sequence of objects? Not to mention influence and legacy? Biographical exhibitions are fascinating, not least because they also tell us something about looking back through the filter of the present. And William Morris (1834-1896) has certainly been, in many ways, a man for all seasons. Here the gifted design historian and biographer, Fiona MacCarthy, is the compiler in charge, providing an affecting look at a man whose sheer intelligence, combined with heartbreaking energy, determination and idealism, not only affected his world but went further Read more ...