Beethoven: Symphonies 1-9 Berliner Philharmoniker/Sir Simon Rattle (Berliner Philharmoniker Recordings)Inevitably there's the question of whether anyone needs another modern-instrument cycle of Beethoven symphonies. If the answer's yes, Paavo Järvi's set with the Deutsche Kammerphilharmonie is my current favourite, but it's only available on expensive single discs. Sir Simon Rattle's unspectacular Vienna Philharmonic cycle is now available at budget price, but this new Berlin set is better in every respect. It will improve the life of anyone who spends the time exploring it. The playing is Read more ...

The BBC opened its examination of the history of European togetherness with presenter Nick Robinson beaming at us from the top of those White Cliffs, looking out at the glistening sea which made us an island (until, of course, Mrs Thatcher supported the Channel Tunnel).This inconclusive history of Britain in and out of Europe began at the very end of the Second World War, when the eloquent proposer of a united Europe which definitely included West Germany was Sir Winston Churchill. This first episode of two, subtitled "An Island Apart", set the scene with two ex-politicians, Hague and Blair, Read more ...

In London, seeing the same ballet company do three different pieces in three different theatres over four nights would be some kind of festival. In Berlin, it's just business as usual – albeit quite a busy week! – for the hard-working Staatsballett. Wednesday night saw the opening of a new run of John Cranko's Romeo and Juliet, with Polina Semionova as Juliet, at the Deutsche Oper, Thursday a performance of Artistic Director Nacho Duato's Multiplicity: Forms of Silence and Emptiness at the Komische Oper, while last night the Schiller Theater was packed out for Giselle with the Stuttgart Read more ...

The tag-line for this definitively audacious Berlin thriller-love story writes itself: “One take. One night. Who survives?” Director Sebastian Schipper filmed Victoria in one take that roams through dozens of locations in Berlin’s empty small-hours streets, with dialogue improvised by his core young cast of five. Hitchcock tried something similar, editing Rope’s 10-minute takes to simulate continuous action much as Birdman did, while Orson Welles’ long, bravura opening shot in Touch of Evil was emulated at Boogie Nights’ start. Helped by modern camera technology, Schipper has aced them all in Read more ...

Martin Rauch-stroke-Moritz Stamm, the reluctant spy who by the end of the final, double episode of this eight-parter had achieved more than most in that profession, managed the ultimate last night: he came in from the cold. In a series whose refrain could almost have been “You can’t go home again”, there he was back at the domestic hearth as if nothing had happened (except that his mother Ingrid was healed). Idyllic ending? The irony heavy in the air, of course, was that five years or so later the home he had come back to – East Germany – would itself cease to exist.If we became absorbed in Read more ...

That purveyor of everything from crazy cosmic jive and plastic soul to epic disco and elegant Berlin ambient gloom made a hell of an exit last week. His last release, his “parting gift” Blackstar, was a dazzling curtain bow unlike any other. He was a brilliant magpie, smuggling all kinds of ideas from Kabuki and Nietzsche to avant-jazz and cut-ups into impeccable, usually subversive, pop. Whether you saw him as a “major liberator” (Jon Savage) or were put off by the “smorgasbord of lachrymosity" (Julie Burchill), in the past week it became clear how many different types of people's lives Read more ...

Earlier this year, Sky Living showed The Enfield Haunting, a tale of eerie events in a 1970s council house. One of its stars was Timothy Spall, playing a paranormal researcher. Maybe he had a premonition that his son Rafe would carry on the family's supernatural tradition in the leading role of Harry Price: Ghost Hunter  (★★★★★).Anyhow, Spall Jr was shrewd, witty and skilful in the role of a 1920s spookbuster called in to investigate the mysterious case of a politician's wife, Grace Goodwin, who had been found wandering naked in a London market. Part of the problem was that she and Read more ...

Stunningly reinvented in series four, Homeland sustained the momentum with this tense and menacing fifth season opener. Carrie Mathison (Claire Danes) has now quit the CIA for a new job in Berlin, where she's working as head of security for billionaire philanthropist Otto Düring (Sebastian Koch). The past, however, is not giving up without a fight.In the light of recent real-life events, it was smart work by the writers to throw the spotlight on the German capital. Filming obviously took place before the current refugee crisis (and Frau Merkel's controversial leading role in it) blew up, but Read more ...

It felt a bit like we were seeing things. At the fag-end of Edinburgh’s 2015 August of festival mayhem, with extreme exhaustion and input overload mixing to brain-addling effect in the heads of most festival-goers and participants, a hallucinatory, day-glo farce of a show that obsessively repeats just a single word seemed pretty fitting.Murmel Murmel was the Edinburgh International Festival’s last major show to be unveiled. Flown in from Berlin’s Volksbühne theatre, it’s a crazy creation of maverick director and designer Herbert Fritsch based on Swiss Fluxus-influenced artist Dieter Roth’s Read more ...

In 2007, a tiny British theatre company called 1927 staged their first ever show at the Edinburgh Fringe – the darkly reimagined collection of fairytales and fables Between the Devil and the Deep Blue Sea. Now, almost a decade on, they are back where it all began – not at the Fringe but the Edinburgh International Festival, with their acclaimed Komische Oper production of The Magic Flute.If you’ve seen any of 1927’s recent theatre work – The Animals and Children Took to the Streets or Golem – you’ll be familiar with an aesthetic that blends live action and animation to create dystopian worlds Read more ...

Never in a million years would you guess that Grand Hotel – the 1989 New York hit now brilliantly revived at Southwark Playhouse – is one of Broadway's great rescue jobs. That something seemingly so organic, so cohesive, so intricate could have reached the final stages of production in such trouble that even a force of nature like Tony-winner Maury Yeston (Nine) must have wondered it if were salvageable simply beggars belief. George Forrest and Robert Wright were, of course, famous for recycling other people's music and making hit songs out of hit tunes, but the changes that Yeston made Read more ...

We’re so used these days to theatre music as aural torture – blasts of pop music on the tannoy, assorted electronics or, if you’re (moderately) lucky, a snatch of too-loud Chopin or Grieg before the lights come up on the Ibsen drawing-room – that it’s easy to forget a time when plays were introduced, interrupted and even accompanied by a pit orchestra playing music specially composed by the greatest composers of the day. We now hear this music as concert overtures and suites: Egmont, Peer Gynt, L’Arlésienne, and the like.But there’s a good case for occasionally putting it back where it Read more ...