Andrzej Panufnik’s Sinfonia elegiaca, was the prelude to Dmitry Shostakovitch’s Symphony No 7. ‘Leningrad’. Although the Edinburgh Festival has a specific focus on the commemorations marking World War One, this evening was a reaction by a Polish and Russian composer to the horrors of Nazi invasion.
From Berlin to Broadway. Bremner sings the songs of Kurt Weill. Edinburgh Fringe The Loft. Julia Pascal.
For lovers of German prewar art, music and theatre, this performance is a treat. Bremner unashamedly declares his obsession with Kurt Weill.
The Dloko High School Choir from Umlazi Township The audience went crazy for this troupe of gifted singers, especially when they sang a love song to Mandela but, for me, the performance raised certain questions.
This play was first produced in 1980s London by The Women’s Theatre Group with Elaine Feinstein as the original writer. In this production it is Cambridge students who explore the latest fractured Shakespeare.
The motiveless crime fascinates us. Murder for murder’s sake challenges all our conditioning and leads us into our uncivilised self. This musical play focuses on the 1924 crime committed in Chicago by Richard Loeb and Nathan Leopold.
Romeo Castellucci at Brussels’ La Monnaie (De Munt in Dutch) opera house takes a real-life sufferer of locked-in syndrome and turns her into the protagonist of Ophee et Eurydice (adapted by Hector Berlioz from Gluck).
Immersive art is enjoying a sparkling revival this year with the rapidly growing popularity of Secret Cinema, then Punchdrunk’s sell-out immersive production of The Drowned Man. This Christmas opera is also going immersive, with a new production of Hansel and Gretel in a former cricket-bat factory in the heart of Peckham.
Anarchic British violinist Nigel Kennedy has been known to make less than flattering remarks about the usefulness of orchestral conductors. There’s a chance he might find it harder to criticise Israel’s Guy Braunstein, who is conductor and performer all in one, holding his violin in one hand and directing the orchestra with his other.
Why A Berlin Kabaret and why now? Berlin’s Kabaret came out of very particular times. But those drawn to it didn’t just live through their own dark times. They have things to impart to us about our world now. None more so than Bertolt Brecht.
Anything and everything these days seems ripe for musicalisation. After all, didn’t Stephen Sondheim turn the serial killer that was Sweeney Todd into arguably his finest musical? So now we have Titanic.
Benjamin Britten’s Death in Venice could not be more different to the commonly associated Visconti film or Mahler music he attached to it.
Carrie Cracknell updates this 1925 German opera to modern Britain and it is a triumph.