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Recent reviews
Midsummer Dreams: Mendelssohn Scottish and Beethoven Eight
A century ago, as Australia’s nascent capital planned its performing-arts future, it opted for a ‘commodious’ assembly hall, serving conference and recreational purposes, and doubling as a municipal theatre. Completed in 1928, Albert Hall was to be the ‘centre from which will radiate all those aspirations that are truly national’, as then Prime Minister Stanley Melbourne Bruce pompously intoned at its opening. Since then, the Hall’s record has been less illustrious, often housing carpet or shoe sales, community fairs or eisteddfods. With its peeling ceiling, drooping curtains, winter draughts, and cramped, overly elevated stage, it has proven a challenge to several generations of concert entrepreneurs.
... (read more)The current show at Monash University Museum of Art, Thin Skin, is notable as the largest institutional exhibition in Victoria dedicated solely to contemporary painting in nearly a decade. Presumably for this reason, there has been much logistical support from MUMA for the new exhibition. A quarter of the thirty-six works here are new commissions by MUMA for the exhibition, while others have been borrowed from interstate and international collections.
... (read more)Writer–director Christopher Nolan is locked in an ongoing, well-documented wrestling match with linear time. With each new film, he attempts to find some unique way of slicing, dicing, and interrogating it. Memento (2000) gave us a crime thriller told entirely out of order; Inception (2010) used an ingenious nesting-doll conceit for its thrilling dream heists; Interstellar (2014) dabbled in relativity; Dunkirk (2017) juggled three parallel timelines.
... (read more)Unlike his compatriot Jan Vermeer, Rembrandt van Rijn was never forgotten. Like a Beethoven of visual art, he has always been a beacon and has always inspired later artists. Famous for his biblical storytelling on a symphonic scale, he was also a supreme portraitist and master of the self-portrait in oils (he made more than forty). Public familiarity with Rembrandt’s oeuvre in the centuries before photography came from his unmatched mastery of the artist’s print.
... (read more)I find myself going to view Nan Goldin’s legendary series of photographs, The Ballad of Sexual Dependency, with trepidation. Lying at the heart of these works is a renowned image, Nan after being battered, 1984. Taken by her friend, Suzanne Fletcher, it shows a youthful Goldin with big 1980s hair, dangling silver earrings, a necklace of pale beads. She gazes into the camera, her left eye swollen and bloodshot, her right eye framed by a half-healed bruise.
... (read more)Now an octogenarian, and with more than thirty plays to her name, Caryl Churchill must be the English-speaking theatre’s nearest equivalent to a rock star of a certain age. It’s no exaggeration to say that without her plays – which, like Samuel Beckett’s, have become increasingly spare and crystalline over time, some running to as little as ten minutes – it would be hard to imagine the existence of whole generations of British playwrights, from Martin Crimp and Mark Ravenhill, to Alistair McDowell and Lucy Kirkwood.
... (read more)Whether apocryphal or not, this anecdote tells us a lot about Offenbach and how he was perceived as the epitome of French wit and insouciance, reflected in his many popular operettas. Naturally, his story is far more complex than this glib description, and some of the complexity of his life as an outsider, being both German and Jewish, living in Paris, is mirrored in his final, and many would maintain, his greatest opera.
... (read more)In January 1957, Salvador Dalí appeared on American television in What’s My Line, a game show featuring a segment in which blindfolded panellists tried to work out the identity of a mystery guest by asking only yes-no questions. Dalí did not make it easy for the panel or the host: he answered ‘yes’ every time, not only to ‘Are you a performer?’ and ‘Would you be considered a leading man?’ but also to ‘Do you have anything to do with sports?’ In his mind, he was famous for absolutely anything and everything.
... (read more)Inspired by everything he had learned and seen at the Mannheim Court in 1777–78, Mozart, aged twenty-four, was primed when he received a commission to write an opera for the 1781 Munich carnival. His years in Mannheim had been formative, exposed as he was to Elector Carl Theodor’s court, which rivalled that of Frederick II, king of Prussia, in discrimination and cultivation.
... (read more)At last, ‘The Sydney’ is back. Not since 2016 has the city given a live welcome to one of its most distinctive artistic events: the Sydney International Piano Competition. After frustrating years of virtual activity, planning insecurity, and structural rethinking, Piano-Plus (Piano+) has emerged as the umbrella body for presenting a wide range of competition, festival, touring, and educational activities.
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