Paul Kildea
Paul Kildea is the author of Benjamin Britten: A life in the twentieth century (2013) and Chopin's Piano: A journey through Romanticism (2018). He lives in Melbourne and is Artistic Director of Musica Viva.
The smallest, dullest link in the fateful chain binding John F. Kennedy and his assassin Lee Harvey Oswald is that both men were big fans of the fictional spy James Bond. In the immediate aftermath of Kennedy’s assassination in November 1963, when investigators searched the tiny boarding room in Dallas that Oswald rented for $8 per week, they found the four Bond books that citizen Oswald had ass ... (read more)
CAST
NOËL COWARD, a playwright, director, actor and composer
IVOR NOVELLO, a composer and actor
GERTRUDE LAWRENCE, an actress
GEORGE GERSHWIN, a composer
W. SOMERSET MAUGHAM, a writer
VIRGINIA WOOLF, a novelist
CHARLIE CHAPLIN, an actor and filmmaker
IGOR STRAVINSKY, a composer
LAURENCE OLIVIER, an actor
GRETA GARBO, a movie star
JOAN SUTHERLAND, a soprano
PET SNAKE, a reptile, alle ... (read more)
At drinks following the first performance of this sold-out run of Gustav Mahler’s Symphony No. 2, conductor Simone Young chatted to mezzo-soprano Michelle DeYoung, the latter’s hoarse voice alarming the two of them. ‘We need to call Debbie,’ Young told a colleague, wary of what the morrow would bring. ‘Right now!’
The Debbie concerned is mezzo Deborah Humble, whom Simone had conducted ... (read more)
Paul Kildea reviews 'Writing in the Dark: Bloomsbury, the Blitz and Horizon Magazine' by Will Loxley
In late March 1941, more than six months into the relentless German aerial campaign that was then destroying great swaths of London’s fabric and spirit, Virginia Woolf filled the pockets of her heavy overcoat with stones and waded into the River Ouse. Her suicide occurs halfway through Will Loxley’s scattergun study of English writers and writing during the war, though its inevitability haunts ... (read more)
In 2002 the English filmmaker John Bridcut visited The Red House in Aldeburgh, the archive housing the papers of Benjamin Britten and his long-time partner, Peter Pears. Bridcut was early in his research for a project he would realise two years later as the documentary film Britten’s Children, and then, after another two years, as a book of the same name. I was then head of music at the Aldeburg ... (read more)
At a sports carnival early in Evelyn Waugh’s novel Decline and Fall, the schnockered schoolmaster Prendergast, unsteadily wielding a starting pistol, shoots poor Lord Tangent in the foot. Thereafter, Tangent barely appears in the narrative, with only a sentence now and then charting his slow medical decline. ‘Everybody else, however, was there except little Lord Tangent, whose foot was being a ... (read more)
January 5
We have lost our Hermia, so Sally-Anne Russell comes round to sing for me. She has fished out Benjamin Britten’s Charm of Lullabies and her score of The Rape of Lucretia. We work on both, but particularly on the aria in which poor Lucretia threads together gorgeous lilies into a funeral wreath, her response to what the boastful, ghastly Tarquinius has done to her. Sally-Anne has not s ... (read more)
Arnold Schoenberg and George Gershwin were two of the greatest architects of twentieth-century art music, each of them simultaneously an agent of continuity and disruption. The disruption is easy enough to chart: Schoenberg’s complete rewiring of tonality’s motherboard; Gershwin’s successful integration of jazz and symphonic music (more successful than the integration into American society o ... (read more)
Sometime in the early 1970s – his health poor, his country’s no better – the English composer Benjamin Britten asked his good friend and publisher Donald Mitchell to write his biography, imploring him to tell the truth about his long-term relationship with the tenor Peter Pears. In the ten years that followed Britten’s death in 1976, Mitchell amassed thoughts and notes, all the while defle ... (read more)