To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
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Soviet/fascist orchestral face-off
SIMON DUFF is thrilled by the provocative pairing of two major works from a time of profound ideological opposition
WE LOVE THE RED SOCKS SONNYBOY: LSO, conducted by Gianandrea Noseda perform Carmina Burana
[Andy Paradise ]
If you can see past the relentless commodification you will be rewarded by enormously powerful work, suggests JENNY MITCHELL
CHRIS SEARLE revels in the one-off collaboration between an American polymath and a British Muslim, and detects the presence of their revolutionary forebear
GORDON PARSONS revels in an ebullient production of Shakespeare’s magical comedy
BRENT CUTLER welcomes a thoughtful analysis of the Erdogan regime, viewed through the evolving history of a neighbourhood in Istanbul
GORDON PARSONS regrets the price, but is dazzled by an outstandingly ambitious study of the way art restoration in particular, and culture in general was weaponised by the Nazis
Dmitri Shostakovich, Symphony No 3 / Carl Orff, Carmina Burana
The Barbican, London
A HEADY mix of Dmitri Shostakovich and Carl Orff made for a night of power and drama, exploring extremes of melody nature and history, provided by the London Symphony Orchestra and guests at London’s Barbican.
Orff’s Carmina Burana and Shostakovich’s Symphony No 3 are two major orchestral choral works written within six years of each other, both at times of unprecedented social and political upheaval.
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PETER MASON thrills to the sound of south London-born Yussef Dayes, and the galaxy of musicians drawn into his orbit
WILL STONE witnesses an experimental piano concerto inspired by the work of a young Jewish victim of the Nazis
As part of the 2025 London Jazz Festival Rich Mix offered intriguing sessions titled 'Persian Jazz,' CHRIS SEARLE was there
This is a concert of ambition and courage by organist and improviser Wayne Marshall, says SIMON DUFF