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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Orban, Bartok and the national question
ANGUS REID interrogates the many contradictory faces of nationalism through the lens of classical concerts in Edinburgh
House of Music in Budapest designed by Japanese architect Sou Fujimoto, opened in 2022
[Lessormore/CC]
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
IN the 1930s the composers Bartok and Kodaly both wrote music for children and created an education programme for musical instruction in all the primary schools of Hungary.
The Budapest Festival Orchestra, co-founded in 1983 by Ivan Fischer, who still leads it, have an astonishing record of community service: autism-friendly concerts, “community weeks” of free concerts, and projects for disadvantaged children.
So, how does this humanitarian ethos translate into performance at the Edinburgh Festival?
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This is a concert of ambition and courage by organist and improviser Wayne Marshall, says SIMON DUFF
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