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
Latest editorial
One step forward two steps back
DAVID NICHOLSON takes issue with the portrayal of the only British working-class characters in the show as racist buffoons
The English lesson
[Craig Fuller]
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
Migrations
Millennium Centre, Cardiff Bay
WELSH National Opera is to be congratulated on commissioning a new opera, Migrations, and also using such a contentious subject.
The audience was markedly more diverse than usual opera-goers, and it was refreshing to see so many black performers on stage.
Composer Will Todd has created a wonderful body of music to cover the different tales told within the opera and working with different librettists.
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GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
DAVID NICHOLSON recommends a dazzling production of Bernstein’s opera set in a world where chaos and violence are greeted by equanimity
DAVID NICHOLSON is thrilled – and shocked – by an opera that seethes and sizzles with passion and the depraved use of power