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Category: The Berkshire Review in London

Patrick Keiller: The Robinson Institute at Tate Britain

Occasionally I’ve thought that in my role as The Berkshire Review‘s ‘London correspondent’ I ought to focus sometimes on things that are more culturally British; unfortunately, I just don’t think much of British culture generally, and with the Olympics now here, decimating arts funding and forcing friends and colleagues of mine out of their homes due to massive rent increases, I feel arguably less inclined than ever to take up the baton for this country.

Gabriel Kellett

About Gabriel Kellett

A music graduate of Roehampton University, London, Gabriel has over the course of the last 18 months worked as a cameraman and editor on a feature film, documentary and music video (http://www.youtube.com/watch?v=o9cQhh4hXZI), and is currently working on his first short film as writer/director.

Peter Grimes, Prom 55, London 2012

Noble and/or savage. In this Olympic summer the Proms have been lavish with opera productions, and I suppose the sheer Englishness of Peter Grimes made it an automatic choice. The production, done in concert without sets, came from the English National Opera with most of the original cast intact – it was first staged in 2009 – and was conducted for beauty and precision by the ENO’s music director, Edward Gardner. I’m getting the bare bones out of the way because it’s hard to revisit Britten’s seminal opera – the one that ratified his status as the greatest British composer since Henry Purcell – without feeling queasy.

Huntley Dent

About Huntley Dent

Huntley Dent is a freelance writer and editor who lives in Santa Fe.

Glyndebourne’s Swinging Marriage of Figaro at the Proms

Let’s do the twist! The Count sports a Sgt. Pepper mustache and velvet brocade bell bottoms. The Countess is dressed in a caftan that looks like William Morris wallpaper. Cherubino wears a skin-hugging flowery shirt. Yes, Glyndebourne has dared to set The Marriage of Fiagro as a romp through London in the swinging Sixties, and after holding your breath for the first ten minutes, it begins to work because it’s funny — a ridiculous sartorial period marries into the world of Marie Antoinette. Like a drunk uncle at the wedding, the swingers loosen everybody up. Once Countess Almaviva stops feeling sorry for herself and begins to frug — or is it the swim? — infectious absurdity wins the day.

Huntley Dent

About Huntley Dent

Huntley Dent is a freelance writer and editor who lives in Santa Fe.

April De Angelis’ Jumpy at the Duke of York’s Theatre

Preggers. A bloke in a certain frame of mind, namely male, might wonder why he is sitting at Jumpy. April De Angelis’ new play, beginning its West End run after a success at the Royal Court, is very witty but also very hen-partyish. When the women in the audience laugh knowingly at a line like, “Is she metal-pausal?” some men might wince. Their eyes are likely to avert when a whoop goes up at the sight of a hunky young man entering stage left, starkers, except for modestly covering himself down there. This isn’t gender neutral comedy, and the territory it covers — the generation gap between a middle-aged mother and her mouthy sixteen-year-old daughter — has a case of galloping cliche.

Huntley Dent

About Huntley Dent

Huntley Dent is a freelance writer and editor who lives in Santa Fe.

Prom 54: Sir Peter Maxwell Davies, Frederick Delius and Shostakovich

Resistance movements. It didn’t take long for everyone to realize that they had a musical star in Vasily Petrenko, the boyish thirtysomething conductor of the Royal Liverpool Philharmonic. He debuted with them in 2004 at the age of 28 with brilliant promise. No one spoke of promise after a concert or two; they were already floored. One of a star’s perks is a roaring welcome at the Proms. You’d have thought at the end of their concert two nights ago that the orchestra had just played Crown Imperial rather than the angst-ridden Shostakovich Tenth.

Huntley Dent

About Huntley Dent

Huntley Dent is a freelance writer and editor who lives in Santa Fe.

Abigail’s Party by Mike Leigh at Wyndham’s

Gin and it.

There are cocktail parties, and then there are cocktail parties. Dramatists like to use them as a trope for the viral malaise that has infected middle-class life. In Who’s Afraid of Virginia Woolf?, the unraveling of a marriage is x-rayed with malicious glee, while in the sedate confines of The Cocktail Party T.S. Eliot takes up his familiar, morose theme of “shoring up fragments against our ruin,” giving us hints of the Alcestis of Euripides so that the failed marriage at the heart of the play has mythic resonance. (Albee seemed to stretch for all-American resonance by naming his duelling couple George and Martha, although the relevance to George and Martha Washington never hit home for me — history is the last thing one thinks about as the air blisters and boils in the play.)

Huntley Dent

About Huntley Dent

Huntley Dent is a freelance writer and editor who lives in Santa Fe.

Leonardo da Vinci (1452-1519), The Virgin of the Rocks, 1483 – about 1485, oil on wood transferred to canvas, 199 x 122 cm, Musée du Louvre, Paris, Département des Peintures (777). © RMN / Franck Raux. Art

Leonardo da Vinci: Painter at the Court of Milan, The National Gallery of Art, London, November 9, 2011 – February 5, 2012

The crowds begin as one approaches the rear of the building: a long line, snaking back on itself contains those hopeful of gaining one of the 500 tickets on sale each day; further on, is a smaller queue of the luckier ones who had snapped up all the online tickets during the first three days of sale. Overall, the crowds are well behaved—for this is England—and approach their goal with good humor and a touch of the spirit of Dunkirk as they descend upon the National Gallery’s runaway success, Leonardo: Painter at the Court of Milan. It is not a large show, only some sixty paintings and drawings, but then Leonardo only began a score of paintings in a career spanning four decades. Of those paintings, fifteen autograph works survive, and four of these are generally deemed incomplete. To assemble almost every surviving painting from Leonardo’s Milanese period in London is a notable achievement, and these works are supplemented by others associated with his followers and sometime collaborators in the most sustained period of productivity in the artist’s life.

Bruce Boucher

About Bruce Boucher

Bruce Boucher, is director of the University of Virginia Art Museum. Before that he was curator of European sculpture at the Art Institute of Chicago, a position he has held since 2002. 

Boucher is the author of numerous books, among them “Andrea Palladio: The Architect in His Time,” and he lectures widely on Palladio as well as Italian artists such as Donatello, Tintoretto and others, with a focus on the artists working in the Renaissance and Baroque periods. He was chief curator of the exhibition, “Earth and Fire: Italian Terracotta Sculpture from Donatello to Canova,” which was shown at the Museum of Fine Arts in Houston and Victoria and Albert Museum in London in 2001-2002. He also co-authored the exhibition catalog.

Prior to joining the Art Institute, Boucher taught art history at University College London for 24 years. He also spent two years as visiting member of the Research Department of the Victoria and Albert Museum in London, between 2000-2002. During his tenure at the Art Institute, Boucher taught at the University of Chicago, and he lectures regularly at institutions around the country and abroad. 

This year he lectured in Vicenza, Italy, at a symposium marking the 500th anniversary of Palladio’s birth. He has also spoken on Palladio’s villas at New York’s Institute of Classical Architecture and most recently at a symposium on Palladio at Notre Dame University.

Boucher earned his B.A., magna cum laude in Classics and English from Harvard University and a B.A., M.A., in English Language and Literature at Magdalen College, Oxford University as a Rhodes Scholar. Before entering Oxford, he traveled to Italy and fell in love with the art and architecture. This event led him to change his course of research. After Oxford he went on to earn a M.A. with distinction at the Courtauld Institute of Art, University of London, and then a Ph.D. there with a thesis on the Venetian sculpture of the architect Jacopo Sansovino.

Boucher serves on numerous professional organizations and advisory committees. He has received various honors, including a fellowship at the prestigious Harvard Center for Renaissance Studies at the Villa I Tatti, the Alexander von Humbolt Fellowship, and the Salimbeni Prize for his monograph, “The Sculpture of Jacopo Sansovino.” He also was a guest scholar at the J. Paul Getty Museum and served as guest curator on the research department of the Victoria and Albert Museum from 2000 to 2002.

Degas and The Ballet: Picturing Movement: 
Royal Academy of Arts, London
, September 17 – December 11th

Can anything new be said about Degas and the dance? Those beautiful pastels and oils of rehearsal studios, those figures framed by stage flats, the three-dimensional sculptures have all passed into the canon of art history, and they are as inseparably linked to Edgar Degas as are the subtexts of voyeurism and misogyny. But the Royal Academy’s current exhibition, Degas and the Ballet: Picturing Movement, aims for something new as its subtitle suggests. Of course, there is plenty to delight the eye with a spread of some eighty-five works by one of the most idiosyncratic of Impressionist artists, and the range of major loans—especially from private collections—is staggering as is the quality of the selection. This bounty is not surprising, given that Richard Kendall, probably the doyen of Degas specialists, is the chief curator;” yet what makes this exhibition stand out among the generality of shows on Degas is that it contrives to mount two exhibitions at once: one on the artist’s obsession with the ballet and ballerinas, the other about the nineteenth-century’s obsession with deciphering locomotion.

Bruce Boucher

About Bruce Boucher

Bruce Boucher, is director of the University of Virginia Art Museum. Before that he was curator of European sculpture at the Art Institute of Chicago, a position he has held since 2002. 

Boucher is the author of numerous books, among them “Andrea Palladio: The Architect in His Time,” and he lectures widely on Palladio as well as Italian artists such as Donatello, Tintoretto and others, with a focus on the artists working in the Renaissance and Baroque periods. He was chief curator of the exhibition, “Earth and Fire: Italian Terracotta Sculpture from Donatello to Canova,” which was shown at the Museum of Fine Arts in Houston and Victoria and Albert Museum in London in 2001-2002. He also co-authored the exhibition catalog.

Prior to joining the Art Institute, Boucher taught art history at University College London for 24 years. He also spent two years as visiting member of the Research Department of the Victoria and Albert Museum in London, between 2000-2002. During his tenure at the Art Institute, Boucher taught at the University of Chicago, and he lectures regularly at institutions around the country and abroad. 

This year he lectured in Vicenza, Italy, at a symposium marking the 500th anniversary of Palladio’s birth. He has also spoken on Palladio’s villas at New York’s Institute of Classical Architecture and most recently at a symposium on Palladio at Notre Dame University.

Boucher earned his B.A., magna cum laude in Classics and English from Harvard University and a B.A., M.A., in English Language and Literature at Magdalen College, Oxford University as a Rhodes Scholar. Before entering Oxford, he traveled to Italy and fell in love with the art and architecture. This event led him to change his course of research. After Oxford he went on to earn a M.A. with distinction at the Courtauld Institute of Art, University of London, and then a Ph.D. there with a thesis on the Venetian sculpture of the architect Jacopo Sansovino.

Boucher serves on numerous professional organizations and advisory committees. He has received various honors, including a fellowship at the prestigious Harvard Center for Renaissance Studies at the Villa I Tatti, the Alexander von Humbolt Fellowship, and the Salimbeni Prize for his monograph, “The Sculpture of Jacopo Sansovino.” He also was a guest scholar at the J. Paul Getty Museum and served as guest curator on the research department of the Victoria and Albert Museum from 2000 to 2002.

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