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New Moon is nothing if not an international advertisement for the hungry virtues of virginity and young people can’t get enough of it
The Twilight Saga: New Moon
Theatre
A smart, prickly and rewarding view of sexual and emotional confusion
Cock
Restaurants
Kitchen W8 is a bargain for this area, if such sophistication is what you crave
Kitchen W8
Too long and drawn out but very entertaining with excellent special effects
This is a peculiar play and does not work for me. Some of it is very funny but there are real flaws
Alex has a strong powerful voice and was faultless, she is far better now than she was on the X-Factor
London,
Barry Millington's rating
Reader rating
Description: Violinist Marianne Thorsen and pianist Ian Brown perform Smetana's From My Homeland, Dvorak's Piano Quartet In E Flat and Martinu's La Revue De Cuisine.
Phone: 02079352141
Website: http://www.wigmore-hall.co.uk
Email: alexandra@southbanksinfonia.co.uk
The latest in the Nash Ensemble’s periodic concerts devoted to new works brought no fewer than five world or UK premieres in a programme of music by six of Britain’s leading composers.
The most substantial piece was A Constant Obsession by Mark-Anthony Turnage, making a return to form after a series of lacklustre scores. The new work sets poems about aspects of love by five poets, beginning in anticipatory mode with Keats’s Love Expected and ending with the bleak Love in Death of Tennyson.
In the latter, Turnage achieves a keening effect by sounding alto flute and clarinet in unison, underpinned by a drone bass of horn, violin and viola. Mark Padmore was the poignantly expressive soloist, Martin Brabbins the able conductor.
Colin Matthews’s The Island also makes evocative use of an alto flute with unearthly string sonorities and plucked harp and piano, all combining to conjure the elusive but sensuous quality of Rilke’s verse. The mezzo Loré Lixenberg did admirably at short notice.
Inspired by Rothko canvases, Michael Berkeley’s Piano Quintet begins with microtones splitting off from a high D and ends by building to a peak of intensity dominated by a similar high note. On the way, it plays effectively with musical ideas that can either be heard as reflecting the textures of painting or as pure music.
Julian Anderson’s Prayer for viola solo is often percussive, obsessive, even abrasive. Lawrence Power persuasively integrated the contrasting elements, dissolving them in an overriding arc.
Huw Watkins’s Trio for horn, violin and piano foregrounds the first two which are sometimes peaceably entwined but often locked in mortal embrace. This single movement draws steadily to a dramatic climax — perhaps a token of Watkins’s recent foray into opera.
Details are correct at the time of publication - please check with venue before booking.
