ARTS
Resources
Messiah, Coliseum, London
Deborah Warner’s community play for Christmas is neither shocking nor uplifting and is too wishy-washy to stir the juices , writes Andrew Clark
El Sistema
A documentary about Venezuela’s music education system
Wagner: Der Ring des Nibelungen
Bayreuth Festival Orchestra performs the operatic cycle
Lear, Komische Oper Berlin
Hans Neuenfels stages Lear as an intimate drama, focusing on individuals and paring his metaphors down to a few strong images. The result is a staging of gut-wrenching power, writes Shirley Apthorp
Le Balcon, Grand Theatre, Bordeaux
Playing down the humour in Genet is as insane as taking a mournful approach to Joe Orton, his British alter ego. Not surprisingly, the opera met with a generally lukewarm response, writes Francis Carlin
The Dream of Gerontius, Royal Festival Hall, London
For all his research into performance practice in this country around 1900, Skidmore is no Elgarian – his ‘Gerontius’ was polite to a fault, writes Andrew Clark
Cecilia Bartoli, Barbican, London
The art of the castrato is the theme of the singer’s annual tour, but it is missing the great music that the castrati inspired, says Richard Fairman
Tamerlano, Music Center, Los Angeles
At 69, Domingo lends this historical tragedy of Tamburlaine and his foe the grandly scaled passion and robust vocalism not always present in even the most stylishly prepared 18th-century fare, writes Allan Ulrich
Between Two Worlds, Queen Elizabeth Hall, London
The oeuvre squeezed into Sunday’s marathon was so diverse that the Southbank Centre’s Alfred Schnittke retrospective might well have been titled Between Multiple Worlds, writes Andrew Clark
King of Chu, Shanghai Oriental Art Centre
In the elements that truly matter for the life of the piece – the music and the performance – this production is in another league entirely, writes Ken Smith

Classical music 

