Shostakovich Symphony No. 6 at Philharmonic Hall, Liverpool

The RLPO was conducted by Lidiya Yankovskaya in three works: River Rouge Transfiguration by Missy Mazzoli, the violin concerto by Johannes Brahms and Shostakovich’s 6th Symphony. 

All were performed with the usual brilliance.  The energetic Mazzoli work was based on Ford car factory in Detroit and was enjoyably metallic. Alena Baeva was the soloist in the Brahms: wonderfully subtle playing in a concerto that doesn’t come very close to the top of my favourites, but may have crept up a bit as result of this performance. 

I realised that I just didn’t know the Shostakovich Symphony.  It has a very powerful first movement, full of Russian regret and sadness.  Probably to please Stalin, though, the last movement develops into a cheerful romp, perfect for picking up the enthusiastic applause at the end. 5*

Macbeth, a play by William Shakespeare, on film at The Grosvenor Picture House, Glasgow

It wasn’t that long since we had seen a live performance in Liverpool of Macbeth with Ralph Fiennes and Indira Varma in the title roles.  This latest production is the one filmed from the Donmar Warehouse production with David Tennant and Cush Jumbo, directed by Max Webster. It takes is an altogether different approach and ranks as probably the best performance of the play I have ever seen. 

The witches, who are often difficult to portray satisfactorily in the play are cleverly played by the whole cast, in a kind of amplified whisper, suggesting that their prophesies are no more than Macbeth’s paranoia about his colleagues’ intentions. Unusually for Shakespeare, Tennant’s diction, and that of most of the rest of the cast, comes over crystal clear (in the live performance, the audience listened through headphones); so we miss nothing and we can fully engage in the fine, realist acting out of the plot. Maybe this is helped by the fact that the actors, with the exception of Lady Macbeth, all have an authentic Scottish accent. The Scottishness is accentuated by the one light relief in the play (the soliloquy by the Porter) being played cleverly like a Glaswegian stand-up comedy act. 

Superb acting, brilliant cast and production throughout.  Nothing to fault. 5*

Hard Truths, a film by Mike Leigh at The LIght, New Brighton

An interesting film from Mike Leigh as he portrays in his usual fashion a selection of individuals going about their everyday lives. Marianne Jean-Baptiste plays Pansy, a middle-aged housewife living in suburban London.  She comes from a Black British background and all her friends, family  and the colleagues of her husband are Black. Pansy suffers from severe depression.  She is hypercritical of, and constantly angry about, of the society she lives in, about her husband and her similarly depressed teenage son and suffers from hypochondria and obsessive compulsive disorder relating to cleanliness and hygiene.  

Pansy’s family tolerates her behaviour but find it challenging.  Her husband lives in despair of there ever being any happiness in their relationship and her son has lost all motivation. Only her sister and two nieces still make any attempt to support Pansy and to offer help, but that is always bitterly rejected. 

I expected that there would be one event that would be responsible for changing Pansy and her family’s live and at one point in the film it did seems that this was happening, at least for the son. But Leigh doesn’t take that comfortable line and we are left with the true realisation that clinical depression ruins lives and is not easily resolved. That is the hard truth. 5*

The Brutalist, a film by Brady Corbet at Picturehouse at FACT, Liverpool

This has been nominated for so many awards and appeared to be about a subject of some interest —brutalist architecture — so I was looking forward to its appearance, even if the 3.5 hour duration (with interval) seemed daunting.  As it happened, the extreme length of the film and its epic style was unnecessary for the fairly ordinary, if interesting, story of a Holocaust-surviving Hungarian Jewish architect of some repute, Lázlo Tóth, who fled to the United States, where he initially finds only poorly paid work with his cousin. This proves unsustainable and he falls into poverty but he is then ortunate to find work redesigning a library for a wealthy industrialist, Van Buren. His uncompromisingly modern redesign does not meet with the industrialist’s approval, but, after he finds that it receives praise from the architectural world, he commissions Lóth to build an enormous concrete folly, effectively a monument to himself, on top of a hill in Pennsylvania. 

Much of the film then explores the breakdown in the relationship between the architect and his patron, on whom Tóth becomes totally dependent as the huge concrete edifice is painstakingly constructed. Through the influence of Van Buren, Tóth’s journalist wife and his niece are smuggled into the country from Germany, but they are not readily accepted in the society they are introduced to, on account of their being Jewish.  This uncomfortable scenario ultimately ends in drug dependence, insanity, violence and acts of brutalism that reflect the style of architecture and the film’s title. 

At one point I was confused as to whether or not the film was in fact a dramatised documentary on the life of a real architect. In fact, it seems that it was loosely based on the life of former Bauhaus architect Marcel Breuer, but, according to reviews by some architects, did no justice to the life or work of Breuer and grossly exaggerates his professional life for dramatic effect. So it really should be seen only as an entertainment — a work of fiction. 

The film ends particularly unconvincingly as Tóth, as an old man in the 1980s, is presented with a lifetime award in recognition of his brutalist architecture.  This seemed quite improbable as the 1980s were a period in which most brutalist architecture was being denigrated; had he existed, he would surely have had to wait a further 20 years for his work to be recognised. 4*

Ensemble 10/10 concert at The Tung Auditorium, Liverpool

An unusually full house for a 10/10 contemporary music concert, particularly one with unfamiliar works. The orchestras in both halves were conducted by Domingo Hindoyan, the first time he has led a 10/10 programme. 

There were three works: Danu’s Rhapsody by the recent Rushworth Composition Prize winner Sam Kane, the Violin Concerto No.1 from 2014 by Syrian-born composer Kazeem Roustom and the Chamber Concerto by Alban Berg. 

The Rhapsody was a nicely orchestrated enjoyable work for small orchestra that made no demands on the listener; the composer was present to receive an enthusiastic response. 

Michael Barenboim was the soloist in the technically demanding violin concerto by Roustom. It was allegedly based on a theme from a Mozart piano concerto, although I didn’t pick that out.  But more obvious were the passages that were clearly influenced by Turkish or Middle Eastern music, in particular the dance-like themes in the last movement. 

Michael Barenboim appeared again in the last work of the concert — Berg’s Chamber Concerto for violin and piano and 13  wind instruments — this time along with locally born soloist William Bracken. This is a complex, fully fledged serial piece, 100 years old this year, and still presenting a challenge for both performers and audience; yet clearly exhibiting its origin in late Romanticism. I loved the technical virtuosity of the soloists and orchestra and just being surrounded by that sound world. 5*  

Nickel Boys, a film by Ramell Ross at Picturehouse at FACT, Liverpool

The film has received multiple awards, including the National (US) Society of Film Critics Best Film of 2024. It is based on the Pulitzer Prize-winning book The Nickel Boys, by Colson Whitehead, which I read a few years ago. 

The film tells the story of a teenage Black boy, Elwood Curtis, played by Ethan Harisse, who, in 1960s Florida, manages to navigate the racial prejudice to gain a place at a college. On his way there, he accepts a lift from a stranger, who, it turns out, is driving a stolen car.  Elwood is wrongly convicted of being an accomplice to the theft and is sent to a notoriously violent and abusive young offenders’ institution, the Nickel Academy.  While the white boys sent there are treated well and receive an education, the black boys are segregated to inferior accommodation and are subjected to beatings and abuse by the white officials. 

A moving subplot is the attempt by Elwood’s grandmother to organise an appeal against his conviction, but the money she pays to a solicitor is embezzled and she is unsuccessful. Also alongside the main story we see Elwood several years later as a successful business person in a relationship but still obsessed with the revelation of unmarked graves of boys being discovered on the Nickel Academy grounds.

Elwood separates himself from the other inmates and, as a result, is bullied and ostracised. He makes friends with one other inmate, Turner, and the two support each other.  Elwood takes notes of what happens with a view to revealing it to the authorities, but when he does so no action is taken and Elwood is convinced that he will be beaten to death, as has happened to other boys who even inadvertently challenged the system. He and Turner plan to escape before this happens.  They steal bicycles but are unable to flee from the guards, who chase them in a van.  Turner manages to escape but Elwood, weakened from a previous beating, is shot and killed. 

At the end, we see Turner visiting Elwood’s Gran and being hugged by her as if he was her grandson.  In a way that remains enigmatic in the film, but is explained in the book, Turner goes on to take Elwood’s identity and to campaign for civil rights and justice for the victims of the Academy. 

The film takes this relatively straightforward story and presents it in a very sophisticated way.  The main dramatic episodes are interspersed randomly with shots of political events of the 1960s.  The filming technique is quite unique: we see and listen to each of the main characters as if we in the audience were the other one and in several places, it is unclear which boy we are; their identities seem to be interchangeable.  This is clearly a way of leading to the ultimate taking on of Elwood’s identity by Turner in later years. This is clever film-making but quite challenging, particularly as the dialogue is delivered in a Florida teenage drawl that is often quite unintelligible; it would have been good to have seen the film with subtitles because, while not all the dialogue was essential, understanding more of it would have removed some of the confusion about the identities. I’ll definitely try to watch it again when it appears with text.  5*