Three great releases of lost concerts by Duke Ellington Orchestra, John Taylor & Stan Sulzman, and Joe Henderson
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Pride cometh before a fall
Despite the film’s length, MARIA DUARTE is impressed by Cate Blanchett’s portrayal of a groundbreaking conductor at the height of her powers
Cate Blanchett as Lydia Tar in Todd Field's film TAR
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
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
TAR (15)
Directed by Todd Field
SCOOPING a Golden Globe for her five-star performance in Todd Field’s TAR, Cate Blanchett is extraordinary as Lydia Tar, a groundbreaking conductor of a major German orchestra, at the top of her game at the start of this intricate and complex drama.
At the height of her career, she is preparing for a book launch and a long-anticipated live recording of Mahler’s Symphony No 5 before everything slowly begins to go south.
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