Pop, fashion, rap ... it's a polyphonic spree at the ballet
Holding back the tears, Michael restores faith in a magical voice
Unwise as it may be to declare an album is destined to become a classic, I've no reservations in doing so in regard to this long awaited follow-up to The Lovely.
An account of the London plague is a strong choice of subject for a song cycle, and this Traverse production is already a festival highlight and a triumph for the singer Marc Almond, writer Mark Ravenhill, composer Conor Mitchell and director-designer Stewart Laing.
The classical violinist only recently found her voice, and what a voice it is, says Fiona Sturges
Rufus Wainwright is to become the first pop artist to take upresidency at the Royal Opera House in London.
The voice of an angel, the lyrics of a crossword puzzle
Should you swap your coat for a cape, this season's statement outerwear? Yes, says Rhiannon Harries, while Carola Long gives the trend the cold shoulder
Anton Edelmann, the former Savoy chef whose protégés include the young Giorgio Locatelli, was at Sotheby's in London this week, serving guests and fellow gourmands including Locatelli, Brian Mosimann, Mark Hix and John Williams, a 16th-century recipe for cooking dor-mice. Edelmann tells me he selected a menu based around ancient recipes including one for that Roman delicacy, the humble dormouse. While he did not stay completely true to the original – he used rabbit – he thinks 16th- century recipes can be adapted for contemporary palates. "Dormouse was a delicacy, it wasn't because they could find nothing else to eat. The only reason I stuck it on the menu is because it tickled me. The guests liked it, it tickled them, too." His feast was made to celebrate the sale, Books for Cooks, of a private collection of culinary literature from the 16th century to the present day, compiled by Stanley J Seeger. As well as Apicius Coelieus's mock dormouse dish on Edelmann's menu were canapés from Athenaeus, peaches à la Verenne, and chocolates from a 1644 text.
The singer Rufus Wainwright wore a tartan suit designed by Jonathan Anderson to the after party for the London premiere of his debut opera, Prima Donna, saying that it was his own tribute to the late Malcolm McLaren.
At the start of the second half of this extraordinary concert, Rufus Wainwright laughingly confessed that he had been "shitting bricks" over his performance in the first half. No wonder. Before the interval he had treated us to a stunning rendition of his new album, All Days Are Nights: Songs for Lulu, presented as a kind of Beckettian monodrama. An official had requested that we did not applaud the separate numbers, that we should hold back until the very end "as the exit is part of the performance". So was the entrance, and then some.
Rufus Wainwright is the past master of “operatic pop”. He writes wonderful and original songs – witty, ironic, insidiously memorable.
'Janis just broke down. I knew then that she'd arrived at where she had to be for the role'
One collection. One model. Two designers. Fashion editor Susannah Frankel sees Viktor & Rolf
Kate McGarrigle, who held the Wainwright clan together through good times and bad, has lost her fight with cancer
From Mamma Mia to Jersey Boys, the stage is awash with kitschy jukebox musicals inspired by pop bands. But Damon Albarn's Monkey kicked off a credible age for the rock musical, as new works from Tori Amos, Fela Kuti and Sparks now show. Andy Gill reports