MARIA DUARTE, FIONA O’CONNOR and ANDY HEDGECOCK review Savage House, Enzo, Madfabulous, and Erupcja
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Meditations on captivity and liberation
BEN LUNN remembers the Italian composer Luigi Dallapiccola, whose embrace of serialism and the 12-tone scale coincided with his rejection with fascism
HANDLING HORROR: (L to R) Boethius, Luigi Dallapiccola, Mary Stuart and Girolamo Savonarola
[Raphael (School of Athens c1510) - Public domain - Public domain - Moretto da Brescia c 1524/CC]
CHRIS SEARLE recommends a work of love and deep admiration for a great musician
KENNY MacASKILL relishes a fictionalised account of the life and death of the principled Irish anti-colonialist, executed for betraying his English imperial masters
FIONA O’CONNOR admires an ambitious first novel that loosens South Africa’s rainbow collective to examine the racial tensions within
Aussie mining corporation murder, Liverpudlian ex-cop amnesia, a naive vigilante tries to reset capitalism, and the riddle of the dead psychoanalyst
SYLVIA HIKINS is persuaded by an entertaining play that the true miracle of Lourdes would be for attitudes toward disability to change
2024 is a year of many significant anniversaries and milestones.
The third of February marked the 120th anniversary of the Italian composer Luigi Dallapiccola who was no stranger to political turmoil and deserves serious reflection in terms of how artists can respond to national and international events.
Born in Pisino d’Istra, Dallapiccola grew up in political uncertainty. His father, who was a headmaster of the local school, had been deemed politically suspect and his whole family had been imprisoned at Graz in Styria for about two years. After this turmoil, Dallapiccola went onto study composition and was notably influenced by the musical discoveries of Schoenberg.
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