Historians seldom make the news themselves. However, Christopher Clark – the Australian-born Regius Professor of History at Cambridge University – hogged headlines and filled op-ed pages in Germany when the centenary of the First World War’s outbreak arrived in 2014.

A gorgeous song exists in search of a show to match over at Bagdad Café, the 1987 film that gave the world the memorably plaintive "Calling You", which is threaded throughout Emma Rice's stage adaptation of the movie with understandable insistence.

When Marie-Theres Härtel plays the viola, she is an astonishing force of nature. If great string-playing should combine the heavenly and the daemonic, the civilised and the raw, hers certainly does.

Whatever might be said about Longborough Festival’s first live opera since 2019, the first and most important thing is to praise the company without reservation for putting on a show of anything like this quality in the face of obstacles of the sort that normally confront the heroes of Russian fairy tales.

Martin Ritt’s 1965 classy screen adaptation of John Le Carré’s bestseller The Spy Who Came in From the Cold is an antidote to the full-colour hi-jinx of the Bond franchise that ruled over the spy movie genre in the 1960s.

I only saw Christa Ludwig twice live in concert, but those appearances epitomise her incredible dramatic and vocal rage as well as her peerless artistry in everything she did. The first event was Schubert’s Winterreise with pianist Charles Spencer at the Southbank Centre, at a time when it was less common for women to take on the role of the heavy-hearted wayfarer: the intensity still resonates.

The term most often used about Berlin director Angela Schanelec’s filmmaking seems to be “elliptical”, and her latest film, I Was at Home, But..., which won the Best Director award at Berlinale 2019, is no exception.

It can't be easy maintaining dignity when everyone in your vicinity is losing theirs. But that's the position in which the inimitable Judi Dench finds herself in Six Minutes to Midnight, a bewildering movie in which star and co-author, Eddie Izzard, spends a lot of time running hither and yon even as the film itself refuses to budge.

The late Weimar-era film Mädchen in Uniform (1931) was visionary – a delicate Queer love story set in a repressive girls’ boarding school that denounced the Prussian militarist creed as dehumanising.

Venus, Cupid, Folly and Time stalk this haunting dream of a Rosenkavalier. The love games of teenager Octavian and his experienced mistress the Marschallin are sexy and plausible; the comedy of ridiculous Baron Ochs keeps a low profile, but stays real and turns out funny in unexpected places; a winged old gentleman (Ingmar Thilo) embodies the second and fourth manifestations. Does he make up for all the detail in the minor and non-singing roles shed by director Barrie Kosky?