I'm at the New Theatre in Oxford. Elvis Costello is playing through the final stages of his 2022 UK tour. The venue is full of memories: I saw The Kinks and Tom Jones here in the 1960s and then The Who in the early 70s.
The label of "Guardian man" or "Guardian woman" is one that is bandied about as something of an insult these days. But if you can get past the name-calling and think about what might appeal to this imaginary couple (and possibly their kids) while standing in lush, green parkland in Oxfordshire, you might well come up with the line-up of writers, celebrities and music for this summer’s inaugural KITE Festival.
For the Oxford alt-rock mainstays Foals, the past two years brought an anti-climactic pause to a triumphant 2019: their meteoric trajectory had kept pace with their duo of albums, Everything Not Saved Will be Lost Part 1 and 2. The sister albums had given the group their first UK album #1 with Part 2, and their live reputation was glowing brighter still.
And then it all stopped.
Last Easter, viewing options were limited: no-one who saw it will forget a version of Bach’s St John Passion from the church where it was first performed in 1724, Leipzig’s Thomaskirche, with an idiosyncratic tenor taking all the parts other than the chorales – live from a quintet and streamed in from around the world – and accompanied only by organ/harpsichord and percussion. But the real thing has been so longed for.
The good news is that television's serial slow burn will allow for a lot more original Pullman to make its way to screen than was possible in the one and only instalment of the intended film trilogy, The Golden Compass. Its virtues were many, despite drastic late alterations, and in terms of casting and cinematography, this version doesn't look set to outstrip it.
Eleanor Alberga: String Quartets 1, 2 & 3 Ensemble Arcadiana (Navona Records)
Foals have delivered a consistently top-notch series of albums (this is their fifth since Antidotes in 2008): guitar-led, high-energy, musically literate without being effete or pompous. Power pop elevated beyond the run-of-the-mill by a great deal of intelligence and taste.
When three of the planet’s starriest soloists take the time to celebrate the anniversary of a young, non-metropolitan orchestra, it may seem perverse to leave the hall entranced most by the one work in which the illustrious trio played no part. Of course it was grand, and gratifying, to see Anne-Sophie Mutter, Maxim Vengerov and Martha Argerich – yes, Martha Argerich – turn out yesterday for the 20th birthday party of the Oxford Philharmonic at the Barbican.
Witches, vampires and magicke of all descriptions continue to be big box office, so Sky 1’s new dramatisation of the first book of Deborah Harkness’s All Souls Trilogy should be finding a ready-made audience. Anybody who’s into this kind of stuff will be accomplished in the art of suspending their disbelief, a task made easier by the show’s handsome production values and telegenic cast.