Anne Daniel

3 weeks ago | hotpress.com | Anne Daniel |Roe McDermott

In recent years, a distinct and unsettling but necessary theme has crept into our TV screens and cinema: the fear of replacement. Across a variety of stories – exploring doppelgängers, clones and the existential quandaries of AI – films and shows are grappling with a growing anxiety about identity, in a world that increasingly values productivity above all else. And if we’re not the most efficient model, are we bound to be replaced?

1 month ago | thespectator.com | Damian Thompson |Michael Hann |Mathew Lyons |Anne Daniel

Three projects shedding light on the sacred music of J.S. Bach are nearing completion. The first consists of an epic twenty-five-year project to record all the composer’s vocal works — passions, masses, motets and 200-odd cantatas — in electrifying performances supplemented by lectures and workshops. At the helm is a Swiss choral conductor renowned for his improvisatory skills — and surely the only baroque specialist to have played Sidney Bechet on a chamber organ.

1 month ago | thespectator.com | Alexander Larman |Byron’s Women |Deborah Ross |Anne Daniel

The extraordinary success of The Brutalist is not something that Hollywood, or anyone else, anticipated. When it was announced for last year’s Venice Film Festival, it was regarded with a degree of interest but not much else. After all, Brady Corbet’s previous two films — The Childhood of a Leader and Vox Lux — had attracted a degree of critical attention but neither had been an awards player, let alone making any money at the box office.

1 month ago | thespectator.com | Stephen Hough |Michael Hann |Mathew Lyons |Anne Daniel

My Piano Concerto, “The World of Yesterday,” began with an email during one of the darker days of the pandemic: would I like to write a score for a movie about a concert pianist writing a piano concerto? As I looked at my concert diary, blank but for Zoom calls, it seemed like a wonderful way to keep busy.

1 month ago | thespectator.com | Michael Hann |Anne Daniel |Catriona Olding

No truth is more self-evident than that there are those whose best emerges only when they are paired with others: Lennon and McCartney, Morecambe and Wise, Clough and Taylor. And it’s perhaps even harder for a behind-the-scenes collaborator to step out in their own right. Jack Antonoff, for example, is one of the creative powerhouses of modern pop: he co-writes and produces songs for Taylor Swift, Lana Del Rey and Lorde, who plainly regard him as intrinsic to their success.