Simon Garfield’s tour of fonts, Just My Type, is a rollicking, sometimes snarky social history of the design decisions behind lettering from Gutenberg to the iPad.
Mr. Hammer played Bach’s Sonata in G minor energetically and sensitively, drawing out composer’s long melodic phrases with appealing grace. Ms. Graveline made a strong accompanist, clearly articulating Bach’s contrapuntal textures.
Chameleon Arts Ensemble’s programming, the brainchild of its director and flutist Deborah Boldin, aims to place pieces together that have interesting things in common musically and culturally.
Woody Sez is a thoroughly enjoyable and effectively assembled presentation of Woody Guthrie’s life and music.
Sound of My Voice has a lot twists and turns, much charm, and credible suspense. Have I yielded to the cult of Brit Marling? I was always a sucker for pretty face, and a good yarn.
To his credit, Boston Ballet’s artistic director Mikko Nissinen is looking far and wide for ways to expand the company’s repertory.
May 132012
If you’re into pastry, Cupcake is for you. But if you expect something more filling, then I’m afraid you’ll have to wait for this creative team’s next baking session.
Alessandro Baricco’s novella Silk, filled with inchoate erotic longings for which there is no explanation, became an international bestseller. Emmaus, his latest book in translation, also contains mysteries.
Hershey Felder’s performance as Leonard Bernstein not only reconnects us with one of America’s great musical geniuses: it is also a reminder that boundaries sometimes stifle our conception of how much artists can accomplish.
In spare, exact prose Cristian Comencini lets this story unfold against an Alpine setting that is so vivid it, too, becomes a character in this strangely compelling novel.
The new documentary,
If you find classical music to be a vibrant, living thing in which inventive pairings and convincing realizations of music of the distant and recent past can speak in fresh and vital ways to the present, Jeremy Denk is your man and this is your CD.
Dramatist and director Wesley Savick faces a number of fascinating but formidable theatrical challenges, and the generally compelling Yesterday Happened (how could it not be, given its story?) takes an honorable, visually striking swipe at the problems.
What is a Judicial Review? It is a fresh approach to creating a conversational, critical space about the arts and culture. This is our eighth session, a discussion about the Boston University College of Fine Arts production of the 1990 Stephen Sondheim/John Weidman musical Assassins, which looks at the lives and sensibilities of men and women who attempted (successfully or otherwise) to kill the President of the United States.
Boston Baroque and conductor Martin Pearlman scored another triumph with their semi-staged original version of Gluck’s revolutionary creation, an opera that, to its detriment, has often been revised for performance.
Beethoven’s Symphony No. 9 is a piece the BSO trots out with greater regularity of late than most orchestras (as Tanglewood aficionados are aware, it’s been the traditional summer closer each August for about a decade now) and, while such familiarity may not exactly breed complacency, it certainly runs the risk of so doing.
The Independent Film Festival of Boston has achieved a reputation as one of the hippest in the country because of the dedication of its small and dedicated staff, an army of well-trained volunteers, and audiences full college students, artists, art lovers, and cinephiles.
We are a long way from the love-destroyed-by-hostility pieties of Romeo and Juliet, but Actors’ Shakespeare Project director Tina Packer wants to make Troilus and Cressida fit into that reassuring and earnest mold.
The Broadway run of The National Theatre’s production of One Man, Two Guvnors, based on The Servant of Two Masters by Carlo Goldoni, has been nominated for 7 Tony Awards. Here is Fuse Critic Ian Thal’s review of the National Theatre Live broadcast of the British production, first posted in September, 2011.
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