Kevin Young’s poetic line is generally on the concise side, generating a pithy, earthy, evocative quality that hovers somewhere between the haiku-like jazziness of Robert Creeley and the delta blues of Son House or Skip James.
Conductor Charles Dutoit seems to have little affinity for Mahler’s distinctive style. The quintessential Mahlerian traits – the grotesque, the naïve, the terrifying, the ironic – all sounded pretty much the same.
“Fargo” creates its own world of crime and moral conundrums while delivering a fair share of blood. Whether the TV series delivers on its promise to be in the same aesthetic world as the original movie is an open question.