A script with this many characters buzzing about demands a strong cast — fortunately, Hub Theatre’s terrific ensemble is more than up to the task.
Because Eliza Griswold’s poems often take place in war zones, she’s always provocative — even when she is tendentious.
A noteworthy recording of Ernst von Dohnányi’s Symphony no. 1; as usual, Harry Christophers and the Handel & Haydn Society play Haydn with their customary elegance and character; a celebration of British composer Eric Coates – his music’s impossibly fresh tunefulness, striking progressions, and vividly idiomatic orchestrations.
Judy McKie draws on a personal mythology in which animal and plant forms become abstracted yet recognizable, anthropomorphic while remaining strangely primeval.
Violinist Liza Ferschtman and the Boston Philharmonic Orchestra’s account of Beethoven’s Violin Concerto lacked nothing for momentum and spirit.
Terrific, fiery playing from George Li, one of the most compelling young pianists on the scene; Mariss Jansons’ recording of Shostakovich’s Tenth trudges from start to finish; irrefutable proof of Andris Nelsons’ excellence as a new-music conductor.
Tool is going to remain relevant as long as the band can still effectively unleash its nightmare-ish delights for fervid fans.
When someone recommended to Steven Hassan he write a volume called The Cult of Trump, “it just seemed like the most important book I could write, frankly.”
Simon Rattle’s Bruckner is, on the whole, lean and lively; if you’re looking for a new Mahler Four, Vladimir Jurowski’s is the one to check out; Thierry Fischer leads performances of each symphony that take Saint-Saëns’ writing seriously.
Two recent biographies take very different approaches as they revel in the wild lives and examine the distinctive songs of two of rock music’s most enigmatic figures: Lou Reed and Warren Zevon.