Review
The best (or worst, depending on your preferences) aspect to Boston Calling has become its attention to youth-centric subcultures that have blown mainstream in DJs/electronic music and hip-hop.
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Edward Albee’s provocative theatrical exercise is far trickier to realize onstage than it is to appreciate on paper.
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Verisimilitude is rarely a meaningful measure by which to judge a film, but The Souvenir is obsessed with exploring the line between documentary and narrative, reality and art.
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Do musicals with honorable intentions deserve a pass when it comes to quality?
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Almost every painting here is a discovery worth making.
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We will find out how much the future of the earth matters in the next Presidential election.
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Railroad Rhythms is one of the year’s delights: unexpected, well played, and thoroughly charming. Theodore Kuchar is a conductor who seems to know precious few limitations; Eduard Strauss, despite his champions, turns out to have been a competent writer of music for the day.
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Once again, drummer Ralph Peterson pays fine homage to Art Blakey’s tradition of joyous, hard-edged bashing jazz.
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Play It Loud is porn for musicians and fans who fetishize the tools of the trade.
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Arguably, the strongest entry in the BSO’s complete Shostakovich symphony cycle thus far; Esa-Pekka Salonen’s 2016 Cello Concerto is emotionally direct and, at times, simply gorgeous; the resurgence of interest in the music of Boston-educated composer Florence Price is a good thing.
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