Review
Pakistani-born artist Huma Bhabha is still very much at the edge of edgy; Georgia O’Keeffe much less so.
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This mysterious dance may have no meaning at all beyond its cryptic theatricality and movement. Or it may mean a lot.
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MassOpera’s updated version of Die Fledermaus pulls off a major feat.
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Crashing shows us how Holmes’s innate sweetness and affability carries him through the awkwardness and indignities of being a working comedian.
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A freshly thought through, energetically executed Berlioz disc; a lovely album that contains excellent performances of underperformed and unfamiliar repertoire that deserves to be heard and championed; a fine, sometimes inspired account of Respighi.
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A trio of fine discs: Leonard Bernstein’s music for solo piano, Charlie Chaplin’s songs, and Charles Hubert Hastings Parry’s trios.
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The Wind explores the fears that beset even strong, capable women stuck struggling for survival without community or social contact.
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Benjamin Zander conducts a conspicuously fine Mahler Nine; François-Xavier Roth’s new account of Mahler’s Symphony no. 3 proffers nothing particularly special.
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The series presents plausible, relatable social situations within a weird, dark, quasi-magical framework.
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It’s Shakespeare in Lowell –the stage piled with ghostly corpses, the heroes all dead, the young bard in mourning.
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