Month: October 2011
There isn’t much going on in November. The highlights of the month are the Omar Souleyman and Felix Kubin shows, so try to make it to one of those.
Read MoreThere was a memorial service for Caldwell Titcomb, invaluable friend of the arts in New England, yesterday in the Memorial Church at Harvard University. He passed away on June 12th of leukemia at the age of 84. The ceremony was moving and heartfelt, with memories shared about Caldwell as a friend, composer, critic, grammarian, teacher, brother, long-time President of the Elliot Norton Awards, and researcher in African-American history.
Read More“The Submission” has been compared to Richard Price’s richly evocative novels of New York life. It’s an apt comparison, though Amy Waldman brings a new cast of characters to bear, members of the Bangladeshi community.
Read MoreIt’s “Mahler Unleashed” month at the New England Conservatory. I heartily recommend all of the “Mahler Unleashed” events.
Read MoreWhat makes one opinion better than another? (Some opinions have been challenged more than others. Tested opinions are worth more than untested ones.) Can’t one enjoy an aesthetic experience without having to put it into words? (Absolutely, but those of us who write art criticism don’t have the luxury.)
Read MoreNational Theatre director Bijan Sheibani chose artistry of movement, beautiful as it is, over the battering belittlement of really hard, unappreciated work, the facts of sweat and stupor.
Read More“The Rocky Horror Show” works best when it is immersive like this—a theatrical party that includes the audience.
Read MoreGiven his full-throttle depiction of the myopia of middle class mores, Bruce Norris is more in the flamboyant satiric line of Sinclair Lewis, who also trained his sharp ear and eye on the Midwest, the American heartland, jabbing away at American delusions of community, status, and self-satisfaction.
Read MorePortugal. The Man is nothing if not a paradox — the band is nostalgically avant-garde.
Read MoreAs one of the most highly esteemed countertenors in the opera world today, Andreas Scholl did not disappoint, but radiated confidence and sincerity in his interpretations of some of Purcell’s most beautiful music.
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