Month: April 2012
Author Margo Livesey has pulled off a considerable literary trick: a page-turner that is also a moving, realistic, subtle, and eminently wise coming-of-age novel.
Read MoreMistranslation weaves through this lecture, for every translation is a mistranslation. But that is what makes them fruitful. As soon as we mis-hear or fail to understand, the brain constructs an instant bit of narrative to bridge the gap in understanding.
Read More“An Accident of Hope” is a fascinating read for anyone interested in writers, writing, psychotherapy, women, medical ethics and American society just before the great upheaval of the 1960s.
Read MoreSupplementing Eugene O’Neill’s high drama is a subtle score of music and sound created by Dewey Dellay, an Elliot Norton Award winner for Outstanding Design.
Read MoreEmmanuel Music bought this neglected Mozart opera to life with polished musicianship and excellent singers.
Read MoreAs the BSO searches for its new music director, Mr. Salonen’s name is sure to come up. While he’s probably a long-shot candidate, any orchestra that has him on their podium for a week or two a season should count itself lucky.
Read MoreIn D. A. Powell’s latest volume, the dominant landscape is that of the wasting body, which is crisscrossed, investigated, confronted, and made useful again as a map in the hands of raw youth.
Read MoreIt is a pleasure to report that — driven by the lively direction of Jamie Lloyd and the skills of an energetic cast — the National Theatre production proves that even after two centuries Oliver Goldsmith’s classic can still dole out plenty of comic delight.
Read More“Fairness and Freedom” is a cultural/political/social history of the United States and New Zealand in one volume. To the general reader’s likely question, “Why would anyone put the two in one book?”, author’s answer and binding theme is that both former British colonies are open societies with liberal democratic systems, but with a difference.
Read MoreThere was nothing in the program about the pieces he and his fellow musicians would be playing, but no one seemed to care. Most already knew the music from Paco de Lucía’s recordings. They were coming to hear him live, and there was not an empty seat to be seen in the Boston Opera House.
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