Arts Fuse Editor

World Music CD Reviews: Percussionist Julian Gerstin and Guitarist Todd Mosby Go Their Own Way

November 11, 2020
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These superb CDs, from musicians who are doing it their own way, on their own labels, celebrate the realms below and above us: the sea and the sky.

Book Review: “Fangirls” — In Praise of Fanatics

November 10, 2020
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Fangirls is a funny and poignant survey of an essential coming-of-age experience.

Pop Review: Gorillaz’s Exhilarating “Song Machine”

November 10, 2020
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Song Machine rejuvenates the band’s core identity; it is the best music Gorillaz has made in a decade.

Rock Feature: Despite the Pandemic, Goose Is Flying High

November 10, 2020
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“It was a little frustrating at first, but we’re figuring out how to give music to the people that need it right now.”

Television Review: “Paranormal” — Egyptian Ghost-busting

November 9, 2020
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The spooky adventures in this Netflix/Egyptian produced series are entertaining enough to deserve a second season.

Film Review: Freud Never Asked What Men Want, “The Climb” Tells Us

November 8, 2020
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The terrific The Climb looks at bro-bonding in a way you’ve never quite seen.

Book Review: “The Silence” — Brusque Prophecy

November 7, 2020
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Many Don DeLillo fans will overlook this novella’s somewhat stilted dialogue and perfunctory erotic scenes for the sake of another taste of his dark and knowing world.

Opera Review: Paisiello’s “Le gare generose” — Italians, Quakers, and Slavery in 18th-century Boston

November 5, 2020
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The lively world-premiere recording of Giovanni Paisiello’s Le gare generose proves why the composer was in demand all across Europe.

Book Review: “Glitter Up the Dark” — Music and Our Understanding of Gender Identity

November 3, 2020
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Sasha Geffen takes on some heady ideas about music and gender performance, but they approach the subject with a nimble writing style.

Opera Review: Purcell’s “Dido” — Re-made for the Lives We are Living Now

November 2, 2020
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Coming soon to your computer or cellphone: The Boston Camerata launches a bold staged performance of Purcell’s pathbreaking opera, but in a way that keeps its cast and audience safe.

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