Arts Fuse Editor
Aside from the multiple awards Dune won for technological brilliance, the 94th Academy Awards was a very different sort of “Hooray for Hollywood.”
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Once Twice Melody goes about refining rather than changing Beach House’s vision of dream pop.
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Sibelius’s Violin Concerto is almost something of a phenomenon now: in just eight months, I’ve heard it played by three different fiddlers — Baiba Skride, Lisa Batiashvili, and Inmo Yang.
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A major contribution to the recorded repertory, making clear just how effective Saint-Saëns’s The Yellow Princess could be on stage, its nowadays objectionable title repudiated by its varied and nuanced approach to the evocation of the exotic.
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This is an immensely complex, deeply atmospheric story of the working class, of immigrants with global origins, many who are descendants of early settlers.
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Jean-Michel Pilc is a talented pianist who expresses his happiness at just being alive via performances that treat the most revered standards in a manner that is wholly personal, even idiosyncratic — yet memorable.
Read MoreJazz Concert and Album Review: Vincent Peirani and Emile Parisien — Bringing Culture to the Colonies
The communication between Vincent Peirani’s accordion and Emile Parisien’s soprano sax was effortless, empathetic, and flawless.
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I am beginning to suspect that Franz Schreker was the most effective of the many semi-forgotten opera composers who were active in the German lands during the first decades of the twentieth century (that is, ones less well known today than Strauss, Berg, and Kurt Weill).
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All three are singer/songwriters whose individual gifts mesh seamlessly with soaring harmonies and a like-minded empathetic view of the world.
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Arts Commentary: The Oscars 2022 — No Longer So White, But Still Not So Hot
It was soon clear what Oscar was after: two separate younger demographics — one with plebeian cinematic tastes, the other with hip politics.
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