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Now a remarkably energetic eighty, violinist Joseph Silverstein may have lost a bit of his former technical facilities, but his playing is marked by musical sensibilities that come from his many years of experience.
Nichita Stănescu is one of the poets who broke through the socialist-realism sound barrier and propelled Romanian poetry into new spheres.
No question that the culture of Mexico is suffused with memories of music, bright colors, and joy. Would that contemporary political realities reflected more closely the life-enhancing images on stage.
Alice Oswald’s “Memorial” begins with a list of 214 names, a bare, sorrowful cousin to the ship’s roll. If you know the old stories, you’ll begin to recognize some names, and then start to look forward to others.
Ray Charles had one of the great voices of the 20th century, and even the best singers have very large shoes to fill when paying tribute.
The first concert of the Worcester Chamber Music Society augured a promising start for the ensemble’s seventh season.
In order to pay tribute to the supreme Frits Lugt and his Fondation Custodia — and to protest the announced closing of the Institut Néerlandais with which it is joined — the column describes an example of Lugt’s collecting genius.
Part of the problem with the first episode of the “Blood Rose Rising” series may be signs of the show’s indecisive intent: is it a comic thriller spoof, a scary horror mystery, or a serious drama about relationships and spirituality?
Musician Patty Schemel’s slow climb to sobriety and wellness serves as the gripping backbone of the documentary “Hit So Hard,” to the point that it is difficult to believe that someone thumped so severely lived to tell her story.
Classical Music Commentary: Boston’s Lost Opportunity — How the BSO Board Chose Charles Munch over Leonard Bernstein