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Recipe for a memorable evening at MIT’s Kresge Auditorium: two of the world’s great clarinetists, an inspiring conductor, a hard-working student band, and a major new piece of the clarinet repertoire.
In some ways, Jonathan Jones’ narrative structure works against his strengths. Highly respected as a critic, he is an energetic and engaging writer and excels at what art historians call “close looking,” where he guides the reader line by line, brush stroke by brush stroke, through a work of art.
This album manages to impressively realize the depth and versatility of John Adams’s music for string quartet. It also announces the arrival of a phenomenal ensemble that plays with a mix of maturity, adventure, and musical insight: this is a group to follow closely and cheer.
Director Liesl Tommy’s unflinching approach gives Lorraine Hansberry’s classic a surprising urgency more than half a century after the drama first played on Broadway.
The members of the Collective seem to have an understanding that their job is to make music that reflects a group identity as well as their individual personalities.
The Celebrity Series of Boston offers top-notch artists and performing ensembles from around the world. With a Russian at the helm, it is no surprise that the Shostakovich Concerto would match or exceed expectations. The question was whether the Beethoven would.
Whether or not there’s a real lover, or whether all of this is an elaborate fantasy is beside the point. For Harold Pinter, it may all be the same thing.
Ultimately, “The Elimination” is less a literary effort than an act of witness by both writer and reader.
“Clybourne Park” was expressly written to be in conversation with Lorraine Hansberry’s “A Raisin in the Sun.” The former gives us a new perspective — actually new perspectives — on the latter.
In Bruce Norris’ Pulitzer prize-winning play “Clybourne Park,” resentment and racism chafe at the thin veneer of polite pleasantries.
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