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The musical wheels out well-trodden jokes about growing old while supplying all the usual greeting card life lessons (live each moment as if it were your last!).
Both productions play around with chronology in order to show the dark side of history, to unmask convenient illusions of social or personal well-being by juxtaposing the myopia of the past with the payback of the future.
We’re in this virtual reality age now, asking new questions about what art is. What has true meaning and what doesn’t?
The Boston Philharmonic Orchestra handled Lutosławski’s aleatoric textures with confidence, though the all-important brass interruptions felt more hesitant than decisive, making the work’s narrative quality rather episodic as opposed to smoothly flowing.
August Strindberg’s work unquestionably has not received the degree of popular acclaim in America that it deserves. It’s a bit mysterious, given that major U.S. playwrights — Eugene O’Neill, Edward Albee, Tennessee Williams — have openly acknowledged their debts to Strindberg.
This invaluable addition to the Austen literature offers two for the price of one: a beautifully designed and printed edition of the novel many consider her best and a parallel critical commentary that deepens our understanding and opens up a rich, textured view of her world and time.
The people of Annawadi live in conditions so bleak that “Behind the Beautiful Forevers” evoked, for one Indian reviewer, Primo Levi’s depiction of life in concentration camps.
John Oliver, director of the Tanglewood Festival Chorus, deserves the thanks of all involved for his willingness to take on this unenviable assignment, as well as credit for ensuring that the performance didn’t fall off the tracks.
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