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To judge from the all-around energetic playing of the BSO, it seems conductor Jaap van Zweden has struck a good rapport with the players and I, for one, look forward to hearing more from him in coming seasons.
Art with a capital A has been put on such a pedestal that Craft with a capital C has been downgraded to a shabby or rustic sort of activity of which the practitioner should be a little ashamed. ’Tain’t so.
Although I was disappointed in this Manhattan Theatre Club production, I am, however, very glad to have seen “Wit” — it is a contemporary classic.
Dominique Eade’s two greatest gifts are her clarity of musical thought and her courage as an improviser. She does not try to be a cabaret-style interpreter or a ring-a-ding-ding swinger.
What more could you ask than that a musical comedy version of The Addams Family cast a kooky spell?
Elegantly written, cogently argued, and filled with trenchant artistic analyses, Alexander Marr’s book exemplifies interdisciplinary studies at their best.
“69°S” takes risks that never put actual life or limb in danger, but under the static of snow and history, we learn that venturing to the edge is always a kind of art.
Worth checking out in February: a few solid experimental shows.
Ms. Bolden’s goal of evoking wintry climes was achieved because of her choice of pieces and musicians, who performed these compositions so well.
Dutch cellist Pieter Wispelwey first performed, as the soloist with the Australian Chamber Orchestra. in the Celebrity Series line-up back in 2007. He made his second appearance at NEC’s Jordan Hall two nights ago. It was a spectacular performance.
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