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The dynamics of this splendid trio album, “a response to the division and turmoil in our world,” are gracefully balanced.
This small volume is apt to become a classic that is passed hand to hand.
Our expert critics supply a guide to film, dance, visual art, theater, author readings, and music. More offerings will be added as they come in.
“The Past is Still Alive” hones Alynda Segarra’s songs to an accessible Americana that allows their travelogue-tinged tales to nestle in ways both literal and metaphorical. It’s one of the best records of the nascent new year.
The Disco Biscuits improvisations are not driven by a guitar-rock root: they are more apt to dive into a piece of classical music and then ease into a propulsive dance-club beat that eventually swerves into Zappa-style brainy grime.
Some may continue to lament the (supposed) dearth of opera in Boston, but an honest look at these enterprising companies suggest that vivid stories are being told with invention and economy.
Russian satirist Vladimir Sorokin’s excremental vision triumphs in two new translations.
As in her previous thrillers, Donna Raybourn’s dry wit serves double duty: defining our erudite heroine and presenting her view of a world that does not know what to make of her.
Sofia Vergara’s performance as drug queenpin Griselda Blanco, in the limited series “Griselda,” is no less than career-defining and unforgettable.
The album’s layers of thick and swampy sound make Kim Gordon’s anxious point.
Classical Music Commentary: What’s Next for the Boston Symphony? — Lessons from the Past