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The six pieces hailed from various corners of the country and examined a wide range of expressive and social viewpoints.
As a vision of gay bonding, The View UpStairs exudes a wonderful in-your-face spirit.
The play’s disparate elements have been blended into a riveting drama, energetically directed by Lisa Rothe, and nimbly performed by Joel de la Fuente.
Of course, history has not come to Deadwood to douse the smoldering embers of the past, but to supply more kindling.
François-Xavier Roth’s Mahler offers plenty of personality and ideas; there’s nothing on Mariss Jansons’ disc that’s really worth your time; guitarist Daniel Lippel draws out Steve Reich’s lyrical qualities.
Arts Fuse critics select the best in film, dance, visual art, theater, music, and author events for the coming weeks.
This fantasy musical is unexpectedly moving, a driven and musically satisfying experience for serious Elton John fans.
Vasily Petrenko’s Elgar disappoints, Edward Gardner’s Mendelssohn excites, and Alain Lefévre’s Paris is delights.
Vladimir Jurowski’s new recording of Rachmaninoff’s Symphony no. 1 is a tightly-played, exciting reading; The Yiddish Cabaret’s only real offense relates to poor labeling; The transcriptions in Russian Masquerade are played with spunk and vitality.
This new musical is charming and lively, but without some renovation its future life is in question.
Classical Music Commentary: Boston’s Lost Opportunity — How the BSO Board Chose Charles Munch over Leonard Bernstein