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This is a book for anyone interested not just in the economic state of the symphony orchestra, but in the overall financial health of the arts in the United States.
I recommend keeping an eye out for this and other animation shows at local, independent theaters and museums. You will be dazzled and amazed.
February feels like the ‘New November’: concerts of real interest during the weekdays and too many great concerts during the weekends.
The SAG Awards have everything you want, and very little you don’t. The ceremony celebrates film and television, so it’s always star-packed, and only honors actors, so you don’t have to sit through hours of awards for Best Sound Editing.
The Anonymous 4 went through their medieval and early Renaissance paces, vibrato-less but historically informed and performed.
Our discussions always took the same turn. Philip Guston attempted to convince me that artists like Piero della Francesca and the cave painters of Lascaux were in the first place abstractionists.
After the “Lobgesang”’s premiere, Robert Schumann declared this movement “a glimpse of heaven filled with Raphael’s madonnas,” and Saturday’s performance by the BSO came about as close to that as one could imagine, sensitively phrased and beautifully blended.
Though there were differences in quality between the compositions in the BMOP concert, all of the pieces fulfilled the primary requirement of a concerto: they showed off the capabilities of the solo instrument in question, often memorably so.
You may be still catching up on the Academy Award, Golden Globe, People’s Choice, or SAG picks. But this month offers some rare and wonderful treats for film fans of all kinds.
Italian writer Niccolò Ammaniti usually writes with an unadorned style about moral predicaments of the young in small-town Italy. “Me and You,” a slender effort in all respects, covers this ground as well, with the difference that fourteen-year-old protagonist Lorenzo Cumi is from an affluent Roman family.
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