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Part of the great experiment that is Artisan’s Asylum: meeting your neighbors, realizing you need someone to help you solder/weld/create a 3d prototype, and then wandering amongst the open workspaces until you meet a co-collaborator.
It was clear from the moment Ludovic Morlot mounted the podium that he and the Boston Symphony Orchestra possess a strong chemistry: the players clearly respect him and they responded to his leadership with precision, energy, and feeling.
The Steve Kuhn – Sheila Jordan partnership has been one of the luckiest things ever to happen to either of them, or for us as listeners.
Classical Music Review: Worcester Chamber Music Society — A Deeply Memorable Evening of Music Making
The Worcester Chamber Music Society’s combination of repertoire demonstrated how creative programming can lead to highly satisfying musical results: each piece had something to say to or about its neighbors and the cumulative effect of hearing them in such a context made for a deeply memorable evening of music making.
This is the fourth installment of Debra Cash’s coverage of events associated with the Institute of Contemporary Art’s Dance/Draw exhibition.
For a polarized nation, both pre-occupied and Occupied, the musical “Angel Reapers” is an inspiring Shaker gift.
Wendy Artin is not just about representation. Her paintings bring up all sorts of questions about the complexities of beauty. How do we build up beauty from matter? What happens to beauty over time? Does an object lose its beauty when time wears away at it?
The Boston Jewish Film Festival saves one of its best films, “Mabul,” for last, and some final thoughts on this year’s line-up of movies.
Essentially, Kaiser’s plaint about the vanishing critic is useless because he, and so many other cultural kingpins worried about the end of professional criticism, offer no solutions.
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