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Why, Rita Costanzi asks incredulously, do harpists, albeit occasionally, marry other harpists: “Does the word masochist mean anything to you?”
The more cerebral visitor may leave “Collision18:present” wondering if, like the classic definition of what constitutes pornography, ‘cyberart’ is firmly situated in the eye of the beholder (or of the curators).
With “In Seven Days,” Thomas Adés seems to have developed a musical language that’s complex yet not forbidding: there’s no sense that his music is weighed down by expectations of the past, even as he freely refers to archaic compositional forms.
The Huntington Theatre Company is hosting an exemplary revival of Harold Pinter’s fascinating 1978 work, thanks to the spot-on direction of Maria Aitken.
Yvan Goll may be the great shape-shifter, the Zelig, of twentieth-century poetry.
A collection of short films and a documentary at The Boston Jewish Film Festival serves up plenty of decision, determination, devotion and delight.
By Bill Marx Arts Fuse: Tell me how Leeches came about, given how different it is from your other books, at least those in translation. David Albahari: It is different from other books of mine. But then, there were several things that made me, in the end, write the book. First of all, I wanted…
In any piece, the remarkable pianist Jason Moran might go to the very edges of the harmonic movement, until he on the verge of free jazz.
It can be a long wait for the end of the world, even though it lies only a week away, to wit, from the beginning to the end of the Israeli film “We Are Not Alone.”
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