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The music on David Murray’s” “Francesca” is both antic and intense; it’s played by a responsive and inventive quartet who sound like they are having considerable fun entertaining themselves.
The latest film from Yorgos Lanthimos is a confusing mishmash of forced weirdness.
It was not just networking that propelled William Parker into the front rank of bassists. He could generate such a huge and complex cascade of sound that he energized leaders from Cecil Taylor and Ivo Perelman to Zoh Amba.
Considering that none of Guillaume Guillon-Lethière’s history is familiar, absorbing this scholarly exhibition, which is accompanied by extensive labels and wall texts, is demanding.
Much praised by Berlioz and others, this Italian opera (composed for the great mezzo María Malibran) brings a notable female composer out of the shadows.
A profound piece of director Chris Wilcha’s life was being disrespected and threatened with extinction. He had to do something. He had to make a documentary about it.
“The only way to keep the music alive is to view it as a living thing and support artists who approach it that way, rather than as a museum piece.”
At this year’s festival: the Best Film of 2024, “We Strangers,” and a slew of gossipy docs on show business celebrities.
Book Review: “Big Fiction” — Is the Author Hive-Mind or Queen Bee?
On closer inspection, Dan Sinykin’s notion of a “conglomerate author” is largely a fiction.
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