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An evening of obscure blues, early jazz, and New Orleans swing eventually overcame an absent vocalist, a substitute washboard player, and a concert-hall setting.
Derek Trucks, Susan Tedeschi, and their 12-piece ensemble moved effortlessly from blues and soul to free jazz, psychedelia, and a deeply felt “Ohio.”
In a revised study of the celebrated sixteenth-century painter, Michael W. Cole traces how family support, artistic training, and scholarly revision shaped her legacy.
This week’s poem: Jeffrey Gustavson’s “Without the Tuscan Red”
Arnold Östman’s first complete recording makes a powerful case for Wilhelm Stenhammar’s long-neglected Norse opera—despite the intrusive directorial alterations preserved from Malmö Opera’s 2011 staging.
The MFA exhibition brings viewers close to the remarkable printed books in which Spanish modernists and French writers fused art and literature.
In a new novel set in a 1970s New Jersey suburb, the Belmont-based author revisits childhood, racial segregation, masculine stoicism, and a past that cannot be remembered honestly without its shadows.
Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
These micro-fictions can feel slight, funny, or confounding—but their strange imagery and off-kilter observations occasionally land with surprising force.
Casper Kelly’s wildly unhinged horror-comedy, featuring Keegan-Michael Key as a murderous orange unicorn, finds dark laughs—and a sharp study of abuse—inside the artificial warmth of 1990s kids’ programming.
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