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A 100-year-old novel provides the basis for some sumptuous moviegoing.
The set impressed in its diversity, boosted by the cohesive breadth of “What Now,” even as its homages grew overt in the second half.
Karina Canellakis’s tour through Bartók’s “Bluebeard’s Castle” showed why she remains a conductor who continues to exercise a remarkable interpretive power.
Once again, here was the shock in Cécile McLorin Savant’s subversive conceptual daring.
The time is overdue for a serious discussion of what is happening (or not happening) in Boston-area theaters. Just don’t expect to see anything in our sheepish mainstream media.
Taking in the totality of Seiji Ozawa’s life and career, it seems clear that Boston got him in his prime and that he largely returned the favor, ingratiating himself with the community, at times truly elevating the BSO while conveying a lot of joy and energy in the process.
New cinematic mavericks have come along. All the more reason that the views of earlier rebels be collected and preserved, given the short historical memories of young filmmakers and their audiences.
Nature has long been a perennial topic for cinema and, given the escalation of the climate crisis, the environmental context of these three fine films feels particularly urgent and poignant.
Arts Commentary: The Declining State of the Art of Arts Journalism
Theater critics, film reviewers, A&E editors, and arts columnists have been stripped from our dailies and weeklies. Why should you care? Oscar Wilde warned that an age without criticism is “an age that possesses no art at all.”
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