Featured
Werner Herzog likes the odds in “Every Man for Himself and God Against All.”
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Ten years on, Andris Nelsons’s retains his remarkable gifts for expressing the raw power of music with dazzling panache.
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Assassinations may be so-last-generation, but gun violence, and what it reflects about American culture and human depravity, defines our own era as much as any.
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This week’s poem: Eliot Cardinaux’s “Said Regression.”
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Performances of such zest and sensitivity deserve to be rewarded with rapt enthusiasm, even love.
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Cockeyed anecdotes roam merrily through a satiric tale set in an East Germany that’s too larky to be oppressive.
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Now in its 18th season, the membership of the Worcester Chamber Music Society has remained remarkably consistent, boasting a number of familiar faces from Boston’s chamber music and orchestral scenes.
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Four recent releases illustrate what can happen when the only limits are the imagination of the composer and the passion of the performers.
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Valerie Duff’s polished style is thoughtful and observant, her fluent voice compressed and controlled. She constructs meticulous lines with (to borrow one of her phrases from these pages) a “stonecutter’s precision.”
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Jazz Commentary: Three More Recent Composer-Driven Jazz Releases — Stretching the Boundaries of the “Conventional”
These projects are more conventionally jazzish in their sounds than the four in the companion post, but that does not make their ambitions less worthwhile or less adventurous.
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