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Host Deanna Costa interviews Fuse contributor Steve Provizer about his latest pieces for the magazine.
The magazine’s jazz critics look back over the past year and highlight their favorites — performances, recordings, and books.
Daniil Trifonov’s Silver Age pays bracing tribute to fin-de-siecle and post-Revolutionary Russian music; Jonathan Leshnoff’s Third Symphony is smartly-written and affecting. What happens when tenors Lawrence Brownlee and Michael Spyres team up for an album of duets and ensembles from various Rossini operas? Fireworks.
Alabama Snake is crazy, but it also provides the kind of off-kilter insights into humanity one finds in the best of Southern folklore
In the age of COVID-19, Arts Fuse critics have come up with a guide to film, dance, visual art, theater, and music — mostly available by streaming — for the coming weeks. More offerings will be added as they come in.
When Charley Pride did display anger, it concerned how the country music establishment treated older artists.
Community is what I miss most of all the pandemic’s deprivations—doing stuff with others.
Violinist James Ehnes and pianist Andrew Armstrong’s Beethoven violin sonatas feel and sound absolutely right; Quatuor Ébène’s comes up with one of this anniversary year’s few, true benchmark releases; Nikolai Lugansky’s traversal of three of Beethoven’s late piano sonatas is often admirable.
Trumpeter Doc Severinsen had the right combination of talent and showmanship to reach and stay in the spotlight, and he adjusted the pieces of his life to maintain his singular place.
Uri Caine’s score about the life and murder of a 19th-century civil rights icon is direct and potent; touching documentation of Richard Pittman’s advocacy for the inventive composer Bernard Hoffer and a demonstration of the sheer musical excellence of Boston Musica Viva; Igor Levit’s keyboard playing is dynamic, precisely articulated, vividly felt, and beautifully voiced.
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