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Nothing to recommend in Daniel Lozakovich’s take on the Beethoven Violin Concerto, but Midori’s performance of the piece is completely unpretentious, natural, and exciting. Gidon Kremer & friends serve up a terrifically flexible version of Carl Reinecke’s adaptation of Beethoven’s Triple Concerto.
A delightful and compact opera — from a generation before Mozart — that cuts various social types down to size.
This is not your typical horror film; it thoughtfully explores how houses and people can both be haunted.
“I don’t want to show myself because I don’t think I’m very interesting to look at. The world is filled with so many other interesting things to look at.”
“I think these shots bring out the fierceness of black metal, and the models are saying, ‘We can be this.’”
It’s hard to imagine many of Gail Mazur’s poems emerging from anywhere else than from inside Route 128.
In this innovative series, the Huntington Theatre Company has charged 11 local playwrights to imagine a future vision of Boston, post-pandemic, when “we can once again meet and connect in our city.”
Composer Anna Clyne’s new disc displays her maturity as a composer and brilliance as an orchestrator; pianist Simone Dinnerstein builds a number of bridges between Philip Glass and Franz Schubert; pianist Hélène Grimaud’s interesting program is marred by some uneven Mozart.
Please don’t get on a plane for Thanksgiving. Avoid Covid by eating your turkey dinner before your computer screen, and watching — all free! — these handpicked classic movie entertainments.
The new Animaniacs provides no good reason for reviving Yakko, Wakko, and Dot in the 21st century.
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