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This novel’s greatest strength is its frank character sketch of Majella. The protagonist is sharply rendered through her observational, sensory navigation of the people and doings in the fictional Northern Ireland town, of Aghybogey.
Mariss Jansons’ ultimate performance, taped live at Carnegie Hall, shows the maestro at the top of his game; François-Xavier Roth’s new recording of pieces by Ravel and Debussy is a bit of a hit-or-miss affair; Diana Damrau’s Tudor Queens, a survey of heroines from three Donizetti operas, is nothing short of terrific.
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.
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