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The Mercury Orchestra explored nostalgia, via performances of rare Finzi and familiar Respighi compositions.
As befits a prolific and distinguished poet, renowned for his visionary instincts and signature compositional technique, Nathan Kernan has produced an account of James Schuyler that is as morally serious as his subject.
What sets “Weapons” apart from other films utilizing a puzzle-box approach is Zach Cregger’s command of tone, a byproduct of honing his skills in sketch comedy.
This splendid book is a love letter and a dissertation, almost a song in itself.
What it cost Meredith Monk to be uncompromising! In the early days of her experimentations, the dismissive, often patronizing reviews included lines like her music “made my cats bite each other.”
“What we didn’t want was just another jazz festival. I hope it never turns into that. We were focused on early jazz, traditional jazz from New Orleans, dating back to the 1920s and 30s, before the advent of the big band era.”
The targets of “King of the Hill”‘s satire have changed — as Texas culture has changed — but the relationships, and who the characters are at their core, have not.
This alternately ecstatic and murky, pointed and obscure, allegory is a rare attempt to confront the pathological systems leading us to an uncertain fate.
Newport Jazz sold out all three days in advance for the second year in a row, which made scheduling the primary acts across three stages prone to occasional mismatches between space and demand. But it’s still a golden ticket.
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