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Ironically, Mixing Colours is best experienced by taking in its video presentations.
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Doriot Anthony Dwyer was a virtuoso flutist, one who could coax brightly burnished tones out of the instrument.
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Soprano Ruby Hughes’ album is fine, well played, sung, and programmed; baritone Christoph Prégardien delivers vocal works by Mahler, Alexander von Zemlinsky, and Max Reger with warmth; soprano Diana Damrau is in her glorious prime singing the songs of Strauss.
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Peter Frase envisions how our current bedeviling social contradictions and economic abuses may play out in the future.
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Isabelle Faust makes Arnold Schoenberg’s thorny Violin Concerto sing; Mariss Jansons lends heft to Saint-Saëns’ Symphony no. 3, and John Wilson continues to be your go-to conductor for Erich Wolfgang Korngold.
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English writer Ian Shircore’s book-length study gives Clive James’ poems the loving attention they deserve.
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It’s important at this time to keep our relationships going, even as we hunker down in fear behind four walls. Thankfully, “The Ultimate Foreplay List” is here.
It’s important at this time to keep our relationships going, even as we hunker down in fear behind four walls. Thankfully, “The Ultimate Foreplay List” is here.
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Akademie für Alte Musik Berlin’s pairing of Beethoven with Knecht is intelligent, programmatically and musically, but Thierry Fischer’s Symphony fantastique is a disappointing misfire.
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Netflix’s Ares is a glossy sociopolitical/supernatural thriller from the Netherlands.
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Arts Commentary: Big Art — Big Greed
Members of anti-arts Right are incensed by the stimulus funding going to Washington D.C.’s Kennedy Center for the Arts. And they’re right.
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