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After rewatching What Did Jack Do? a few times, I still don’t really know what the hell I saw. But I decided that I don’t care, because I kept laughing my ass off anyway.
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Maytag Virgin accomplishes what it sets out to do and then some: it is a compelling two-hander about grief and romance that explores how the two emotions can intermingle.
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John Wilson and the Sinfonia of London are one of the new decade’s most exciting partnerships; Javier Perianes’ album with the Orchestre de Paris is quite clever; Is Liszt’s music trash? The debate continues.
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Ledelle Moe’s work is fresh, innovative, and contemporary — yet deeply rooted in a primal humanism that courses through the millennia of every continent and culture.
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Timon is a fascinating, if lumpy and bumpy, black comedy with a nihilistic sting, a lacerating parable about how the worship of gold warps individuals and society.
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The Shadow Whose Prey the Hunter Becomes suggests some marvelous possibilities.
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Ádám Fischer’s reading of Mahler’s Eighth Symphony is breathtakingly clean.
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Cécile McLorin Salvant understands that she is heroic.
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Apart from Claudio Roditi’s musical skill, what stood out was his warmth.
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Another operatic version of Oscar Wilde’s one-act love triangle that ends with the woman’s husband murdering her lover, to her enraptured delight.
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