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More proof that Offenbach’s is a remarkable body of work; a serviceable, but not particularly notable, Cavalleria rusticana; another installment in the Rossini Project, brilliantly curated, stirringly played and sung, and beautifully recorded.
This is hard-hitting neo-noir parable whose dark humor delights as it strikes at the corrupt heart of business as usual in Argentina.
A terrific release showcases the Boston Symphony Orchestra and composer Thomas Adès. Michael Tilson Thomas and the San Francisco Symphony deliver a radiantly honest recording of Aaron Copland’s Symphony 3.
One thing that gives Marc Maron’s comedy a certain punch is that he is an equal-opportunity crank.
Killing Eve is as exciting and compelling as ever. But its narrative structure is becoming somewhat fractured and increasingly odd.
I’m curious to see what happens next. I’ll keep writing plays, but I might need to hone my skills as a handyman just in case this whole theater thing doesn’t pan out.
Darkness is pervasive in this Cowboy Junkies album, but it is not all-encompassing.
Theater is seen as a cleansing illness that sets out to obliterate the illness we blithely accept as health.
Marc Petitjean seamlessly moves from describing intimate scenes to discussing Frida Kahlo’s art and its significance.
Arts Commentary: COVID-19 and the Desperation of Dumping Art
There’s a story yet to be written about art dumping; theater and dance dumping; even film and TV dumping now that live performance and production of all kinds has shut down.
Read More about Arts Commentary: COVID-19 and the Desperation of Dumping Art