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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.
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.
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.
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.
The Shadow Whose Prey the Hunter Becomes suggests some marvelous possibilities.
Ádám Fischer’s reading of Mahler’s Eighth Symphony is breathtakingly clean.
Cécile McLorin Salvant understands that she is heroic.
Apart from Claudio Roditi’s musical skill, what stood out was his warmth.
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.
Unfortunately, no improvements to the staging will clarify dramatist David Greig’s muddled storyline.
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