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Dire Straits and its string of hits made Mark Knopfler a well-known figure, but going solo gave him freedom to present a wider range songs.
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Arts Fuse critics select the best in film, dance, visual art, theater, music, and author events for the coming weeks.
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The highlights of this year’s gathering will be productions of newly discovered or rediscovered works by both Tennessee Williams and Yukio Mishima.
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With a powerful partnership, the possibilities for Hot Tuna, it seems, are endless.
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William McGregor has crafted a remarkable debut feature, a notable addition to the burgeoning crop of indie folk horror offerings.
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Nancy Dalberg’s string quartets are worth getting to know, Wynton Marsalis’s violin concerto receives an electrifying performance, and Osmo Vänskä and the Minnesota Orchestra continue to churn out a less than necessary Mahler cycle.
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Michael Hofmann nicely captures our age of truthiness and alternate facts and multiple perspectives, the hollowness of everything from the news-cycle to pop-up restaurants, all of the distractions driven by money and advertising.
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Herbert Blomstedt conducts a powerful version of Mahler’s valedictory essay, organist Christopher Jacobson provides a so-so “Organ” Symphony, and Kirill Petrenko’s initial recording as the chief conductor of the Berlin Philharmonic is lovely.
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A can’t-miss album of Bartók Ballets, Thierry Fischer continues to do right by the symphonies of Saint-Saëns, and a spirited recording of the “last great symphony in the German Romantic tradition.”
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Michael C. Smith’s new Boston Carnival photo book proves that “Culture Lives Here.”
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