Featured
The Tallis Scholars are unquestionably today’s most renowned exponent of Renaissance sacred music.
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Pete Shelley’s elegies for the wilted flowers of romance were shouted over songs that were alternately tuneful and fierce.
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The company’s staging is dynamic and vivacious, and the unconventional seating arrangements give audience members the chance to place themselves in the center of the action.
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None of the opera recordings I have reviewed this past year beats this Cradle for dramatic vitality, musical imagination, and ongoing political relevance.
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The success or failure of this show rests primarily on the physical presence, voice and acting of the actor playing the celebrated lyric tenor Roland Hayes.
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Playful and political, eerie and goofy by turns, this exhibition brings together puppets, performing objects, masks, and puppet (and doll) performances on video.
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Acclaimed playwright and screenwriter Michael Cristofer’s script is very open about portraying Emile Griffith’s sexuality.
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Handel & Haydn Society’s Haydn and Mozart is about as good as it gets; Martyn Brabbins’ recording of A Sea Symphony is one of the year’s best releases; and for elegance and technical command, you can’t go wrong with Tilson Thomas and his San Francisco Symphony.
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When Vermont’s Mountain Man brings us its Appalachian vocal stylings the trio is venturing into the hollers of both the Green and the Blue Ridge Mountains.
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Film Commentary: A Critical Dichotomy — Time to Resolve It
It’s as if critics of silent films were barred from discussing talkies, or devotees of black and white were banned from discussing color.
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