Morikeba Kouyate’s vocals were amazing in their articulation and expression.
The Worcester Chamber Music Society’s combination of repertoire demonstrated how creative programming can lead to highly satisfying musical results: each piece had something to say to or about its neighbors and the cumulative effect of hearing them in such a context made for a deeply memorable evening of music making.
This is the fourth installment of Debra Cash’s coverage of events associated with the Institute of Contemporary Art’s Dance/Draw exhibition.
For a polarized nation, both pre-occupied and Occupied, the musical “Angel Reapers” is an inspiring Shaker gift.
Wendy Artin is not just about representation. Her paintings bring up all sorts of questions about the complexities of beauty. How do we build up beauty from matter? What happens to beauty over time? Does an object lose its beauty when time wears away at it?
The Boston Jewish Film Festival saves one of its best films, “Mabul,” for last, and some final thoughts on this year’s line-up of movies.
Essentially, Kaiser’s plaint about the vanishing critic is useless because he, and so many other cultural kingpins worried about the end of professional criticism, offer no solutions.
In effect, “Playing for the Planet” is an open-ended floating world music festival featuring performers from New England.
While the BSO’s inventive program this week had the potential to plumb the heights and depths of human experience, Saturday’s performance generally lacked the necessary conviction, purpose, and mystery required to do so.
More comments on the films in this year’s Boston Jewish Film Festival, including “Dolphin Boy”, an uneven documentary about dolphins and healing, and “Dusk,” one of the finest films in the festival.