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If “Salome” was a harbinger for what’s to come, we may be on the cusp of a golden era, indeed.
Director Wes Anderson’s “The Grand Budapest Hotel” presents a frenzied feast of lavish and preposterous set pieces, performances, and tall tales.
Stephen Hough’s performance of piano works by Brahms and Chopin was enthralling, poetic, and spellbinding.
Quatuor Ébène burst into song. And I think it’s safe to say singing of any kind is almost never heard at a strings-only concert.
“It seems now that quality spreads through reputation — the live show is where we really see bands pull away from the pack. It takes quality now to survive. Strong work.”
As if the Discovery Ensemble’s impressive return after a three-month hiatus weren’t news enough, last week brought the announcement that Courtney Lewis has been appointed assistant conductor of the New York Philharmonic, beginning this fall.
In “The Flick,” Annie Baker creates youngish characters that my students at Boston University would call “relatable,” exploring how self-delusions, stereotypes, and fear keep them from connecting in a meaningful way.
“Notebooks, English Virtuosi, and Early Modern Science” makes a profound claim about the need for cognitive restructuring in the face of information overload.
Along with the absence of a desk, the fact that guests aren’t coming on in order to plug their latest whatever sets “The Pete Holmes Shows” apart from typical late-night fare.
Fuse Views: This is What We Look Like — On “Selfies” and Self-Image
Sometimes using the Twitter handle #itsokKimNovak, at other times just linking to Laura Lipmann’s Facebook page, women – primarily writers and our friends – have started posting our own “raw” photos.
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