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The first Boston Calling Music Festival, plus Buffalo Tom, Mean Creek, Andrea Gillis, and Math the Band.
Criticism is vital to our time because it is a form of witnessing, testimony to the possibility that the richness and joy of the arts can be articulated in ways that invite intellectual contentiousness in the midst of community.
John Harbison’s The Great Gatsby gets its long-overdue Boston premiere, as does Jan Dismas Zelenka’s 1739 Missa Votiva. Handel’s Jephtha returns to the Handel and Haydn Society after a century and a half, and the Walden Chamber Players explore music from Cuba.
What is Harvard Square today but a shopping spree waiting to happen, a student lounge, a food court? What could a novel gain by being set in that venue?
May is in full bloom. Starting just this week there is the LGBT Festival, screenings of three silent classics with live accompaniment, the beginning of the Harvard New American Black Cinema Series, and two Boston Jewish Film Festival encores.
A two week stay in Paris, April 11 through 26, delivered the sights and sounds crooned about in the well-known songs.
Simultaneously storyteller and player, ancient character and modern respondent, Denis O’Hare’s performance of “An Iliad” elicits the kind of respect automatically granted this genre of demanding monologual performance.
The best rock biopics, like “24 Hour Party People,” “I’m Not There,” and “The Doors,” aren’t afraid to get a little weird, even if it means throwing verifiable facts to the wind.
Susanne M. Sklar’s study is the best exploration of William Blake’s miraculously bewildering masterpiece that I know of — thoughtful, scholarly, imaginative, and supremely sympathetic to the poet’s ornery complexity as well as his capacity to inspire wonder.
The best parts of this book of interviews come when Charles Mingus or his collaborators talk about the music.
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