Interview
“We ask them to interpret the music through their own experiences, so they are connecting to and performing what Mr. Ailey called ‘blood memories’ on stage.”
“We need hope in the possibility of change in order to survive what’s coming.”
It’s not hyperbole to suggest that Dan O’Brien’s “True Story: A Trilogy” represents a distinctive achievement in theater history.
The renowned duo of Jay Ungar and Molly Mason perform what has been called American Roots music. But they’ve also been known to include traditional folk and ’40s jazz.
The alternative rock/power pop singer-songwriter and musician was slowed down during the COVID years — but now he is back.
The Disco Biscuits improvisations are not driven by a guitar-rock root: they are more apt to dive into a piece of classical music and then ease into a propulsive dance-club beat that eventually swerves into Zappa-style brainy grime.
Mass in D was Ethel Smyth’s first large-scale score and, according to Cappella Clausura conductor Amelia LeClair, the composition expressed her yearning for hope and redemption.
In the spirit of revisiting this unsung indie classic, here’s an interview the critic did with director Nancy Savoca in 1993, when Household Saints was part of the Boston Film Festival.
Director Wim Wenders discusses two new films about art and toilets.
The album’s explicit mix of modern jazz and klezmer set a template that is still being used by many of today’s most prominent Jewish music experimentalists.
Visual Art Commentary: Silence Is Complicity — Why Museums Must Use Their Voice to Defend Democracy