Music
This is a Tchaikovsky Fifth that’s thoroughly lived in.
Listening to the superb “El Arte Del Bolero, Volume Two,” I feel that these are two masters who, while recalling their various ancestries, are talking to me.
The veteran English art-rocker gave a slow-to-develop but brilliant near-three-hour show that tapped stunning visuals while evolving from the cerebral to the celebratory, culminating in a joyous “In Your Eyes.”
“I always thought this would last six months,” confesses Melvins guitarist, singer, and songwriter Buzz Osborne. “You really can’t count on anything.”
Marin Marais, memorably enacted by Gérard Depardieu (and his son Guillaume) in the film “Tous les matins du monde,” proves a master of Baroque opera in this splendid recording.
These witnesses to history are no longer playing with the fire of their youth, but they exude the confidence, warmth, and sure instincts of veterans.
Godspeed’s left-wing view was most clearly reflected at a merch table dominated by books on working-class resistance and anarchism, while the group’s dissonant post-rock embodied tension.
“Blood In the Tracks” delivers a minor miracle: a host of fresh looks at the most (over)written about musician of our age.
Let’s hope composer Tod Machover, Opera of The Future, and the Media Lab have more up their space-age sleeves.
“I just want to fly my kite like everyone else. I’m not interested in being the greatest. That sounds like an awful ball and chain. I love the freedom that I have.”
Fest Review: IFFBoston Shorts — Part One