Review
Derek Trucks, Susan Tedeschi, and their 12-piece ensemble moved effortlessly from blues and soul to free jazz, psychedelia, and a deeply felt “Ohio.”
In a revised study of the celebrated sixteenth-century painter, Michael W. Cole traces how family support, artistic training, and scholarly revision shaped her legacy.
Arnold Östman’s first complete recording makes a powerful case for Wilhelm Stenhammar’s long-neglected Norse opera—despite the intrusive directorial alterations preserved from Malmö Opera’s 2011 staging.
The MFA exhibition brings viewers close to the remarkable printed books in which Spanish modernists and French writers fused art and literature.
These micro-fictions can feel slight, funny, or confounding—but their strange imagery and off-kilter observations occasionally land with surprising force.
Casper Kelly’s wildly unhinged horror-comedy, featuring Keegan-Michael Key as a murderous orange unicorn, finds dark laughs—and a sharp study of abuse—inside the artificial warmth of 1990s kids’ programming.
On its lively new recording, the Boston chamber group gives buoyant, colorful, and sharply characterized performances of three works by a longtime MIT composer.
The sisters’ new ECM recording catches the volatile interplay of lyricism and menace in a compellingly programmed set.
In “the drop falls” at 3S Artspace, the artist’s lush hybrid paintings bring Virginia Woolf, artificial intelligence, and ecological collapse into a seductive, disquieting flow.
Animated calligraphy, dancers in half-shadow, and two industrial robots create an eerie, elegant theater of marks, motions, and metallic afterimages at Jacob’s Pillow.
Book Appreciation: “Gulliver’s Travels” at 300 — Small Men, Tech Bro Delusions