Review
The final installment in the Boston Symphony Orchestra’ s Shostakovich symphonies series is not nearly as overwhelming as its kick-off disc.
A Stephen Sondheim flop returns in triumph, while his final show tantalizes with what could have been.
How well “The Wizard of the Kremlin” will be received here is an interesting question, especially when the novel is evaluated in the light of Mstyslav Chernov’s visceral documentary “20 Days in Mariupol.”
This splendid album offers ample proof that Henry Desmarest stands shoulder to shoulder with his major 17th century French contemporaries, Lully and Marin Marais.
The scenario may seem a bit too meta, but in director Todd Haynes’ deft hands, the tonal complexities of ” May December” are quite dizzying to behold.
Daniil Trifonov’s long-awaited return to Symphony Hall showed that he continues to embody the fullness of the great Russian pianistic legacy.
This well-directed and performed production of a musical about the universal longing for connection delivers a stirringly heart felt experience.
Nicolas Cage plays a man who craves renown but can only captivate an audience of sleepyheads.
Two upcoming releases of restored radio broadcasts offer so much good listening and so much deeply satisfying jazz that they deserve to share the spotlight. One of them is destined to be seen as a landmark document in jazz history.
Tenor saxophonist Ivo Perelman’s work is customarily full of subtle surprises, akimbo with shifts and side-trips. This new recording, with a sextet, is no exception.
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