Review
Even without international-caliber singers and players, Giovanni Piaisello’s “Amor vendicato” works much magic.
The musical’s focus on truth in journalism resonates in our post-2016, “fake news,” and Artificial Intelligence-saturated environment.
A 100-year-old novel provides the basis for some sumptuous moviegoing.
The set impressed in its diversity, boosted by the cohesive breadth of “What Now,” even as its homages grew overt in the second half.
Karina Canellakis’s tour through Bartók’s “Bluebeard’s Castle” showed why she remains a conductor who continues to exercise a remarkable interpretive power.
Once again, here was the shock in Cécile McLorin Savant’s subversive conceptual daring.
New cinematic mavericks have come along. All the more reason that the views of earlier rebels be collected and preserved, given the short historical memories of young filmmakers and their audiences.
Nature has long been a perennial topic for cinema and, given the escalation of the climate crisis, the environmental context of these three fine films feels particularly urgent and poignant.
Over the years, Lee Gutkind has been one of the most persistent and impassioned voices making the case for the value of creative nonfiction.
In “BLACK HOLE,” the TRIBE trio moves as if learning for the first time how their skeletons and muscles are constrained and empowered, perplexed and bedazzled, by gravity’s incontrovertible power.
Arts Commentary: The Orchestra Gap — Europe vs. the US