Review
Her hope for Israel today, Zoya Cherkassky told me, is the evolution of a multi-racial society that she hopes will ensure its survival.
And So We Walked is about the performer finding her roots, and that quest is often meandering.
From beginning to end, this was a magical concert: beauty, poetry, and yes, unbelievable chops.
A rundown of three narrative programs and one documentary program. We just might see these directors’ names on future IFFBoston features.
Éric Vuillard’s method is to create an ironic rapport with the powerful: his vignettes dramatize how France’s elite delude themselves into thinking the colonial world order can be kept intact after World War Two.
This is what cinema is all about and these will probably be some of the best movies you will see all year.
If Andris Nelsons’s direction revealed one thing, it’s that violinist Anne-Sophie Mutter and composer Thomas Adès make a stellar musical pairing.
Were the entire film a road tripping adventure between a high school girl and a silly little chair she has to either carry in her arms or lug around in an oversized knapsack then I’d be able to recommend the film with full enthusiasm.
By Aaron Keebaugh Lithe and economical, Boston Baroque’s superb production of Iphigénie en Tauride proved the old adage that less can be more. Iphigénie en Tauride, an opera in four acts. Libretto by Nicolas-François Guillard. Music by Christoph Willibald Gluck. Performed by Boston Baroque. Martin Pearlman, conductor. Mo Zhou, stage director. At GBH’s Calderwood Studio,…
Music Documentary Review: “Music Under the Swastika” — Uncomfortably Timely
The road to ultimate destruction is lined by spiritual apathy, intellectual carelessness, and moral equivalency.
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