Review
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,…
This is a well-researched and accessible account of how and how often the system locks up the wrong people and keeps them locked up.
Horse represents a victory lap (pun intended), a confident follow-up to the artist’s astonishing success with his self-release of Powderhorn Suites.
April weather may be unpredictable, but the bond between grandparents and children is not. Here are some new books that celebrate that special relationship.
Bill T. Jones/Arnie Zane Company’s Curriculum II is no intellectual exercise. It is a gut-wrenching journey into the heart of darkness, offset by flashes of compassion and light.
Whereas Hong Sangsoo’s filmography abounds with coming-of-age stories featuring young characters embarking on their romantic/sexual and professional lives, two of these three films spotlight middle-aged characters, with one specifically dealing with disease and mortality.
The biographer makes her case with evident joy, drawing on wide-ranging research to supply a lucid, sympathetic homage to Emilie Loring’s indefatigable determination and sunny-side up literary sensibility.
Pianist Beatrice Rana has a particular talent for building a line in ways that are both exactingly dynamic and robustly emotional.
Andris Nelsons has a fine feel for colorful musical canvases, a talent once again displayed in performances of Thierry Escaich’s Cello Concerto and Rachmaninoff’s Symphony No. 2.
Few conductors in Boston have a feel for late Mahler the way Benjamin Zander does.
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