Review
Three recent documentaries explore the worlds of three masters of disparate but complementary art forms: photography and cinema, sculpture and painting, and toilets.
Flux Gourmet occasionally reminded me of the films of Peter Greenaway, who often juxtaposed the grotesque or disturbing with the beautiful and ethereal.
Poet John Koethe moralizes in an abstract “universal” space — some might call it versifying in a vacuum.
An opera from Fascist Italy, Gino Marinuzzi’s Palla de’ Mozzi receives a splendid world-premiere recording. Should you listen despite its pedigree?
“Farewell” is the shortest album in the series, but it is perhaps the most provocative in the way it calmly muses, philosophically, on the form that togetherness can take – as it exists and as it dissolves.
This is one of those 75-minute plays where you have to remind yourself to breathe.
The saxophonist has the slithery facility of a bebopper, but I also hear something of the forthright stance of Coltrane in his playing, despite the rhythmic complexity of his writing — and his distinctively varied use of his Puerto Rican background.
Appreciating Stephen Sondheim’s achievement does not mean loving all of his shows. A Little Night Music may just be one of his musicals that should be politely nudged aside.
To my ears, these beautifully recorded improvisations — with their unique sequences of tones and subtle interactions — are never less than intriguing.
This prequel is the rare instance of a horror film, in this case a prequel, that is better than its predecessor.
Recent Comments