Review
Free from the stress of leading a major-label band on the road, Mark Sandman could always return home to Hypnosonics, an alternate vehicle for his elastic vision.
You need to hear this play. Especially if you are white and already “know” Othello. Listen again (and again) and prepare to question old assumptions.
The current rage for inserting the personal/confessional in everything from cookbooks to literary criticism can go too far.
The 51-minute piece represents a digital time capsule. It comprises 16 short episodes — reflections in movement of lives caught inside the pandemic — crafted by dance-maker collaborators.
Director Jess Chayes has done all that is humanly possible to stage a lively live production under Zoom constraints.
This is one of the best traditional big band records you’ll hear this year, or maybe this decade.
There’s much to enjoy here and admire, both in the performances and the selections on hand, which hardly dwell on the usual suspects or limit themselves too narrowly.
A singular muscularity infuses these short stories, a confidence that astonishes.
Richard Thompson’s memoir displays flashes of his writerly talents, but the volume feels a bit less immediate than one might hope.
At this point in his career, Mayr is contributing to the development of the musicodramatic conventions that would set the stage for the masterpieces of Donizetti, Bellini, and Verdi.
Concert Review: Yo-Yo Ma Elevates a Dispiriting Boston Symphony Orchestra Opening Night