Review
The magic in Eliane Elias’s performances is in how easily she slips from one musical dialect into another.
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Surprisingly, the 17th- and 18th-century drawings and prints in “Pastoral on Paper” proffer bold experiments in charcoal, chalk, and gouache.
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A trio of superb albums run the stylistic gauntlet, from the traditional to the experimental.
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Bottom line: for all of “The Phoenician Scheme”‘s visual glories, the whimsical portrait of a shady arms dealer who becomes a mensch in the bosom of family rings hollow — especially at the present moment.
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Over the decades, James Lee Burke has built up a distinctive and glorious body of work, and “Don’t Forget Me, Little Bessie” is a notable addition to the canon and possibly his most comprehensive.
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What our planet needs now is the reincarnation of a writer who, while combing through the nooks and crannies of society for painful truths, uses depictions of the present to demand future changes.
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Overall, this is a satisfying production of a turn-of-the-century play that still underlines enduring economic inequity.
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Let’s look at a fresh crop of collections by poets who are either born and raised or have made their homes in NOLA, stopping to admire the architecture and the scope, the heft and the breadth of their lines.
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Viewing the art while strolling along the Muddy River gives city-dwellers and visitors a reason to linger and enjoy one of the city’s oldest and most beautiful open spaces.
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The challenge for the Boston Pops in this program is obvious: combining the structure of orchestral music with the improvisational nature of Garcia’s work. On Tuesday, the pairing of rock band and orchestra proved to be uneven, groovy interludes interlaced with tentative patches.
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