Review
Colorful, characterful, and full of worldly wisdom, The Last Sorcerer—by a skilled and imaginative composer, to a text by the great Russian novelist— receives a superb world-premiere recording, with Met mezzo Jamie Barton and bass-baritone Eric Owens.
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Tony Kushner attempts a re-write of his first professional play. The results are decidedly mixed.
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Ken Ludwig’s stage version of Murder on the Orient Express is an enjoyable diversion.
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Octavio Solis’ Quixote Nuevo, is a genial, and very American, riff on Don Quixote.
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The Boston Philharmonic Youth Orchestra’s first appearance of the season presented canonical selections without a hint of complacency or apathy.
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The Brit-born iteration of mind-expansion music — from Syd Barrett onward — favors clever wordplay and musical accessibility.
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Waves is a plea for mutual understanding, for acts of grace that transcend race, age, gender, and social status.
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For all its cinematic zest and superb acting, The Irishman offers a bleak demonstration of what happens when you sell your soul for too little.
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The charmed trifecta of John Adams, Yuja Wang, and Gustavo Dudamel produced a hit, at least to this Boston audience.
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Jack Taylor has always been a version of the reluctant detective, but now he seems more impotent than ever — distracted, beat down, and very tired.
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