Review
Even taking into consideration my several objections, this Faust is one of the most accomplished and intriguing opera releases of recent years.
There are few films these days that feel like such a familiar and sorely-needed balm for stressful times.
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.
Tony Kushner attempts a re-write of his first professional play. The results are decidedly mixed.
Ken Ludwig’s stage version of Murder on the Orient Express is an enjoyable diversion.
Octavio Solis’ Quixote Nuevo, is a genial, and very American, riff on Don Quixote.
The Boston Philharmonic Youth Orchestra’s first appearance of the season presented canonical selections without a hint of complacency or apathy.
The Brit-born iteration of mind-expansion music — from Syd Barrett onward — favors clever wordplay and musical accessibility.
Waves is a plea for mutual understanding, for acts of grace that transcend race, age, gender, and social status.
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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