Review
A 1962 concert performance from Radio Italiana, now on CD, shows how delightful Wagner can sound without barking and slow wobbles.
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This inspiring show celebrates the 100th anniversary of the founding of The Bauhaus.
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The disc is manna for lovers of assertive electric guitar, played by one of today’s top practitioners, in an unadorned trio setting.
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Overall, Juliana Hatfield’s Weird is closer to good than to great.
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Climax may be the director’s most fully realized attempt so far to suggest a state of madness onscreen.
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Luca Guadagnino’s Suspiria is a landscape of the shadowy feminine, steeped in ancient magic, willful evil, and the cyclical round-de-lay of death and rebirth.
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The BSO recently announced an extension to artistic partner Thomas Adès’s contract. It is lucky to have him. So are the rest of us.
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To be truly effective black humor must have us laughing at something we fear, regret, or at the very least recognize.
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Commonwealth Shakespeare Company’s production of Birdy is at its best when it focuses on the play’s central relationships.
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The playwright supplies a memorable encounter between young and old in the play’s final scene, but it is too late to compensate for the superficiality of the Pirandello-lite antics that have come before.
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