Review
Pakistani-born artist Huma Bhabha is still very much at the edge of edgy; Georgia O’Keeffe much less so.
This mysterious dance may have no meaning at all beyond its cryptic theatricality and movement. Or it may mean a lot.
MassOpera’s updated version of Die Fledermaus pulls off a major feat.
Crashing shows us how Holmes’s innate sweetness and affability carries him through the awkwardness and indignities of being a working comedian.
A freshly thought through, energetically executed Berlioz disc; a lovely album that contains excellent performances of underperformed and unfamiliar repertoire that deserves to be heard and championed; a fine, sometimes inspired account of Respighi.
A trio of fine discs: Leonard Bernstein’s music for solo piano, Charlie Chaplin’s songs, and Charles Hubert Hastings Parry’s trios.
The Wind explores the fears that beset even strong, capable women stuck struggling for survival without community or social contact.
Benjamin Zander conducts a conspicuously fine Mahler Nine; François-Xavier Roth’s new account of Mahler’s Symphony no. 3 proffers nothing particularly special.
The series presents plausible, relatable social situations within a weird, dark, quasi-magical framework.
It’s Shakespeare in Lowell –the stage piled with ghostly corpses, the heroes all dead, the young bard in mourning.
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